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Noël Coward Theatre – until 25th November 2023

Reviewed by Amber Mills

4****

Based on Neil Gaiman’s short 2013 novel, this seemingly simple story is of a man who revisits his childhood where he discovers friendship for the first time and copes with the aftermath of his mother’s death. He’s transported to his 12th birthday when his friend Lettie claimed it wasn’t a pond, but an ocean…

Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them.

As the lights slowly dimmed and the tranquil music of the overture played it transported me into the supernatural land. There were many moments in the show where I was gripping onto my seat as the sheer intensity of the actors, especially when moving through the audience, was spine tingling. It felt like you were actually living and breathing their world.

This show had quite a small ensemble, however these people had to multi-role and do everything from the movement scenes to puppetry which I think is a skill in itself. A special mention to Charlie Brookes who plays Ursula/Skarthach. Her performance was so captivating and musical that I lost where I was. This just proves Charlies doing her job very well. Every actor should make us feel a certain way and she did just that. There’s no other words to describe her intelligent talent.

Furthermore, the adults who were playing the ‘children’ in the show were incredibly focused and actually when watching I forgot they were adults as they did such a great job of conveying childlike characteristics that they felt like real children.

The set is simple but effective and the use of lighting throughout really carries the plot forward and complements the feelings of characters. The use of illusion and magic elevates the performance as it adds a sense of realness to the piece.

The score is very eerie and it put me on edge when watching. From a person who’s never read or seen this I was on the edge of my seat for most of the show because I didn’t know what to expect next. The theatre was literally screaming with fear for the entirety of the performance. The Ocean at the end of the lane is a fantasy drama and this type of escapism is something that many people find exciting.

There were some more intense action scenes in Act 2 that were all executed beautifully. But there’s an especially beautiful tear jerking scene when they go into the “ocean”. It was a stunning mix between set, props, lighting and sound that made you feel like you’re swimming. This Sci-Fi, modern fantasy musical has all the elements that make up this beautiful world and most importantly creates lots of atmosphere and entrances the audience, just like sci-fi films do. I fully believe that this cast did just that as everyone was just gripped in in the action the entirety of the performance.

Overall, every aspect of this musical from the set design and music to the actors really brought you into the story. This musical is a rollercoaster for emotions as you go from feeling moved to terrified to elegiac. This is a definite watch as I feel most musical theatre can become very the same, whereas this musical brings a different energy and feeling. Make sure you get your tickets as this ends at the Noël Coward Theatre on the 25th November 2023!

TRAVEL BACK IN TIME TO THE ICONIC  
MUHAMMAD ALI V GEORGE FOREMAN FIGHT
‘RUMBLE IN THE JUNGLE’ REMATCH IN 1974 ZAIRE

WITH THIS IMMERSIVE SPECTACLE 

RUN EXTENDED TO 9 DECEMBER

● Rumble in the Jungle Rematch has been captivating  audiences since it opened on 13 September in London. Fans experience the atmosphere and iconic moments surrounding one of the Greatest fights of all time – from the build up to the legendary lost ‘Zaire 74 music festival’ with all its sights, sounds and tastes

● Created by award winning UK start up Rematch – The Sporting Time Machine, Rumble in the Jungle Rematch continues at London’s easy-to reach Dock X venue in Canada Water, Tickets for 1 November to 9 December are on sale now!

Website /  tickets: rumblerematch.com

Fusing theatre, sport and technology – and taking immersive experiences in a whole new direction – Rumble in the Jungle Rematch launched in London this September and today extends its run through to 9th December. We invite you to attend during its extended run (or prior) to enjoy and review the show.
 

Widely considered to be ‘The Greatest Sporting event of the 20th Century’ the Ali v Foreman Heavyweight Championship boxing match (the first to be held in Africa) is the stuff of legend, and this live immersive event recreates all the sights, sounds and festival atmosphere that surrounded this zeitgeist capturing event.The event offers a fresh perspective and a view from the Congolese perspective, as well as the widely covered Western Media.
 

