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CAMERON MACKINTOSH

ANNOUNCES INITIAL DATES AND VENUES

FOR

THE WORLD TOUR
OF
LES MISÉRABLES
THE ARENA SPECTACULAR

OPENING AT THE SSE ARENA BELFAST

ON 19 SEPTEMBER 2024

TICKETS GO ON GENERAL SALE 12 OCTOBER 2023

Cameron Mackintosh, in association with Nick Grace Management, is delighted to announce initial dates and venues for the World Tour of LES MISÉRABLES THE ARENA SPECTACULAR opening at the SSE Arena Belfast on 19 September 2024, where it will play until 28 September 2024.

Following Belfast, the production will play limited dates at Glasgow’s SSE Hydro Arena 3–6 October, Sheffield’s Utilita Arena 10-13 October and Aberdeen’s P & J Live Arena 17 – 20 October. The Tour will then commence its European leg in Luxembourg from 25 – 27 October, followed by Geneva, Trieste, Milan, Copenhagen, Oslo and Zurich. Its final UK dates will be in Manchester at the AO Arena 26 – 29 December and at the Utilita Arena, Newcastle 2 – 5 January 2025 before moving on to Sweden, Australia, Taiwan, Japan and South Korea. 

Tickets go on general sale Thursday 12 October 2023 for the UK dates and some European dates with details below. To sign up for priority booking which will open on Tuesday 10 October 2023, please go to lesmis.com/worldtour

Cameron Mackintosh said today “I’m thrilled to announce the initial venues where this spectacular production of Les Misérables will run. This much anticipated world tour will be a unique opportunity for many celebrated performers to play their favourite roles for short periods in different parts of the world, so fans will get the chance to see their favourite stars (and mine!) in their favourite musical. Over the show’s nearly 40 years existence, it has also proved to be the launch pad for an extraordinary list of stars around the world, in many different languages and countries. Both the show and the score of Les Mis continues to win poll after poll around the world as the public’s favourite musical of all time containing so many of the most memorable and beloved songs ever written for the musical theatre. The euphoria of the cast reunion performances of Miz are legendary and always prove a sell-out so I look forward to this unique event being the ultimate demonstration of Do You Hear The People Sing ever!”

The World Tour begins as the stage musical enters its 39^th revolutionary year and will run throughout the upcoming 40^th anniversary celebrations for the world’s longest running musical in 2025. After which it is planned to play North and South America.

LES MISÉRABLES THE ARENA SPECTACULAR will be expanded from the hugely successful Les Misérables The Staged Concert which played for over 200 record-breaking performances in the West End. It will have an extraordinary new design specifically created for arenas (and large theatres) with audiences of between 3,000 – 5,000.  This spectacular production will have a UK company of over 110 actors, musicians and crew featuring a core cast with a great number of celebrated Les Mis guest stars appearing as their schedules allow.

Nick Grace is one of the World’s leading producers and general managers of international touring productions and in the last 25 years has presented shows in 59 countries worldwide including BATMAN LIVE – World Arena Tour, WALKING WITH DINOSAURS – The Arena Spectacular, BLUE MAN GROUP World Tour and the ongoing MAMMA MIA! UK & International Tour.

The critically acclaimed production of Les Misérables continues to play at the Sondheim Theatre, where it will soon be celebrating its 39^th revolutionary year, and several other local language productions around the world. To celebrate the 10^th Anniversary of the Oscar-winning movie, a remastered and remixed version was released in 4K Ultra HD + Blu-ray + Digital in September.

Forum Theatre, Malvern – 7th October 2023

Reviewed by Courie Amado Juneau

5*****

I’m ashamed to admit that until recently I was blissfully unaware of Fascinating Aida’s obvious charms. After seeing them tonight I’m a convert for life! Dillie Keane (piano, uke and vocals), Adele Anderson (vocals) and Liza Pulman (vocals) are the three principle members of this wonderful comedy cabaret act that has, since its formation 40 years ago, become a national institution.

