Home

LYRIC HAMMERSMITH THEATRE ANNOUNCES SPRING/SUMMER 2024 SEASON

• The UK premiere of the critically acclaimed musical FANGIRLS in a brand new production,written and composed by Australian playwright Yve Blake, directed by Paige Rattray in a co-production with Sonia Friedman Productions.

• Max Webster (Life of Pi) directs David Haig’s Minority Reportin a co-production with Nottingham Playhouse and Birmingham Rep and in association with Simon Friend Entertainment, and by arrangement with Electric Shepherd Productions.
  
• Alice Childress’ seminal play Wedding Band: A Love/Hate Story in Black and White, directed by Monique Touko (School Girls; Or, The African Mean Girls Play).
  
• The world premiere of The Promise, a brand new production by award-winning Deafinitely Theatre, co-written by Deafinitely Theatre’s Artistic Director Paula Garfield and Melissa Mostyn for deaf and hearing audiences which will run in the Studio in a co-production with Deafinitely Theatre and Birmingham Rep. 
  
• The Lyric continues its ticket accessibility pledge with up to 2,500 free tickets available for those who live and work in the Lyric’s home Borough of Hammersmith & Fulham through ‘Free First Night’ and £5 tickets to all Main House shows for Young Lyric members, applicable to anyone under 25 living in West London.

The Lyric Hammersmith Theatre today announces its Spring/Summer 2024 Season, opening April 2024 with Minority Report. The sci-fi thriller based on the short story by Philip K. Dick reunites director Max Webster and Simon Friend Entertainment for the first time since the success of the five-time Olivier Award-winning Life of Pi. Minority Report plays at the Lyric Hammersmith Theatre from 19 April – 18 May 2024 following runs at Nottingham Playhouse and Birmingham Rep.

Wedding Band: A Love/Hate Story in Black and White, written by Alice Childress and directed by Monique Touko will play from 31 May – 29 June. Touko returns to the Lyric following the sell-out success of School Girls; Or, The African Mean Girls Play. Set in 1918 in South Carolina, Alice Childress’ 1962 play is about interracial love and the brutalising effect of anti-miscegenation laws.

The Promise, co-produced with Deafinitely Theatre and Birmingham Rep, an award-winning deaf-led theatre company in the UK, producing bilingual theatre in British Sign Language and Spoken English plays in the Lyric’s Studio from 30 April – 11 May. The Promise touches on deaf family life and the impact untreated dementia can have in the deaf community.

FANGIRLS, written and composed by Yve Blake and directed by Paige Rattray, will close the season in a six week run from 13 July – 24 August. The multi-award-winning Australian pop musical phenomenon makes its UK premiere in a brand-new production co-produced with Sonia Friedman Productions. Edna is in love with Harry. But she’s a 14-year-old misfit and he’s a singer in the biggest boyband in the world. FANGIRLSis the embodiment of the rush of first love; aneffervescent, adrenaline-fuelled, electrifying night out.

Tickets go on sale from 6.00am GMT on Wednesday 27 September at www.lyric.co.uk

Artistic Director & CEO of the Lyric Hammersmith Theatre, Rachel O’Riordan said:
“The Lyric Hammersmith Theatre is a local theatre with a national impact and we are proud to produce groundbreaking stories for audiences in West London and beyond. We are excited to share our new season with you. Step into our beautiful Frank Matcham auditorium – your portal from where you can explore the past, present and future. 

Alongside Nottingham Playhouse and Birmingham Rep, we are delighted to announce David Haig’s starkly relevant adaptation of Minority Report, based on the short story by Philip K. Dick. Unlike the novella and Hollywood film, this innovative new production re-lenses the central character (most famously played by Tom Cruise) as a leading female neuroscientist, Dame Julia Anderton. Under the direction of Max Webster, whose stage version of Life of Pi has transfixed audiences across the world, this intrepid new version of Minority Report will be an unmissable theatrical experience.

We are excited to present The Promise, a brand new co-production with Birmingham Rep by award-winning Deafinitely Theatre, playing in our Studio. This extraordinary play written by Paula Garfield and Melissa Mostyn touches on deaf family life and the impact that untreated dementia can have in the deaf community. 

Continuing our season with big and bold stories that celebrate female perspectives, is Alice Childress’ extraordinary play, Wedding Band: A Love/Hate Story in Black and White. Set in 1918 —during World War I and the Spanish flu, Childress takes an unflinching look at interracial love, intolerance and alienation. We couldn’t be happier to welcome back Monique Touko after her incredible direction of the smash hit comedy, School Girls; Or, The African Mean Girls Play. 