Following the footsteps of  Ali and Foreman, the cast of characters, including David Frost who reported on the match, legendary boxing promoter Don King (who was as much about show business as boxing), circulates amongst the audience as the story unfurls around the audience. This includes the intense media attention and press conferences to sparring sessions with the boxers and the actual fight itself.
 

There is a riot of music with the Zaire ‘74 festival, which saw the biggest global acts in black music perform, including; James Brown, BB King, Bill Withers, Sister Sledge, Miriam Makeba and Celia Cruz and a slew of Latin America’s best musicians, heavily featured.

The second event by immersive event producers Rematch, following their recreation of the famous Borg v McEnroe Wimbledon final of 1980, Rumble in the Jungle Rematch, is a roller coaster experience that takes you from the intimate dressing rooms to the global stage, from the pre-match trash talking to the step-by-step play-out of the fight, and everywhere in between. 

Spearheaded by an amazing creative team, 12 year Secret Cinema veteran Miguel Hernando Torres Umba is Creative Director, and Writer Tristan Fynn-Aiduenu, best known for two-time Olivier nominated For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy.

Heading up the music elements, Femi Temowo, acclaimed Composer and Jazz Guitarist, known for working with high profile Artists like Amy Winehouse and George Benson is Music Director.

Rematch has developed the show together with Authentic Brands Group (ABG),iin partnership with Lonnie Ali as trustee of the Muhammad Ali Family Trust‘s (MAFT) own Muhammad Ali Enterprises.

Yvonne Arnaud – until Saturday 14th October 2023

Reviewed by Rebecca Salveson

4****

Farm Hall is a war time thriller which is based on a fascinating true story based on transcripts detailing the conversations of the German Scientists held at Farm Hall between July 1945 and January 1946. Written by Katherine Moar and directed by Stephen Unwin, Farm Hall tells the story of Hitlers Uranverein (Uranium Club) . The ‘club’ was made up of six German Physicists Weizsäcker played by Daniel Boyd, Von Lau played by William Chubb, Heisenberg played by Alan Cox, Diebner played by Julius D’Silva, Bagg played by George Jones and Hahn played by Forbes Masson, who find themselves forced into close confinement as they were held captive at Farm Hall a Country House in Cambridgeshire.

The whole time that the men were being held the British secret service were listening in having bugged the property hoping to find out the secrets surrounding the Germans advances in creating the atomic bomb! With little to do the men find themselves having to amuse them selves by acting out plays, playing chess and spend a good deal of time bickering and contemplating their part in Hitlers War.

As their story unfolds throughout the drama, we learn of how each character is linked and involved in the actions of Uranverein as they grapple with their part and moral position in the creation of the bomb. Some characters refuse to acknowledge any responsibility, some boast of their resistance to Hitler, but they are all implicated in some way. Despite us knowing how this story ends it is still a thrilling story and all the actors bring the characters to life with their believable performances.

The only scene we see is the drawing room where the characters meet at various points throughout the play. The room has fading peeling wallpaper an open fireplace and décor to meet the era, it is instantly recognisable as an old country house. Authentic furniture and lighting helps you to fully immerse in the story.

Hahn, Forbes Masson sense of responsibility over the discovery that ultimately led to the first atomic bomb is portrayed wonderfully at the end of the play and leaves us pondering the question if he sabotaged his own scientific breakthrough as a way that he could resist Hitlers regime?

An exciting play perfect for lovers of Drama and History that is thought provoking and a fascinating glimpse into the past.

MENFULNESS – the men’s mental health and community charity.

Raising funds for urgent counselling for men at crisis point.

Charity information: FIND OUT MORE

THE FULL MONTY is at the GRAND OPERA HOUSE next week from Tuesday 17th October and we are delighted to announce that at payment points at bars and kiosks, donations can be made to Menfulness to help provide urgent counselling for men at crisis point.

These donations can be made (by card) throughout the week of the show until Saturday 21st October.  