The show opened with the newest member of the group, pianist (also musical director and composer) Michael Roulston, introducing the first song “We’re Next/ We’re Not Done Yet”. A song amply showing the dual nature of the group – black humour with a light, airy touch.

And then it was straight into one of the trio’s most famous and popular songs “Cheap Flights”. Possibly the most bitingly accurate song to cover the thorny issue of hidden charges, luring you in with the promise of a bargain only to find that it’s not quite so cheap after all. Brilliant.

I could have just reviewed with “sheer comedy perfection” as everything was hilarious, but to give you a flavour of the evening…

“Lieder”, a kind of song from Cabaret lampooning the whole genre; the ladies acrobatics during it (impressive chairography) only added to the wonder (are a couple of them really 70?) and split sides. Dillie’s percussion was perfectly timed (in every sense).

The Bulgarian Song Cycle was short, pithy, bang up to the minute tunes poking fun at the news, their very brevity making them even more impactful. The one regarding Gillian Keegan (Education Minister) was particularly hard hitting – almost punk in its vicious condemnation of the state of politics in our country. An astonishing achievement in just a couple of lines. Absolutely genius writing!

“The Blues Got A Skeleton Key” was another highlight, showing that the ladies could write profoundly emotional songs as well as humorous ones. I found myself deeply moved by this fabulous number. Later on I was even more moved by “Old Home”, mining a deep seam of bittersweet memories for many I’m sure.

Mr Roulston’s compositional prowess was all over “Down With The Kids (Track)”, providing the ladies with the opportunity to rap and “A.I.” (with a Kraftwerk vibe), showing a remarkable versatility, keeping the show very now.

Towards the end “Dogging” brought the house down (of course) before yet another genre was introduced with “Tesco Saves” giving us Gospel and then “Your Home Town” name checking Malvern as the final number. Stunning lyric writing and mellifluous singing that could loosen the most buttoned up cardy!

I’ll just mention what a lovely surprise and thoughtful thing it is to include a free downloadable programme from their website. Super helpful and something I wish all shows offered.

It was a real pleasure spending the evening in such delightful company. The ladies gave us much welcome glamour as the gloomy nights move in, all looking gorgeous. But it was their fabulous personalities that shone the brightest. My first time seeing them, it was like being welcomed back by old friends. Bravo ladies and here’s to the next 40 years (and beyond). As perfect live as I hoped they would be, this is one of the funniest shows I’ve ever seen which I wholeheartedly recommend to everyone. A tonic! Thank you ladies (and gentleman).

Winners announced for UK Theatre Awards 2023

• Lyric Theatre Belfast dominated with two winning productions

• Performance accolades for Antony Eden, Lena Hall, and Daniel Rigby

• Mark Gatiss honoured with Outstanding Contribution Award

• Nottingham Playhouse crowned UK’s Most Welcoming Theatre

The 2023 UK Theatre Awards winners were revealed today (Sunday 8 October) in a ceremony at London’s Guildhall, hosted by Musical Theatre star Zoe Birkett.

Lyric Theatre Belfast enjoyed double celebrations with The Beauty Queen Of Leenane, a collaborative production between Lyric Theatre Belfast and Prime Cut winning Best Play revival and Garry Hynes winning Best Director for the Druid Theatre production Druid O’Casey, a trilogy of stories written by Irish dramatist Sean O’Casey. In total, Irish theatres and production companies had four nods in the winners list.

Scotland also celebrated a wonderful year of theatre, winning in three categories. National Theatre of Scotland and Pitlochry Festival Theatre won Best New Play for their production Enough Of Him, the story of a slave who made Scottish legal history in 1778, written by playwright May Sumbwanyambe. Scotland also dominated the Achievement in Dance category, as Scottish Ballet took home the prize for their contemporary reworking of the comedic ballet Coppélia. Scotland’s final nod was for Excellence in Inclusivity; Capital Theatres, who operate three key Edinburgh venues, took home this accolade.