Our season of female-led stories concludes with the UK premiere of Yve Blake’s extraordinary musical FANGIRLS, in a brand new production directed by Paige Rattray making her UK debut; this ambitious Australian musical is co-produced with Sonia Friedman Productions. Being a fan, that heady rush of passionate adoration and the feeling of connection to an artist, is something everyone can relate to and we hope to welcome audiences across generations for this exhilarating experience which sees our gorgeous auditorium transform into a joyous pop concert.” 

We cannot wait to take our audiences on this thrilling journey of big, bold storytelling at the Lyric Hammersmith Theatre; a place to find connection, stretch your imagination and to share truly unforgettable nights at the theatre.”

MINORITY REPORT
A Lyric Hammersmith Theatre, Nottingham Playhouse and Birmingham Rep co-production
In association with Simon Friend Entertainment
By arrangement with Electric Shepherd Productions
Written by David Haig
Directed by Max Webster
Friday 19 April – Saturday 18 May 2024

Production Designer Jon Bausor; Video Designer: Tal Rosner; Lighting Designer Jessica Hung Han Yun; Composer and Sound Designer Nicola T. Chang; Movement Director Lucy Hind Casting Director Lotte Hines CDG.

In 2050, neuroscientist Dame Julia Anderton is about to launch the next phase of her pioneering Pre-Crime programme, detaining people for crimes before they are committed. But when Julia is accused of pre-murder, she’s in a race against time to save herself from her own system.

This thrilling adaptation of Philip K. Dick’s iconic story challenges our beliefs about justice and freewill in a real-time chase through London of the future.

Minority Report sees award-winning director Max Webster reunited with the producers of the globally successful stage version of Life of Pi (‘It will make you believe in theatre.  A triumph’ The Sunday Times). This incredible theatrical experience will use innovative technology to create a world at the borders of science fiction and reality.


David Haig (Writer) is an Olivier Award-winning actor and FIPA Award-winning writer.
His writing credits include: My Boy Jack which opened at Hampstead Theatre in 1997 and subsequently toured in 2004; The Good Samaritan (Hampstead Theatre, 2000) and Pressure (a co-production by Royal Lyceum Theatre Edinburgh and Chichester Festival Theatre) which was nominated for Best New Play at the 2014 UK Theatre Awards. The play was revived in 2018. It toured the country, ran at the Park Theatre in Finsbury Park for 2 months, and then transferred to the West End for a sold out run at the Ambassador’s Theatre. Pressure enjoyed its North American premiere at the Royal Alexandra Theatre, Toronto in 2023.

In 2007, David adapted My Boy Jack for screen, produced by Ecosse Films and ITV. The adaptation, which starred David alongside Daniel Radcliffe, Carey Mulligan and Kim Cattrall, won Best Screenplay at the International Festival of Audiovisual Programs (FIPA) in 2008. 

David is currently working on a new play: Magic, a commission by Nicholas Hytner for the Bridge Theatre. He is also developing a film version of Pressure with Working Title and Studio Canal.

Max Webster (Director) is the Associate Director at The Donmar Warehouse.
As Director, theatre credits include: Life of Pi (Broadway, West End & currently on a UK Tour – Winner of 5 Tony and Olivier Awards); Henry V (Donmar Warehouse); Dr. Seuss’ The Lorax (Old Vic Theatre/San Diego Old Globe/Minneapolis Children’s Theatre); Antigone, Twelfth Night, As You Like It (Regent’s Park Open Air Theatre); The Jungle Book (Fiery Angel); Fanny and Alexander, Cover My Tracks (Old Vic Theatre); The Twits (Curve Theatre Leicester); The Winter’s Tale (The Royal Lyceum Theatre Edinburgh); The Sea of Fertility, Mary Stuart (Parco Productions Tokyo); Much Ado About Nothing (Shakespeare’s Globe); Shostakovich’s Hamlet (City of London Sinfonia); Orlando, To Kill a Mockingbird, My Young and Foolish Heart (Royal Exchange Manchester); James and the Giant Peach, My Generation (Leeds Playhouse); Carnival Under the Rainbow, Feast Kakulu (Hilton Festival, South Africa) and Caucasian Chalk Circle (Aarohan Theatre, Kathmandu).

Opera credits include: La Bohème (Göteborgsoperan, Sweden); The Merry Widow (English National Opera) and Owen Wingrave (British Youth Opera).

Upcoming work includes Macbeth (Donmar Warehouse, Starring David Tennant).

One of the most celebrated authors of the last century, Philip K. Dick was published in the Library of America in 2007 and has received literary recognition unprecedented for a contemporary science fiction writer. His more than 40 novels and 125 short stories have been translated into 25 languages.  Dick’s works have been the basis for blockbuster movies such as the Ridley Scott directed, BLADE RUNNER (1982) and Denis Villeneuve directed BLADE RUNNER 2049 (2017), as well as two versions of TOTAL RECALL (1990) and (2012) and ADJUSTMENT BUREAU (2011).  