The show focuses on a group of men, coming together and building relationships for support in their community.  Menfulness is a community charity group that provides events and support and encourages men to chat and socialise to help with mental health and well-being.  They have just won a Community Pride award and are well known in the area for the fantastic work they do and the help they provide, including counselling support.

From the charity website: We are really proud to be able to offer men in York some professional counselling through a wonderful partnership with Serendipity. These sessions are already funded, but if you’d like to contribute you can do so here.

The Full Monty show: As in the 1997 smash hit film, this brand-new production, featuring the music of the 90s, is a rollercoaster ride of ups and downs, laughs and heartbreak. There are no heroes in Simon Beaufoy’s heartfelt play, just a group of lads trying to regain their dignity and pride. This fast and funny play is still very much of our time, as again we are hit by a cost-of-living crisis. Gaz and his mates are down on their luck and feel they have been thrown on the scrap heap, but they are determined to fight back and bare a little more than they ever thought they would have to.

Starring Danny Hatchard (Eastenders, Ridley Road, Our Girl, SCROOGE) as Gaz, Jake Quickenden (Footloose, Hair, X Factor, Dancing on Ice) as Guy and Bill Ward (Coronation Street, Emmerdale, Everybody’s Talking About Jamie) as Gerald, with Neil Hurst (Fat Friends the Musical, All Creatures Great and Small, Coronation Street) as Dave, Ben Onwukwe (The Shawshank Redemption, Professor T, Marcella) as Horse and Nicholas Prasad (Around the World in 80 days, The Comedy of Errors, Doctors) as Lomper.

LUCIE JONES &

JAMIE MUSCATO

TO STAR IN

WORKSHOP PERFORMANCES OF

13 GOING ON 30 THE MUSICAL

FROM 25 – 28 OCTOBER 2023

EXTRA PERFORMANCE ADDED DUE TO DEMAND

ROYO are delighted to announce the full cast for the development workshops of new musical 13 GOING ON 30 THE MUSICAL. The workshop presentations will include Lucie Jones (Les Miserables, Waitress, Wicked) as Jenna Rink, Jamie Muscato (Moulin Rouge, West Side Story) as Matt Flamhaff, Grace Mouat (SIX, & Juliet) as Lucy, Caleb Roberts (TINA: The Tina Turner Musical) as Richard, Alex Stoll (Groundhog Day) as Alex, Andrew Berlin (Oklahoma!) as Kyle, Kia-Paris Walcott (Heathers) as Wendy, Mary-Jean Caldwell (Heathers) as Bev, Jena Pandya (UK and International tour of MAMMA MIA!) as Arlene, Lewis Asquith (Heathers) as Wayne, and Ivan Fernandez Gonzalez (Heathers) as Darius.

The cast will also feature a Young Company including Doireann McNally (Toy Show The Musical) as Young Jenna, Louie Gray (Bonnie and Clyde) as Young Matt, Bea Ward (School of Rock) as Lulu, Delilah Bennett-Cardy (School of Rock) as Becky, Finn Henry Barwell (School of Rock) as Young Kyle and Jasmine Djazel (TINA: The Tina Turner Musical) as Tess.

An extra matinee performance has been added on Saturday 28 October due to demand. Tickets are on sale now.

Written by the writers of the hit film of the same name, Josh Goldsmith and Cathy Yuspa 13 GOING ON 30 THE MUSICAL will be holding a two week workshop hosted at Battersea Arts Centre. During the workshop, there will be four script-in-hand public performances with a brilliant cast and live band on Wednesday 25 October, Thursday 26 October, Friday 27 October and Saturday 28 October at 7:30pm. The workshop will take place ahead of a run in Summer 2025.

13 GOING ON 30 THE MUSICAL is a stage reimaging of the beloved 2004 hit romantic comedy film that starred Jennifer Garner and Mark Ruffalo. It follows the story of Jenna Rink, an adorably awkward 13 year-old girl who wishes she could skip over the horrors of middle school. 