Best Musical Production was awarded to The Mill at Sonning for their revival of Gypsy, a musical based on the book by Arthur Laurents, with lyrics by the esteemed Stephen Sondheim.

Best Performance in a Musical was awarded to Lena Hall for her starring role in David Read West’s new musical, In Dreams, featuring the music of Roy Orbison. The production premiered at Leeds Playhouse this year.

Best Performance in a Play was snapped up by Daniel Rigby for his starring role in Accidental Death Of An Anarchist. After runs at Sheffield Theatres and the Lyric Hammersmith, the play transferred to London’s West End for a limited season at Theatre Royal Haymarket.

Best Supporting Performance (in a Musical or Play) was won by Antony Eden for his performance in Family Album, a Stephen Joseph Theatre production of English playwright Alan Ayckbourn’s new play.

Nottingham Playhouse was announced as the winner of the UK’s Most Welcoming Theatre Award, after being shortlisted against Curve, Leicester and National Youth Theatre.

Tara Theatre won the Digital Innovation Award, a poignant moment of the event, following the sad and unexpected passing of their Artistic Director Abdul Shayek earlier this year.

Speaking on behalf of the theatre, his wife Nicole Shayek said of Abdul:

‘I want to say thank you for honouring my beautiful husband – what a creative force, what a beautiful man. He worked tirelessly to make change in our creative industries and the communities we live in. He championed equity, diversity, and equality.’

Writer, director, producer, author, and actor Mark Gatiss was honoured with this year’s award for Outstanding Contribution to British Theatre, in recognition of the incredible contribution he has made to regional theatre throughout his career in the arts.

Presenting the award to Mark, artistic director of the Nottingham Playhouse, said:

‘Mark excels at everything that he turns his hand to. I’ve worked with Mark five times, and his love of theatre is infectious. Whether that’s in London, or out of London, in the West End, or on the Fringe.’

Culture Secretary Lucy Frazer, who spoke at the event, said:

“The UK Theatre Awards are a fantastic opportunity to come together and celebrate the incredible creative and technical talent that we have here in the UK. We are proudly home to world-renowned actors, visionary directors, breathtaking sets, wonderful theatres and a mission to entertain, educate and challenge through performance art. The Government will continue to back theatre through tax reliefs to maximise the potential of theatre across the country. I would like to congratulate all of the winners on their fantastic achievements.”

The UK Theatre Awards 2023 are sponsored by Birra Moretti, Harbottle and Lewis, Howard Park Wines, John Good Ltd, Marshfield Farm Ice Cream, Music Theatre International, Setting Line Production Management, Spektrix, Theatre Tokens, Trafalgar Theatres, Tysers in association with Ecclesiastical, Unusual Rigging and White Light.

FULL LIST OF UK THEATRE AWARDS WINNERS 2023

Best Design

Sadeysa Greenaway-Bailey & ULTZ for Tambo & Bones, a Theatre Royal Stratford East, and Actors Touring Company co-production

Best Director

Garry Hynes for Druid O’Casey, a Druid Theatre production at Lyric Theatre Belfast

Best Musical Production Sponsored by Tysers in association with Ecclesiastical

Gypsy, a The Mill at Sonning production

Best New Play

Enough Of Him, a National Theatre of Scotland and Pitlochry Festival Theatre co-production

Best Play Revival Sponsored by Trafalgar Theatres

The Beauty Queen Of Leenane, a Lyric Theatre Belfast and Prime Cut co-production

Achievement in Dance

Scottish Ballet for Coppélia

Achievement in Opera

Opera North for Orpheus

Best Supporting Performance (in a Musical or Play)

Antony Eden for Family Album, a Stephen Joseph Theatre production

Best Performance in a Musical

Lena Hall for In Dreams, a Leeds Playhouse production

Best Performance in a Play

Daniel Rigby for Accidental Death Of An Anarchist, a Sheffield Theatres and Lyric Hammersmith Theatre co-production in association with Playful Productions