Founded in 2007, Electric Shepherd Productions is dedicated to the stewardship and adaptation of the Philip K. Dick library and is owned and operated by daughter of the author, Isa Dick Hackett. ESP’s most recent projects include the Emmy Award-winning television series The Man in the High Castle, based on Philip K. Dick’s Hugo Award-winning novel of the same name, and Philip K. Dick’s Electric Dreams, an anthology show based on different short stories, with Ronald D. Moore, Michael Dinner, Bryan Cranston, and Sony Pictures TV. Current projects include a feature film based on Philip K. Dick’s novel Vulcan’s Hammer, which ESP is producing alongside New Republic and director Francis Lawrence.

WEDDING BAND
A Love/Hate Story in Black and White
By Alice Childress
Directed by Monique Touko
Friday 31 May – Saturday 29 June 2024

Set in the deep south of the USA in 1918 when interracial marriage was illegal, Julia, a black seamstress, and Herman, a white baker, are defying all odds with their secret love. They face vicious judgement not just by society but also their closest friends and family. As they finally begin to believe their dreams for a future together are possible, Herman becomes a victim of the Spanish flu. Determined to save him, Julia is faced with decisions that will change her life.

Award-winning American playwright Alice Childress’ Wedding Band is a searing and powerful masterpiece which offers a stark reflection of the reality she was writing in during the Civil Rights era. It explores themes of race and class, questioning the devastating impact of unjust laws on ordinary human lives.

This moving and emotive drama will be directed by Monique Touko following her smash-hit success School Girls; Or, the African Mean Girls Play at the Lyric.

 “Stunningly, immediately real… Childress excels at writing archetypal characters who aren’t bound by cliché.” – Seattle Times

“A great deal of compassion…” – New York Times

“An unforgettable piece of theatre.” – Seattle Weekly

Alice Childress (Writer), born in 1916 and raised during the Harlem Renaissance under the watchful eye of her beloved maternal grandmother, Childress grew up to become first an actress and then a playwright and novelist.  A founding member of the American Negro Theatre, she wrote her first play, Florence, in 1949. The script was written in one night on a dare from close friend and actor Sidney Poitier, who had told Alice that he didn’t think a great play could be written overnight. She proved him wrong, and the play was produced off-Broadway in 1950.

In 1952 Childress became the first African-American woman to see her play (Gold Through The Trees) professionally produced in New York. In 1955, Childress’ play Trouble In Mind was a critical and popular success from the beginning of its run off-Broadway at the Greenwich Mews Theatre. The play immediately drew interest from producers for a Broadway transfer. In an ironic twist echoing the tribulations of the characters in the play itself, the producers wanted changes to the script to make it more palatable to a commercial audience. Childress refused to compromise her artistic vision, and the play didn’t open on Broadway. If it had, at that time Childress would have been the first African-American woman playwright to have a play on Broadway. Trouble In Mind received a well-reviewed off-Broadway revival in 1998 by the Negro Ensemble Company and has since been produced by Yale Repertory Theatre, Centerstage, Milwaukee Repertory Theatre, Arena Stage. Trouble In Mind, directed by Charles Randolph Wright, produced by the Roundabout Theatre Company, opened on Broadway in November 2021. 

Childress is perhaps best known today for A Hero Ain’t Nothin’ But A Sandwich, her 1973 novel about a 13-year-old black boy addicted to heroin, which was subsequently made into a movie in 1978. Other plays written by Childress include Just A Little Simple (1950), Wedding Band: A Love/Hate Story In Black And White (1966) and Gullah (1984).

Alice Childress died in New York in 1994. Throughout her career, she examined the true meaning of being black, and especially of being black and female. As Childress herself once said, “I concentrate on portraying have-nots in a have society.”

Monique Touko (Director) is a London based multidisciplinary artist working in theatre, radio, TV and film. Following the success of critically-acclaimed and sold-out hit School Girls; Or, The African Mean Girls Play, Monique returns to the Lyric to direct Alice Childress’ seminal play Wedding Band: A Love/Hate Story in Black and White.