What does Jenna Rink want for her birthday? That’s easy. At thirteen years old, she wants one thing only – to be thirty, flirty and thriving. As she blows out her birthday candles, she magically wakes up seventeen years later: a thirty-year-old fashion magazine editor with a life that seems to be perfect. As she unravels the mystery of the person she has grown up to be, Jenna must work out what, and who, really matters. 

13 GOING ON 30 THE MUSICAL will have music and lyrics by Michael Weiner and Alan Zachary (First Date (Broadway)), High School Musical: The Musical: The Series (Disney+) and direction by Andy Fickman (Heathers, She’s The Man). Casting for the adult company is by Will Burton for Grindrod & Burton Casting and casting for the children is by Keston and Keston. 

Purchase Tickets: bac.org.uk/whats-on

TikTok: 1330musical

X: 1330musical

Instagram: 1330musical

LISTINGS INFORMATION

25 – 28 October 

Hosted at:

Battersea Arts Centre

Lavender Hill

London SW11 5TN

bac.org.uk

Box Office: 020 7223 2223

Tickets: £13.30

Performances: Wednesday – Saturday at 7.30pm, Saturday at 2.30pm

Sheffield Lyceum – until 14 October 2023

Reviewed by Charlotte Davis-Browne

4****

The Bodyguard is a big bold musical adaptation based on the 1992 movie of the same name. Packed with hit after hit of the late Whitney Houston’s successful chart topping songs, it’s a musical that has a bit of everything – from gun shots to fire to romance, loss, ultra slick choreography that has you dancing in your seat to a grand finale which gives the chance for the audience to dance and sing along with the cast. 

Having seen various productions and casts previously – from my first visit to the Adelphi (London) in 2013 starring Beverly Knight as Rachel Marron and Tristan Gemmill in the title role (aka Frank Farmer) followed by Alexandra Burke’s takeover in 2014 with Gemmill staying on in his role at the Adelphi and later on in 2015 and 2016 seeing the tour six or seven times (at least!) with Burke reprising  her role as Rachel and Stuart Reid taking over as Frank Farmer and being fortunate enough to also catch Zoe Birkett in a matinee performance (absolutely worth the wait to see!) and again seeing Burke several times during the 2018-2019 tour alongside Benoît Marcéchal as Farmer; it’s difficult to not have a soft spot for my two leading favourites in the two main roles, however I always go with a clean slate and open mind policy and imagining I’m seeing the show for the first time. However it doesn’t matter how many times I’ve seen it know what’s coming – I ALWAYS jump out of my skin at the very start of the show (no spoilers here – just be warned if you’ve got a nervous disposition!)

I was over the moon to find out it would be touring again in 2023 and that Zoe Birkett would be reprising her role – but sadly this was only through the Summer with New Zealand born Australian singer songwriter and former Australian Idol runner up Emily Williams taking over the role from September.  This however was a big selling point for me – someone who I’d previously never heard of before and therefore I had no prior views in my head on what she’s like as a singer and performer. I admit after the first couple of songs I wasn’t blown away by her either vocally or as an actress but tried to remain neutral and open minded to the end of the show.  Whilst I did warm up to her and she hit all the right notes, I was still left slightly underwhelmed – I’m not sure if this is because I’ve got a firm favourite in this role previously (and no, it’s actually NOT Birkett) or if others had the same thoughts as me.  After speaking with others at the interval, I found it was the latter and most people were saying the same thing.   Don’t get me wrong – William’s has got a decent voice – she just doesn’t have the “X Factor” for me personally (maybe that’s where she went wrong – going on the wrong talent show – pun intended!)

On the other hand let’s talk about the OTHER Emily – Emily-Mae Walker – who’s playing Rachel’s sister Nicki.  Oh my Mae – WHAT. A. VOICE!!!!  I’d have paid triple or quadruple to see Emily-Mae as Rachel. Such a hauntingly sensational voice. Clearly others thought the same as whenever Mae was singing the was utter silence – you could hear a pin drop – and her voice demands attention but in such a magical way – it’s one of those moments where the hairs on your body all stand to attention and you get goosebumps that make you shiver. It’s a sweet syrupy voice yet powerful when it needs to be. I am keeping all my limbs crossed that we will soon get to have Mae in the lead role – I for one will certainly be buying multiple tickets if that was to happen. 