Best Show for Children and Young People

The SpongeBob Musical, a Showpath Entertainment production

Excellence in Arts Education

Blackpool Grand Theatre

Excellence in Touring

Northern Stage, Birmingham Rep, ETT, Oldham Coliseum, tiny dragon Productions and Cardboard Citizens

Excellence in Inclusivity

Capital Theatres

Digital Innovation Sponsored by Spektrix

Tara Theatre

Workforce Award

Ambassador Theatre Group

Outstanding Contribution to British Theatre

Mark Gatiss

UK’s Most Welcoming Theatre Sponsored by Theatre Tokens

Nottingham Playhouse

@UK_Theatre #UKTawards

Riverside Studios – until October 29 2023

Reviewed by Ben Jolly

3***

Three multiplying Iagos in a drastically abridged one-act Othello? This production at Riverside Studios is not quite like any Othello you’ve seen before, or is it?

Sinéad Rushe has delivered a fresh take on the classic but famously problematic piece by introducing a ‘polyphonic’ characterisation approach to our antagonist. Drawing inspiration from Michael Chekov’s improvisational and collaborative ideology and fusing it with philosopher Eugene Gendin’s approach to psychology, Rushe’s Othello provides an organic, dynamic and relevant piece of theatre.

Stripped down, this diet-version of Othello does not weigh heavy on the audience. It is well-paced and to the point with short scenes and impromptu bursts of energetic performances; this production is sure to appear more palatable to a new generation of the TikTok watching crowd; it runs without an interval which in this circumstance seems to be for the best as the momentum is able to keep swinging in full force. While this lighter load is easier to digest, there are some key relationships and intimate moments that are lost and the chemistry doesn’t have quite the proper time to grow organically.

Rushe’s production includes elements of lighting, music and choreography to help tell the story which is expertly executed and used succinctly enough not to overpower the material. Michael C. Fox, Orlando James and Jeremy Neumark Jones are particularly playful as the three faces of Iago; each provide a unique take on the role and their talents are a recipe to a fine piece of theatre. Martins Imhangbe in the title role has been wonderfully cast, his timing, presence and ease with the text translates to the audience. His physicality and use of voice blend well together to create a wonderful intrinsic and layered performance. Ryan O’Doherty’s performances as Cassio/Brabantio are equally fully fledged and well-conceived.

This idea and approach to storytelling feels exciting and while I believe that it detracts as much as it adds to the performance of the play as a whole, I believe it to be an idea that could translate to a multitude of plays from our history in order to seek out new details, emotions and psychological intel. Watch this space!

Leeds Grand Theatre – on tour until 16th November 2023

Reviewed by Dawn Smallwood

4****

Opera North’s new Green Season is underway at the Leeds Grand Theatre with its second production, a world premiere, Henry Purcell’s Masque of Might . Masque is an entertainment genre which is equivalent to a variety show in the 17th Century when Purcell composed his musical pieces and texts.

Purcell’s music and assembled libretto has been arranged to musical numbers to structure this story, under the ingenuity of Sir David Pountney’s inspiring adaptation and direction, to focally narrate nature and its vulnerability. The re-imagined Masque of Might is an apocalyptic telling of the story fuelled by an authoritarian dictator, Diktat (Callum Thorpe), whose tyranny and destructive powers impact the planet and the activists warning about it.

An eclectic of the tradition and the modern of the narration introduces Nebulous (Andri Björn Róbertsson) and Elena (Anna Dennis) who are both powerful beings. They observe Diktat and how his authoritarian ruthless rule has a destructive impact on the earth.

Diktat reviews imprisoned activists who have been arrested for protesting about the climate crisis and their activism, only for both Nebulous and Scrofulous (Xavier Hetherington) to join them as they bravely warn Diktat the polluted state of the earth and its consequences. The arrests bring tragedy where Elena laments and mourns the loss of Nebulous.