Recipient of 2022 Stage Debut Award for Best Director for MALINDADZIMU, her directing training includes Regional Theatre Young Directors Scheme at Royal Exchange Manchester. At the Young Vic, her training has involved the Intro to Directing course led by Sacha Weres, Boris Karloff Trainee Assistant Directors Programme and the Jerwood Assistant Director Scheme. In 2022, Monique was selected to take part in the National Theatre’s annual Directing Course. Her assisting credits include Wishlist by Katherine Soper, directed by Matthew Xia at Royal Exchange Manchester and Royal Court, HighTides’ touring production of Kanye The First by Sam Steiner directed by Andrew Twyman, Yellowman by Dael Orlandersmith directed by Nancy Medina at Young Vic, China Plate’s On the Exhale by Martin Zimmerman directed by Christopher Haydon at Traverse Theatre, Cock by Mike Bartlett directed by Kate Hewitt at Chichester Festival Theatre, Shakespeare’s Richard II directed by Lynette Linton and Adjoa Andoh at Shakespeare’s Globe Theatre, Ibsen’s Rosmersholm adapted by Duncan Macmillan, directed by Ian Rickson at Duke of York Theatre and Lorca’s Blood Wedding adapted by Marina Carr, directed by Yael Farber at Young Vic. 

Monique’s skill set includes Facilitation, Devising, International Work, New Writing, Script Reading, Drama School Shows and Projects, Training Actors and Working with Young People. 

She is also part of The Ubunifu Space – A definitive guide to music and culture from the youth of Africa and the diaspora – the Ubunifu way. Monique is project manager for the Space and regular member of the UK reaction team on the YouTube channel which has a global following of 320K+ subscribers and over 50 million views.

FANGIRLS
A Lyric Hammersmith Theatre and Sonia Friedman Productions co-production
Book, Music and Lyrics by Yve Blake
Directed by Paige Rattray
Saturday 13 July – Saturday 24 August 2024

Production Designer David Fleischer; Choreographer Ebony Williams; Video Designer Ash J Woodward; Lighting Designer Jessica Hung Han Yun; Sound Designer Tony Gayle; Vocal Arranger and Orchestrator Zara Stanton; Music Producer David Muratore; Associate Choreographer Alex Sarmiento; Associate Musical Director Laurence Stannard.

Get ready for an unmissable show that pulses with the soaring adrenaline of a first crush and feels like the best pop concert you’ve never been to…

Meet Edna: she’s 14, she’s a misfit, and she’s in love with Harry. There’s just one problem: Harry’s in the world’s biggest boy band, has 38 million fans, and doesn’t know she exists. When Harry’s band announces a tour stop in Edna’s hometown of Sydney, Australia, she knows this is her destiny – her one chance to meet him. But how on EARTH will she get Harry’s attention?! And exactly how far is she prepared to go in the name of love?

If you think this is just a story about loving a boy band… think again. FANGIRLS is a thrilling and subversive musical comedy about the danger of underestimating teenage girls. After multiple sell-out runs across Australia, including the Sydney Opera House, this brand new production of the multi-award winning, pop musical phenomenon FANGIRLS is about to take the UK by storm. 

★★★★★ “This pop musical will probably change your life” – Time Out Australia
★★★★★ “Believe the hype. The FANGIRLS phenomenon is real!” – Limelight
★★★★½ “FANGIRLS is sure to become an iconic hit” – ArtsHub
★★★★ “A love letter to feeling so much you just have to scream” – Guardian Australia


Rachel O’Riordan, Artistic Director & CEO of Lyric Hammersmith Theatre said:
“FANGIRLS will be a riotous night at the theatre and we couldn’t be more thrilled to co-produce the UK premiere with Sonia Friedman Productions. Our beautiful auditorium will transcend into one of the best pop concerts you’ve ever been to. The Lyric was built for musicals like FANGIRLS which is going to be a once-in-a-lifetime euphoric experience across West London and beyond.”

Sonia Friedman, co-producer of FANGIRLS said:
“I have had the privilege of collaborating with the extraordinarily gifted Yve Blake since I first heard about the incredible success of FANGIRLS in Australia. It has been an inspirational, wonderfully energising journey thus far, and I am delighted to be working with the Lyric Hammersmith Theatre to bring this new production to London. Helmed once again by the brilliant Paige Rattray, this funny and life-affirming pop musical is an ode to love.”

Alongside the premiere of FANGIRLS, the Lyric Hammersmith Theatre will also be launching the FANGIRLS FANCLUB to give a limited number of members a very special VIP experience. This one-off membership will unlock a suite of exclusive benefits including tickets to the FANCLUB Convention performance and party on 24 July 2024, tickets to an ‘Inside the Rehearsal Room’ party, Goody Bag with signed merchandise and FANGIRLS FANZINE for sneak peeks.
To find out more visit https://lyric.co.uk/support-us/individuals/