Now let’s talk Frank – Farmer that is! Again I’ve a firm favourite actor from previous productions in this role but again tried to keep a neutral mind. I have come to the conclusion that Frank is obviously MEANT to be a somewhat wooden and monotonous character who softens over time as he gains Rachel’s trust and respect (let’s face it, she’s not overly keen on the idea of having 24/7 protection at first but as her stalker ups his game, she soon changes her tune and accepts Franks rules and regulations).  Ayden Callaghan (Emmerdale and Hollyoaks) is currently starring as Frank Farmer and again this was an actor I’d previously not seen in anything (I don’t do Soaps!) so it was someone fresh and new to me. I warmed to his portrayal as Frank instantly and found him not only pleasing on the eye but an utter joy to watch. His rendition of “I Will Always Love You” was a highlight of the show for me and I found myself on the edge of my seat when that stand off with the Stalker was coming up. 

Speaking of the Stalker – each production I’ve seen of this musical I’ve always found myself drawn to the Stalker – Marios Nicolaides definitely did not disappoint in this production.  Whilst yes at first Marios really does put the fear of a creepy dangerous stalker in you and gives a real sense of danger and threat, the more you watch him the more you warm to him – or maybe that’s just me?!

What makes this musical so magical that I keep going back for more, is not only the killer soundtrack that is high energy and makes you leave the theatre on a real high, but the punchy and uber slick choreography and a stellar of an ensemble. 

Hard to believe it’s been eleven years since Whitney Houston’s tragic passing. She may be gone but her music lives on, and I’m so grateful that this stage adaptation exists as it will continue to ensure her music lives on for future generations.  Even if people don’t remember her name they will certainly remember her music. 

Obviously there’s some changes to the set with this being a touring production but having seen previous touring productions some have mirrored the Adelphi set whilst others, like this current production at Sheffield’s Lyceum Theatre, have been altered to suit the stage layout etc. One major change I noticed and missed is Frank’s family’s log cabin – gone is the 3D rotating cabin and in its place a flat backdrop. It still works and obviously makes it easier for a touring production but this was just one of many changes I’d noted from previous productions. There’s still the big finish with “I Will Always Love You” however this again is tweaked slightly to work with different theatres stages. However the show still feels as fresh as it did many moons ago at The Adelphi and still blows me away just as much as it did the first time round. 

One final mention – this time to Ryo Appadu – one of the few young actors sharing the role of Fletcher – Rachel’s young son – who is making his professional debut in this production. Whilst he’s playing the only child character in the show and performing alongside established performers yet gave such an outstanding performance anyone would think he’d been doing this since he was old enough to walk and talk. Not only can Ryo sing but he’s an outstanding dancer and convincing actor – definitely a triple threat to watch out for in a few years time!

Playing at Sheffield’s Lyceum Theatre until Saturday 14th October before continuing its tour across the U.K, The Bodyguard is an uplifting night out and the perfect way to shake off the Autumn Blues and warm even the coldest of hearts on these chillier evenings. Sheffield Theatres earlier today posted on social media to say that a number of stalls tickets had opened up for the remaining dates but it’s a case of fastest finger first as these WILL sell out fast. This musical pretty much sells itself based on the many iconic hits of Whitney Houston, so if you want to be part of the action you’ll need to be fast to grab the hottest ticket in the city right now. 

KILLIAN DONNELLY

RETURNS TO

LES MISÉRABLES

AS

‘JEAN VALJEAN’

FOR 15 WEEKS ONLY

AT THE

SONDHEIM THEATRE

FROM 31 OCTOBER 2023

Cameron Mackintosh announced today that Killian Donnelly will return to LES MISÉRABLES as Jean Valjean in the critically acclaimed production at the Sondheim Theatre from Tuesday 31 October 2023 for 15 weeks only.

Due to sudden family reasons, Josh Piterman, who is currently playing the role, will return home to Australia. His final performances will take place on Saturday 21 October 2023.