In the second part, Elena joins Sceptic (Matthew Brook) to punish Diktat with the arrangements for the tyrant to see, hear and feel the full forces of nature and awakens his attention to what is really happening. After Diktat not believing in the climate crisis, a biblical vision is shown to Diktat about King Saul visiting the Witch of Endor and he learns about his limited time of rule and power. His remorse is a little too late with direct destructive consequences. After Diktat is destroyed celebratory song and dance are performed and facilitated by the Queen of the Night (Elena). Light is seen and the earth and its abundant variety heals once again.

An excellent all-around performance, singing and dancing, from the cast and company and is musically directed by Harry Bicket. Thorpe plays a strong and powerful villainous portrayal of Diktat and Dennis plays a flexible and adaptive role of Elena, under the choreographic direction of Denni Sayers.

Leslie Travers’ staging is sustainably eye capturing with its responsible, reusable and repurposed sets which is fitting for this production. Diktat’s bed is assembled of plastic bottles and paper cups and the bed unsays and provokes thinking about how plastic and rubbish have become a culprit towards the environmental destruction. David Haneke’s videographic visuals and projections are stimulatingly stunning and awakens the plight of the troubled planet as well as being aesthetic and creative.

Wonderful costumes by Marie-Jeanne Lecca, which are sustainably made and plenty of thought is given for how the costumes fit in each set and scene with its themes. Paule Constable and Ben Pickersgill’s lighting consistently reflect and depict the varied strong moods from pessimism to optimism, dark to light, seriousness to humour and vice versa from and among the characters.

It resonates with today’s climate crisis and the brave activism that is being done around the world. In the political sphere today particularly where countries that have totalitarian and authoritarian rulers and to some extent some who prioritise fundamental economics and secular interests, activists and protesters have been suppressed and oppressed and even jailed for their activism. The moral of Masque of the Might is for everyone to take the responsibility to be environmentally and sustainably aware and do their bit for the planet’s welfare in their everyday lives. Opera North’s exemplifies this by having their Green Season and it fits so well in the narrative of this performance and production. Masque of Might is sustainably educating and entertaining and is just as relevant today than when it was musically created back in the 17th Century.

OCTAGON THEATRE, BOLTON – UNTIL – SATURDAY 21 OCTOBER 2023

REVIEWED BY ZOE BROWN

5 *****

P.G. Wodehouse’s ‘Perfect Nonsense’ brilliantly adapted from the classic novel ‘The Code of The Woosters’ for stage by The Goodale Brothers, brought the house down.

Wodehouse created 10 novels and more than 30 short stories about the tall and debonair Edwardian gentleman Bertie Wooster and his dependable valet Percy Jeeves. With Wooster often finding himself in strife and reliant upon the rescue of his resourceful companion. The timeless comic genius of Wodehouse’s double act has not diminished in this joint venture by Wiltshire Creative and Octagon Theatre Bolton.

The audience delighted in the sheer energy and enthusiasm of the trio, Luke Barton as Wooster, Patrick Warner as Jeeves and Alistair Cope as Seppings. Each perfectly cast by Olivia Barr, with the latter two actors taking on a variety of characters to assist Wooster in the retelling of his calamitous trip to Totleigh Towers.

‘It’s a complex case of Gussie Fink-Nottle, Madeline Bassett, her father Sir Watkyn, her cousin Stiffy Byng, Roderick Spode and my Aunt Dahlia.’ Says Wooster and so the calamity begins with his uncle’s desire to purchase a silver cow.

Luke Barton as the earnest, dippy, Wooster, was such a devilishly cheeky chappie. He held complete command of his audience as he delivered his narration. Taking time to ensure each of us held his gaze. His timing, diction, and physical comedy were perfect and meant the story never dipped.

Patrick Warner as the suave Jeeves, provided a calming tonic to the fizzy Wooster and his take on newt-loving Gussie Fink-Nottle was sheer brilliance.

Alaistair Cope delighted as the affable Seppings, formidable Aunt Dhalia and the towering Roderick Spode.

As Wooster explains ‘I mean, I’ve been to the theatre a couple of times, I’ve seen people act and have often thought, ‘Well, how hard can that be?’ We soon appreciate that it is, in fact, very hard to accomplish the level of excellence this trio exude.