Yve Blake (Writer) is a playwright, screenwriter, and songwriter, born and raised on Gadigal land. She’s best known for writing the Book, Music and Lyrics for the musical FANGIRLS, which has been awarded the 2019 Sydney Theatre Award for Best Mainstage Musical, the 2019 Matilda Award for Best Musical or Cabaret, the 2020 AWGIE award for Music Theatre, the 2021 Green Room award for New Australian Writing for Musical Theatre, and also scored an ARIA nomination for Best Original Soundtrack or Musical Theatre Cast Album. After premiering at Belvoir and Queensland Theatre in 2019, FANGIRLS returned in 2021 for a national tour, and returned by demand in 2022 at the Sydney Opera House. Yve is an alumna of the Royal Court Writers’ Programme, and was the inaugural recipient of the ATYP Rebel Wilson Theatre-maker Scholarship. She is also a 2024 Women in Music Australia Soho House Fellow, and has been a visiting artist at Princeton University. In London, Yve has developed and presented her own work at Soho Theatre, Southbank Centre, Old Vic New Voices, the National Theatre Studio and The Barbican. Her 2019 TEDxSydney talk about Fangirls has been promoted to an official TED talk on TED.com, where it has been viewed more than 1.4 million times. She is currently developing a screen adaptation of Fangirls with Fremantle, a movie musical for Mark Gordon Productions, a new original musical, and various other projects. For more info, head to yveblake.co.

Paige Rattray (Director) is a director and Resident Artist at Sydney Theatre Company. She is currently its Director of New Work and Artistic Development, following her role as its Associate Director. She was previously the Associate Artistic Director at Queensland Theatre (2017-2018) and was chosen as Sydney Theatre Company’s Richard Wherrett Fellow for a consecutive two years (2015/ 2016).

Paige’s directing credits for theatre include: Triple X (Queensland Theatre and STC); Do Not Go Gentle…, The Lifespan Of A Fact, Blithe Spirit, Death Of A Salesman, Deep Blue Sea, The Beauty Queen Of Leenane (winning a Sydney Theatre Award for Best Main Stage Director) and How To Rule The World (all at STC); Hedda, Scenes From A Marriage and Switzerland (all at Queensland Theatre); Black Is The New White (STC and on National Tour); and FANGIRLS (Belvoir Street Theatre, Queensland Theatre, Sydney Opera House and on National Tour). FANGIRLS won the 2019 Sydney Theatre Awards Best Mainstage Musical Award and the Matilda Award for Best Musical or Cabaret, as well as Paige being nominated for Best Director. Paige was also Production Dramaturg on STC’s The Picture Of Dorian Gray coming soon to London’s West End.

For screen, Paige is attached to co-direct a feature film for Fremantle Media Australia, as well as co-creating and directing a TV series based on a hit play. Paige recently worked as co-creator and Senior Producer on the 3-part current affairs programme The Whole Table in collaboration with SBS/NITV and STC.

COMING TO THE STUDIO:

The Promise
Deafinitely Theatre, Birmingham Rep and Lyric Hammersmith Theatre present
Written by Paula Garfield and Melissa Mostyn
Directed by Paula Garfield
Tuesday 30 April – Saturday 11 May 2024

Rita is really confused.

She can’t understand why the deaf education system she’s tirelessly championed throughout her teaching career is getting worse and worse, or why there is only one care home in the whole of England that looks after people in her language. On the Isle of Wight.

She’s also confused about where her family is, and why she can’t remember where the milk goes…

This striking world première from the nationally acclaimed British theatre company Deafinitely Theatre (The Vagina Monologues, Everyday and 4.48 Psychosis) is inspired by the extraordinary experiences of deaf people living with dementia.

Written by Paula Garfield and Melissa Mostyn, The Promise is directed by Paula Garfield in the company’s renowned highly visual style combining British Sign Language and English.

Paula Garfield (Writer & Director) is the Artistic Director of Deafinitely Theatre.
An actor, director and field creative leader, Paula has worked on a variety of television, film and theatre projects over the past twenty years. In 2002, she established Deafinitely Theatre with Steven Webb and Kate Furby after becoming frustrated at the barriers that deaf actors and directors face across the arts and media industry.

Paula has produced and directed many plays and worked extensively in TV, including Channel Four’s Learn Sign Language, Four Fingers and a Thumb, BBC’s Hands Up and Casualty, plus appearances in every series of the BBC’s deaf drama, Switch. Her previous productions for Deafinitely Theatre are many and include: Tanika’s Journey (Southwark
Playhouse), Grounded (Park Theatre), and a national tour of the family show, Something Else. Paula has directed two productions at Shakespeare’s Globe: Love’s Labour’s Lost as part of Deafinitely’s 10^th anniversary celebrations, and A Midsummer Night’s Dream.

Paula’s 2017 production of Contractions for Deafinitely Theatre won The Off West End Theatre Award (Offie) for ‘Best Production’, and her production of 4.48 Psychosis at New Diorama Theatre in 2019 was shortlisted for Best Director by Broadway World UK. 

Paula was also awarded the Tonic Award for her work at Deafinitely Theatre. 