Killian Donnelly returns to the role having previously played Jean Valjean to critical acclaim in both the original West End production and the sell-out UK and Ireland tour of Les Misérables. This will be his first time playing the role in the new London production at the Sondheim Theatre. Killian was most recently seen as ‘Bruce Bechdel’ in Fun Home at Gate Theatre, Dublin. His other theatre credits include the role of ‘The Phantom’ in The Phantom of the Opera at His Majesty’s Theatre, ‘Charlie Price’ in Kinky Boots on Broadway, a role he originated at the Adelphi Theatre in the West End in 2015, for which he was nominated for an Olivier Award, ‘Huey’ in the original London cast of Memphis at the Shaftesbury Theatre for which he was also nominated for an Olivier Award.  He created the role of ‘Deco’ in The Commitments at the Palace Theatre and has also played ‘Tony’ in Billy Elliot at the Victoria Palace Theatre as well as ‘Raoul’ in The Phantom of the Opera at Her Majesty’s Theatre. He first joined the company of Les Misérables in 2008, going on to play the role of ‘Enjolras’ from 2009 to 2011. In 2010, he played the role of ‘Courfeyrac’ in the “25th Anniversary Concert of Les Misérables” at The O2 Arena and also played the role of ‘Combeferre’ in the multi-award-winning film of the show, released in 2012.

LES MISÉRABLES currently stars Stewart Clarke as Javert, Katie Hall as Fantine, Will Callan as Marius, Amena El-Kindy as Éponine, Lulu-Mae Pears as Cosette, Luke Kempner as Thénardier, Claire Machin as Madame Thénardier and Djavan van de Fliert as Enjolras.

The company is completed by Annabelle Aquino, Hazel Baldwin, Brad Barnley, Michael Baxter, Emily Olive Boyd, Rosy Church, Ben Culleton, Matthew Dale, Matt Dempsey, Sophie-May Feek, Matt Hayden, Tom Hext, Christopher Jacobsen, Jessica Johns-Parsons, Yazmin King, Sam Kipling, Anouk van Laake, Harry Lake, Sarah Lark, Ellie Ann Lowe, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Jonathan Stevens, Phoebe Williams and Ollie Wray.

Since Cameron Mackintosh first conceived this acclaimed new production of LES MISÉRABLES in 2009, to celebrate the show’s 25^th anniversary, it has taken the world by storm. The UK and Ireland tour recently concluded its acclaimed run and the record-breaking tour of North America relaunched in 2022. A new tour of The Netherlands and Belgium opened in March this year in Amsterdam, and the new Korean production opens this month in Busan, followed by performances in Seoul and Deagu. The world tour of Les Misérables The Arena Spectacular, an expanded version of the hugely successful Les Misérables – The Staged Concert, will open at the SSE Arena Belfast on 19 September 2024. Initial dates and venues were announced earlier this week and the production goes on general sale Thursday 12^th October. Following this, the Japanese production of Les Misérables will open at the Imperial Theatre in Tokyo in December 2024.

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 120 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular and contemporary musicals.

Cameron Mackintosh’s production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by James Powell and Laurence Connor, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou, Christine Rowland and Paul Wills, lighting by Paule Constable, sound by Mick Potter, projections realised by Finn Ross & Fifty Nine Productions, musical staging by Geoffrey Garratt, and music supervision by Stephen Brooker and Alfonso Casado Trigo.

Newcastle Theatre Royal – until Saturday 14th October

Reviewed by Sandra Little

5*****

The stage version of 42nd Street is based on a book from 1932 by Bradford Ropes and a Hollywood film adaptation from the same year.

This fantastic musical is set during the Great Depression and is based around rehearsals for a Broadway show. It begins with black and white cinema footage of life in New York at this very difficult time. The programme which accompanies the show informs us that 12 million American workers were unemployed during the early 1930s and nearly 2 million people were homeless. On reading the programme I learned the meaning of the phrase, “on the breadline.”