Direction by Marieke Audsley was slick and made the most of the farce with a combination of the actors’ physical skills and comedic timing to ensure the story never faltered and hit each beat perfectly.

With a glorious 1920’s art deco style compact set design by Olivia du Monceau that allowed for the actors to move between Berkeley Mansions and Totleigh Towers with a simple swivel of a panel or adaptation of a chair. You are transported willingly into the fun-filled world of Wodehouse’s hilarious classics.

What a Spiffingly perfect evening of entertainment that left us leaving the theatre with a Tra-la-la and a Toodle-oo

LIVERPOOL OLYMPIA – THURSDAY 5TH OCTOBER 2023

REVIEWED BY MIA BOWEN

4****

Trainspotting, both Irvine Welsh’s novel and the film adaptation, is considered a significant achievement in 90s culture. It has forever altered the Scottish literary scene. Welsh’s sequel, Porno, continues the story fifteen years after Trainspotting concludes. It allows us to reconnect with the characters Renton, Begbie, Sick Boy, and Spud, who, despite the passage of time, have not necessarily become any wiser.

Irvine Welsh’s Porno is a stage adaptation of his novel of the same name. It had a month-long run at one of the largest Pleasance venues during the 2022 Edinburgh Fringe. The show sold out and received rave reviews from both audiences and critics

In Davie Carswell’s adaptation directed by Jonty Cameron, the characters are portrayed as rough individuals. Fifteen years ago, Renton (played by Scott Kyle) and his companions stole a substantial sum of money in a successful heist. However, Renton decided to flee to Amsterdam, leaving his old life behind. Now, Renton’s mother is seriously ill, prompting him to return to Leith to visit her and make amends with Sick Boy (played by James McAnerney), who now manages a struggling pub. Additionally, Renton hopes to reconcile with Spud (played by Kevin Murphy), who, despite his innocent demeanour, has been overcome with hopelessness. Unfortunately, Renton’s plans are complicated by the presence of Begbie (Chris Gavin), a violent and dangerous man recently released from prison for manslaughter, who is seeking revenge against him.

Kevin Murphy delivered a spectacular portrayal of Spud, his physical acting perfectly complemented the rest of the show, captivating audiences with every aspect of the character – his agitated movements, awkward shuffling, and pitiful attempts at smiling. Out of all the storylines, Spud’s is undoubtedly the most tragic, and Murphy skilfully depicts his inner turmoil. The audience can’t help but sympathize with Spud, especially because of the way Murphy connects with them. Overall, Murphy’s performance is beautiful, taking the audience on an emotional rollercoaster ride.

The set design is both simple and diverse. It consists of a bar, a few tables, and chairs that can be used by all the characters.

This iconic show lived up to all of my expectations and wonderfully surpassed the hype of its predecessor. It was hilariously nostalgic and offered a satisfying conclusion to the lives of characters we have all grown to both love and hate.

York Theatre Royal – Thursday 5th October 2023

Reviewed by Michelle Richardson

4****

On Thursday night I had a welcomed trip out to the wonderful York Theatre Royal. It’s been a few months since my last trip to the theatre, and I’ve certainly missed it. A Night at the Theatre was brought to us by Fingers & Fringe, a night of comedy, seven acts, and compere.

New Zealand native Jarred Christmas, seriously love the name, hosted and compered the evening. He was an excellent host, embracing his role with his enthusiasm and energy. Christmas had a generous amount of stage time and had us all laughing with his tales. His interactions with the audience were priceless, hint don’t get up and go to the loo for your partner to say she’s going for a poo, makes great comedy. The skit about his name was quite hilarious, especially loved the rapper interpretation and the subsequent rap. In fact, I think he should now be known as Jarreeed Christmas. He really was a generous and infectious host.