Through the coronavirus pandemic, Deafinitiely Theatre provided 26 creative bursaries to support the development of freelance deaf artists. Throughout lockdown, Paula directed the five Deafinitely Digital films that made up the Talking Hands series, a collaboration with Paines Plough, as well as writing Everyday, Deafinitely Theatre’s 20^th anniversary production, which premiered at New Diorama Theatre before embarking on a national tour in 2022. Everyday was nominated for The Off West End Theatre Award for Best Accessible Production.

In 2023, Paula is directing a one night performance of The Vagina Monologues, raising money for Deafinitely Women’s ongoing work to support deaf and deafblind survivors of domestic violence. She is also working with The Pied Piper Company on a new touring family show, Can Bears Ski? as well as Deafinitely Theatre’s next full production, The Promise; a story about a deaf mother living with dementia.

Melissa Mostyn (Writer) is a writer, blogger, arts practitioner and mum-of-two. She has a passion for freedom of creative expression, which drives her diverse love of the arts and media, taking in visual art, theatre, film, journalism, books and TV. She often explores themes of communication, disability/deafness and human relationships in her work. Originally a fashion journalist, she now writes about parenting, the arts, disability and deaf issues, and over the years has contributed to Vogue, Esquire, The Observer, The Independent, BLOOM, New Zealand Style, The Huffington Post, British Deaf News and Disability Arts Online, among many others. 

YOUNG LYRIC RESPONSE PROJECTS:
For each of our Main House shows, Young Lyric delivers free response projects that thematically link to each production giving young people aged 11-25 who live or study in one of the 10 West London boroughs (Brent, Ealing, Hammersmith & Fulham, Harrow, Hillingdon, Hounslow, Kensington and Chelsea, Richmond upon Thames, Wandsworth and Westminster) the opportunity to express themselves in the arts and further develop their creative skills.

This Spring/Summer 2024 season, in response to Minority Report, Young Lyric will create a complementary digital education resource pack exploring Max Webster’s approach to staging this production, David Haig’s adaptation and the digital innovation of this production including interviews from members of the creative team and drama educators.

In response to Wedding Band: A Love/Hate Story in Black and White, Young Lyric will deliver a performance project exploring the societal repercussions of whom we choose to love and why. This project will culminate in a performance sharing at the Lyric Hammersmith Theatre.

In response to FANGIRLS, Young Lyric will deliver a performance project exploring the notion and movement of fandom. The project will incorporate song, lyrics, movement and music. This project will culminate in a performance sharing at the Lyric Hammersmith Theatre.

Theatre Royal Stratford East – until 7th October 2023

Reviewed by Ben Jolly

4****

Celebrating its thirtieth anniversary since the play was first performed, Beautiful Thing has returned to the London stage, this time around at the charismatic Theatre Royal Stratford East; and a celebration it is.

Jonathan Harvey’s play is quite simply a beautiful thing. Set in a council estate in South East London’s Thamesmead, we are introduced to a group of wonderfully rounded, complex and loveable characters who are dealing with the struggles and woes that come with everyday life living in a council estate in the early ‘90s. 

Our main protagonists are the two teenage boys, Ste and Jamie, who are brilliantly and tenderly performed by Raphael Akuwudike and Rilwan Abiola Owokoniran. They are neighbours and in an estate like this one, everyone knows each other’s business. While both are struggling with their own demons in the real world, they find themselves in a situation that quickly leads to a romantic partnership. In a time and place where this play is set, things could get at best messy and at worst, violently dangerous and while the more obvious route as a writer would be to show us this version, Harvey has opted to tell a story of strength, love and having the nerve to face one’s own demons head on. 

This is more than just a “gay play”. With its clever wit, killer one-liners and at times farcical humour, Harvey is able to touch upon a multitude of heavy subjects without overbearing us with their weight; from financial struggles, domestic abuse to the UK’s schooling and class systems, this tribe of relatives, friends and frenemies power through with love and humour being their ultimate weapon. On page, this play has a perfect balance and on stage, it is only escalated with the laugh out loud one-liners and physical comedy, thanks to Trieve Blackwood-Cambridge, Shvorne Marks and Scarlett Rayner who round off the cast with wonderfully delivered performances.

It’s incredibly interesting to witness this play thirty years after it was written – it’s a minefield of niche 90s references and if it had been written today, I would be more critical of this device but knowing that it was penned in the then present-day it feels more like a nostalgic time capsule from days gone by. What’s more interesting, however, is Harvey’s choice to write such a warm and positive piece regarding homosexuality in a time when the HIV/AIDS epidemic was at its peak; I am sure that this was a conscious decision at the time, and it still pays off to this day.

With shrewd direction by Anthony Simpson-Pike and effective set design by Rosie Elnile, this production is set to move onto Leeds Playhouse and HOME Manchester after the run at Stratford East. I can’t help but think that the subliminal northern humour and rhythms that season this play will transfer exceptionally with the audiences up north too. Harvey hails from Liverpool and while this piece is set in South East London, you can’t help but notice the northern tongue throughout his use of language.