The stage performance begins when a young and naïve Peggy Sawyer (Nicole-Lily Baisden) arrives in New York City dreaming of stardom. She attends a rehearsal for a new Broadway show, soon catches the eye of director Julian Marsh (Michael Praed) and is cast as a chorus girl. From this point the story moves at a pace with several twists and turns along the way. Romance and comedy play their part and one significant event in the production is when the leading lady Dorothy Brock ( played by Samantha Womack) breaks her ankle when Peggy accidentally bumps into her during rehearsals. Following some persuasion, Peggy steps in to take Dorothy’s place.

Despite the dismal background of the Great Depression, this musical is far from dismal! It is a fabulous, feel good, uplifting experience from beginning to end. The dancing is superb, there are amazing tap dancing routines and the level of energy from the dancers is palpable. It would be unfair to give credit to any one member of the cast as everyone on stage seemed to enjoy what they were doing and give it their all!

Whilst the sets for this musical are not particularly lavish, most have a lovely art deco style which fits the era exactly. The relatively plain sets are a perfect backdrop to the performance of the dancers and don’t detract at all from the wonderful dance routines.

The costumes for this production are stunning. There is glitz and glamour, sparkle and sequins in abundance! They are simply fabulous and complement perfectly the dance routines and the sets.

The singing from several performers is absolutely beautiful and I would find it almost impossible to single out any one performer as they were all equally stunning. Similarly the sound quality for this production was really good. I think that a live orchestra at the theatre was a very positive addition to the evening.

This stellar performance from a stunningly talented cast captures perfectly the glamorous atmosphere which was life in 1930s New York for some people. Needless to say I loved every minute of this performance and found it so uplifting.

• HAVE YOURSELF A NUTCRACKER CHRISTMAS!

• BIRMINGHAM ROYAL BALLET RETURN TO BIRMINGHAM HIPPODROME STAGE WITH SIR PETER WRIGHT’S ACCLAIMED FESTIVE TREAT THE NUTCRACKER

• STEP INSIDE THE WORLD OF THE NUTCRACKER IN A UNIQUE IMMERSIVE WALKING TRAIL ACROSS BIRMINGHAM CITY CENTRE

Following the huge success of Black Sabbath -The Ballet this autumn, the award-winning Birmingham Royal Ballet make a spectacular return to the Birmingham Hippodrome stage this Christmas with another Birmingham iconic production – Sir Peter Wright’s The Nutcracker.

The Nutcracker, which opens on 17 November, features 60 dancers accompanied by the Royal Ballet Sinfonia in what has become THE traditional festive treat for the whole family.

Set on Christmas Eve The Nutcracker, which features the music of composer Tchaikovsky, revolves around a young girl named Clara, who receives a Nutcracker doll as a Christmas gift from the magician Drosselmeyer. The Nutcracker comes to life as a Prince and the magical journey begins.

In 2022, after over 30 years, the production was given a much needed make over with new sets and costumes by designer John Macfarlane. This year BRB is once again ready to dazzle audiences in an enchanting winter wonderland of dancing snowflakes, magical Christmas trees and of course the Sugar Plum Fairy.

Principal casting for The Nutcracker, which ends its 2023 run on 9 December, has now been announced and full details can be found at www.brb.org.uk

New to this year, and continuing The Nutcracker theme, BRB has partnered with RiVR, a UK-based virtual reality company to bring a new look to a much-loved favourite. The 12 Days of NutcrackAR is the world’s first Nutcracker themed augmented reality walking trail around Birmingham.

Opening on 4 November at a special BRB Nutcracker themed free event at the Bull Ring, the NutcrackAR, part of the company’s pioneering *Virtual Stage, offers everyone the chance to discover the hidden world of some of the props and costumes from the production.

Using a smart device such as a phone or tablet, viewers can see the Sugar Plum Fairy Tutu and its many hand-sewn pearls and sequins, the heavily embroidered coat of King Rat and the famous Christmas Tree where you can see graffiti from dancers and crew from over 30 years of shows!