The first act of the night was Jake Lambert. My first thought was how young? Showing my age there. I have since found out he is a lot older than he looks, though still a damn sight younger than me. I found his comedy really refreshing, with his tales about visiting an old university friend in Houston Texas. He was extremely likeable and a fabulous storyteller. One of my favourites from the evening’s entertainment.

Abi Clarke, a Tik Tok star, whose comedy was bang up to date and relatable, with references to the all-important self-image. Her tales of finally moving out of her parent’s house was something we could all identify with, or for some of the audience, something they could wish for.

The final act of the first segment was Hull comic Jack Gleadow. He has a great energy, a physical comic with such a likeable quality about him. Using music and singing, with reference to ELO, formed eons before he was even thought of, he really hit the mark. With his suit and tie and I suppose maybe a slightly more traditional flavour, you could just imagine him at the Royal Variety Show. This is not a bad thing. He was a true crowd pleaser and along with Jake, my favourite of the night.

Laura Lexx followed the break. A pocket rocket, striding across the stage. She is from Brighton, and as she likes to tell us, she is not a lesbian, even with her half-shaved head. Her stories about chub rub and love handles were truly hilarious.

Michael Akadiri is not only a comic but also a junior doctor. He has a natural charm and was full of great anecdotes. I must admit that that topic about prostate and how you can check for problems had a lot of us squirming in our seats, but the catch phase was extremely catchy and the message powerful.

Huge Davies was the final act of the second segment. Along with his strapped-on keyboard, his comedy very dry and deadpan. His take on how different radio stations cover the news was hilarious and then the story to his wife about a stag do, ended with a huge punchline. Though he was extremely po-faced we did see a smile sneak out once or twice.

After another interval, which could have been skipped, Clinton Baptiste hits the stage with his blond wig and tight white and silver suit. He’s a comedy psychic, with a piecing high pitched voice, who was so good at creating a laugh. He first made a brief appearance on Phoenix Nights, a television show I’ve never seen, but a fair few of the audience obviously had. His take on communicating with the spirits to get through to different members of the audience, was spot on, totally living up to the stereotype. We must have heard every name possible to finally get to Mark. Very funny.

Following Live at the Apollo model, the acts only had about 15 minutes of stage time, bar Christmas and Baptiste. Christmas was the perfect host and all the comedians truly shone in their own way. It is a show catering for different tastes, and I’m sure my favourites of the night, Jake and Jack, would be different to others. Maybe a bit too long at 3 hours 15 minutes, 30 minutes longer than expected, but this did include a couple of intervals.

I wouldn’t hesitate in going to another show following the same format. A night of fun and laughter, with a fabulous opportunity to see some fresh new talent.

Leeds Playhouse – until 7 October 2023

Reviewed by Sal Marino

5*****

One word to sum up The Light House is beautiful. It was beautifully written, beautifully performed and beautifully structured. Alys Williams, the writer and sole performer (apart from the audience members who she gently and enthusiastically encouraged to join her on stage) of The Light House, bravely told us her story about how she and her partner, ‘Nathan’, navigated through the rough seas of life during a particularly stormy time.

Alys is one of those people who you instantly like, her energy is powerful and electric but at the same time she gives off warm and safe vibes. She invites members of the audience to take part in the show and you just know she isn’t going to embarrass anyone and that it will be just as enjoyable for them as it is for her and everyone else to watch. It was fascinating to observe Alys interact with everyday objects such as a lamp that represented Nathan. The way she communicated with that light was so moving and I don’t know how she did it but, I think I had more empathy with the lamp than I would have if it had been an actual actor stood there: genius work!

Throughout the show, lots of information was given about the mental health system without it distracting from (but was cleverly woven into) the love story narrative. The main message being that: it’s an almighty painful struggle when someone you love is contemplating committing suicide and there’s not much help out there. Alys and Nathan were fortunate to have a circle of good friends and family to support them, to keep their lights shining inside through the dark depths of their journey. Alys’s anecdotes and tales about how they helped her, and ‘Nath’ is so heart-warming and makes you realise that people do care and that together, we can overcome those shadow times and bring the light back in.