At thirty years old, Harvey’s Beautiful Thing has aged extremely well and I predict that it will continue to many years from now.  It is unfortunate that while the world has moved on so much for the better, the themes explored in this piece are still so relevant today. However, what continues to stand out with this play is that love and laughs are of paramount importance as ever. 

Omnibus Theatre, London – until 7th October 2023

Reviewed by Mitzi Luck

5*****

‘Compositor E’ is a poetic and lyrical play with writing that echoes the Shakespeare our main characters are setting into manuscript. On entering the theatre, I felt immediately transported to the work room of a publishing house. The ambient sounds and smoky atmosphere are all encompassing, with actors waiting motionless.

The play begins with John Leason, played by Tré Medley, starting his first day at the printers as an apprentice. His surroundings are intimidating and confusing. The foreman in charge appears to be Isaac Jaggard, played Kaffe Keating, who has no patience to give any care to the young John and Kaffe Keating portrays him convincingly as a brusque and sharp character. We meet his rival in Richard Bardolph, played by David Monteith – a wonderfully theatrical and dynamic character, with displays of poetic anger and all the fury of a man frustrated in his work.

It soon becomes apparent that John has a unique and sought after skill as he can read the nearly illegible handwriting that must be put into print. The play switches from the present moment to John Leason’s traumatic memories of his mother. As the tale of Macbeth unfurls at the fingers of the young compositor, the memories resurface and a horrific realisation is awakened. He is not just setting down font, but facing the very King whose censorship caused his mother’s downfall.

The staging is used brilliantly as we see the type appear on the walls of the work room in a reflection of main character’s own absorption into the story he sets in print. The audience is invited to become truly transfixed by the tales as they intertwine. Dreamlike sequences create a surreal impression as the main character’s mind unravels deeper truth. The supporting cast have wonderfully choreographed stage movement that adds tension to the play.

What’s in a word? One small letter that John discovers can change the meaning and protests the king. John Leason’s final monologue is a powerful call to remember that one has the power to write their own meaning into tales told in order to discover the truth and Medley delivers this faultlessly. It’s a moving ending of quiet rebellion.

All the cast of ‘Compositor E’ were truly wonderful in their roles. The writing was dramatic and engaging and the story is a unique portrayal of the power of the written word and the stories we tell. I thoroughly enjoyed this performance.

Baby Fairypowered had a day off hospital visits so, she sat down with the stars of Snow White – Josh Benson (Muddles), Marina Lawrence- Mahrra (Snow White), Gareth Gates (The Prince), Jenny Ryan (The Wicked Queen) and Jamie Jones (Mrs Nelly Nightnurse).

You can catch Snow White at Darlington Hippodrome from Friday 8th to Sunday 31st December.  Tickets available from the theatre, over the phone or online

Have you ever been to Darlington before?

JOSH Yes, I came last year to see what it was like and thought it was fun which made me want to do panto here this year.

MARINA Yes, I have family up here and they are all very excited to see the Panto

GARETH I’ve been here a few times and I’m looking forward to spending a few weeks here. I’m planning on exploring the area whilst I’m here.

JENNY This is the first time I’ve been to Darlington and I’m really looking forward to it.

JAMIE I’ve never been but I’m looking forward to spending time here.

Have you done panto before?

JOSH Yes. I appeared as a kid in Panto in 2007 in York and did my first panto as an adult in Chesterfield in 2018. I did 3 seasons in Halifax starting in 2019 but due to Covid I did a travelling panto in 2020 which was a lot of fun.

MARINA I played Princess Tiger Lily in Bradford.

GARETH This is either my 12th or 13th panto, I’ve lost count. Pantos are always fun to do and I can’t imagine not doing them now.

JENNY This is my third panto. My previous two were playing Caraboss in Sleeping Beauty so I’m looking forward to playing a different villain this time.

JAMIE I’ve been doing panto for 15 years, I started at 16 and I’m 29 now. I mostly play dames but I’ve also played villains, a fairy and a few comic roles but the dame is my forte.

What do you plan to do in your time off from the show?

JOSH We don’t get a lot of off time from the show but I’m an entertainment manager for York Maze so I have a lot of work to do for that. Any time I do have off i will be resting as my role involves a lot of jumping around and being silly so even if Im doing work for York Maze I’ll have my feet up.

MARINA We don’t get much time off really but any time off I do have I plan on doing some yoga and prepping healthy meals.

GARETH We’re doing two shows every day and we’re only off on Mondays but I’ll have family coming up and I’m planning on spending time with my daughter.