Each day of the countdown to opening night will highlight a different AR site across the city.  Content will be accessed through posters presented in various formats housing unique QR codes with AR content, descriptive text and voiceover, plus links to ticketing information.

After opening night of The Nutcracker at Birmingham Hippodrome on 17 November, BRB’s NutcrackAR will also be accessible in and around Hippodrome Square so audiences leaving the ‘reality’ of a performance will be able to enjoy this ‘augmented reality’ for the duration of The Nutcracker season.

*Virtual Stage is a pioneering project featuring content developed in collaboration with Canon and RiVR funded by Bloomberg Philanthropies’ Digital Accelerator Programme.

BRB’s The Nutcracker opens at Birmingham Hippodrome on 17 November-9 December 2023.

Tickets can be purchased online at Birmingham Hippodrome www.birminghamhippodrome.com

Touch Tour: Sat 25 Nov 2023, 12.15pm. Audio Described: Sat 25 Nov 2023, 2.30pm

AND THEN THERE WERE NONE – TRAILER
***

TRAILER RELEASED FOR

NEW TOURING PRODUCTION OF

THE BEST-SELLING CRIME NOVEL OF ALL TIME

ON A UK AND IRELAND TOUR
FROM SEPTEMBER 2023

New trailer released for the Fiery Angel, Royal & Derngate, Northampton and ROYO production of Agatha Christie’s iconic thriller And Then There Were None.

The full cast are Bob Barrett (Holby City, Propeller West EndandUK Tour) as Doctor Armstrong, Joseph Beattie (Hex and Silent Witness) as Philip Lombard,Oliver Clayton (National Youth Theatre and The Play That Goes Wrong) as Anthony Marston, Jeffery Kissoon (National Theatre and Complicite, Allelujah!) as General Mackenzie,Andrew Lancel (National tours, West End and Coronation Street) as William Blore, Nicola May-Taylor (Rutherford And Son) as Jane Pinchbeck, Louise McNulty as Understudy, Katy Stephens (RSC, Globe and London’s Burning) as Emily Brent, Lucy Tregear (The Country Wife) as Georgina Rogers, Sophie Walter (The Girl On The Train) as Vera Claythorne, Matt Weyland (Witness For The Prosecution) as Narracott/Understudy, and David Yelland (Poirot, Foyle’s War and The Crown) as Judge Wargrave.

And Then There Were None will embark on a UK and Ireland tour, gripping audiences up and down the country into 2024.

This brand-new production has been reinvented for the 21^st century, directed by the renowned Lucy Bailey (Agatha Christie’s Witness for the Prosecution – now in its 6^th successful year and Love From A Stranger; Dial M for Murder; Baby Doll; Titus Andronicus and The Best Exotic Marigold Hotel).

Ten strangers are lured to a solitary mansion off the coast of Devon. When a terrible storm cuts them off from the mainland, and with their hosts mysteriously absent, the true reason for their presence on the island becomes horribly clear, as secrets from their past come back to haunt each and every one of them.

And Then There Were None is not only Agatha Christie’s most read work, but also the best-selling crime novel of all time. Selling over a 100 million copies worldwide since its first publication in 1939.

In recent years there have been several high profile fresh and modern takes on Agatha Christie’s best loved titles in film, television, and on stage across the UK; all proving the enduring popularity and modern relevance of her work with global audiences.

Following her hugely successful production of Witness for the Prosecution, director Lucy Bailey returns with UK Theatre Award-winning set and costume designer Mike Britton, lighting designer Chris Davey, sound designer and composer Elizabeth Purnell and movement direction by Ayse Tashkiran to direct this bold and exciting reinvention of Christie’s greatest murder mystery. Casting is by Ellie Collyer-Bristow CDG, fight direction is by Renny Krupinski and the assistant director will be Victoria Gartner.

General Management for the tour is by Rich Jones with Production Management by Setting Line Production Management. The Stage Management Team will be Sian Wiggins, William Buckenham, Sara-Jayne Smith and Lewis Mote with Wardrobe headed by Natasha Hancock.