Hearing how Alys and Nathan developed their relationship through letters and mini visits and how their love manifest and eventually actualized brought a tear to my eye in several places. Alys acts and vocalizes things so passionately that it makes you feel that new bloom of falling in love. So, when she gets ‘the call’ about Nathan having bad thoughts and things start to come crashing down, you really want to help her help Nathan and illuminate his light again.

You’ll leave the theatre after watching The Light House, feeling a warm fuzzy glow inside, as despite facing some disturbing issues, hope and love wins through and you know ‘everything is going to be alright’. As Alys says, we’re in it together and we’ll get through it.

Curve Theatre Leicester – until 14th October 2023

Reviewed by Amarjeet Singh

5*****

The Book Thief is a beautiful and moving piece of theatre. Adapted from Markus Zusak‘s international bestselling novel by award-winning author Jodi Picoult and Timothy Allen McDonald, the story is set in 1940’s, Nazi Germany and centres around the tale of a little girl called Liesel.

12-year-old Liesel has been adopted by The Hubermann’s after her brother has died and her mother had to leave her in order to survive, under the shadow of communism. Liesel steals a book by her brother’s graveside, earning her the moniker ‘Book Thief’. Reeling from the trauma, she is taken under the wing of the Hubermann’s. An odd couple but perfectly matched in their love, and most importantly, their kindness. There home is turned upside down when for some reason The Hubermann’s decided to hide a Jewish boy, Max, from The Nazi’s, putting them all in danger. With her close friend Rudy joining the Hitler youth and her friendship with Max growing, Liesel is grappling with her understanding of why things happen. All this, whilst being watched by a most peculiar narrator. Liesel’s journey takes her on a discovery of harrowing loss, shocking injustice, and developing ways in which to face and fight tyranny with the most powerful weapon there is…words.

The Book Thief is simply sublime. It delivers a sensitive and soulful story superbly. Themes of colour, scenes interspersed with light and breath, fluid movements of the scene changers made it all feel dream like or perhaps as if we were straddling a fine line between life and death, which most were when resisting the Nazi regime. Cleverly co-ordinated choreography, tight scripts where a simple line was a sucker punch to the stomach and incredible voices, both individual and the cast as a whole, made this a mesmerising musical. Full of captivating songs, with music and lyrics by Kate Anderson and Elyssa Samsel, songs such as ‘Have a Heart’, and ‘Hello Stars’, the melodies were haunting in the best way. Good Teeth’s set and costume design, Dick Straker’s video and projection and Nic Farman’s lighting along with Tom Jackson Greaves’ and Tinovimbanashe Sibanda’s choreography combined to send this production into the stratosphere. Punchy, dynamic and at times so in tune with the human condition and latent emotions, you found yourself caught completely unaware until you were wiping away a tear.

The supporting cast aka the ‘Storytellers, were brilliant. They ebbed and flowed like water, bringing the stars, books, libraries, trains, puppets, and the Nazi military to life, enabling the story to unfold wonderfully. Obioma Ugoala, was astounding as the narrator. Playing additional roles too, he had boundless energy, switching emotions, and pace, whilst commanding the stage with ease. Liesel and her friend Rudy played tonight by Tilly-Raye Bayer and Thommy Bailey Vine were spellbinding. Powerhouses of talent, they fearlessly took on these complex roles with aplomb. Daniel Krikler plays Max with pure passion, you really felt he had been in the cellar for months and his moment of prayer brought the theatre to silence. Mina Anwar and Jack Lord were a joy to watch as the Hubermann’s. At times offering some comic relief, at others they tore at your heartstrings, they added so much depth to the production. Jack Lords accordion playing was a real treat.

The Book Thief is stunning, it will stop you in your tracks. It has the power to shock and sadden but to also sow seeds of hope as you follow Liesel’s life. I honestly don’t believe there was a dry eye in the theatre by the end, and the production fully deserved it’s standing ovation. The Book Thief is a triumphant piece of theatre, it has to be seen to be believed.