JENNY I will most likely be sleeping but I plan to hang out in Darlington. I know friends and family are coming to visit so I’m hoping to go on a few day trips with them.

JAMIE I’m going to try and see other shows. I love panto and have friends in the area appearing in other shows. This time of year is just panto, panto, panto.

What can you tell us about Snow White?

JOSH I’ve not seen the script yet but it will be the traditional story that everyone knows and loves. It’s going to be exciting and daft.

MARINA I’ve not met the director yet but she’s positive, kind and excited to see the world. I’m excited to play the part.

GARETH I’ve worked with CrossRoads before in the past. The script looks fantastic and there are lots of jokes for adults and laughs for the kids. The cast are really fun and upbeat as well which is always a good thing

JAMIEVery little, it is a strict secret. It’s going to be a blast, we’ve got a number one recording artist and a really funny dame as part of the cast and I’m hoping I don’t scare too many people

JAMIE It’s going to be a great show. I love my costumes and the scenery is stunning. We have some really great flying effects as well. There are laughs for everyone in the show. 

Do you enjoy panto? Would you like to do other theatre roles?

JOSH I love Panto. I’m a children’s entertainer so I get to be myself. Panto roles lend themselves to my natural skill set which is always fun.  I would like to play Micky in Blood Brothers but I’m not fussed about roles.

MARINA Yes, you get to be silly and you get to make children smile. I would love to play the leading lady in a new musical because my heart is in musical theatre

GARETH I’m from Bradford which is a really big panto city. It’s about bringing joy and making people happy. I’ve been in some really great shows including Les Miserables, Joseph and recently SpongeBob the musical but I would love to play Ffiyero in Wicked.

JENNY I love panto. I think children should be given a ticket to see the panto to help encourage them into the theatre. I would love a small part in a West End show with a little bit of singing.

JAMIE Enjoy isn’t a strong enough word, I’m obsessed with panto. Panto is the first thing most children see at the theatre. I still love going to the panto even now. Panto is very humour based so I would love to play a more serious role or someone like Dolly from Hello Dolly or Bert from Mary Poppins.

What is it like playing your character?

JOSH It’s very easy. I get to use my natural skill set but it is a physically exhausting role with all the jumping around.

MARINA It’s nice to feel young again and it is always fun to be a princess.

GARETH I play the Prince and it is really great. I’ve played the Prince before and it was a lot of fun. I’m looking forward to this show because I get to sing one of my own songs.

JENNY Being a villain is a lot of fun, you get to be very over the top in the role. I’m looking forward to scaring the little children so it’s a brilliant role for a Chaser.

JAMIE I love my character. I love the costume, wig and shoe changes. I have a different look every time I come on stage. I make all my own costumes so I plan everything depending on the scene and what is happening. In this show I have between 12 and 15 entrances and I have a different look for each one. I love working with the rest of the cast as well so it’s going to be a fun show.

What do you plan to do on Christmas Day?

JOSH My main plan is to sleep. I’m going to have a nice calm day and make the most of my time off.

MARINA I plan on seeing some family, eating good food and having a glass of bubbly. I’m also looking forward to having some time off from wearing makeup, even if it’s just for the day.

GARETH I’m glad to be doing a panto up north because it means I can go home for Christmas as it is less than a two hour drive back. With some previous pantos I’ve been too far from home to make the journey worthwhile but Darlington is perfect for me in that regard.

JENNY Hopefully my parents will come and visit. If they do, we will most likely have a proper christmas dinner and I’ll fall asleep during the Strictly Christmas special.

JAMIE Sleep? No, I’ll try and go home. I’m from Lichfield in the midlands so I can drive home after the show on Christmas Eve and come back on Boxing Day morning. 

Do you plan to see any other pantos while you are in the area?

JOSH I’m going to try and see other shows, Newcastle is meant to be a good panto so I’m going to try and see that if I can.

MARINA Sadly I won’t have time to see other shows but I wish I could.

GARETH Unfortunately we all tend to have the same day off so it’s hard to see other shows. If I can, I’m going to try and see the shows in Sunderland, Hartlepool or Newcastle because I’ve heard a lot about them.

JENNY If there is time and no overlap. A lot of shows have the same off day so it’s hard to see other shows during panto season.

JAMIE I’m going to try. Hopefully on days where we have a morning show and a matinee I will be able to go and see a show in the evening in the area.

Mayflower Theatre, Southampton – until 23 September 2023

Reviewed by Gemma Gibson

5*****

When you go to watch an Ailey 2 production, you are going to more than just a dance – there is always a story to tell. Coupled with the most incredible, emotionally- charged choreography, the sheer talent of this modern dance company will take your breath away. 

Presented by Dance Consortium, Ailey 2’s latest tour is currently underway, taking stories of celebration, sorrow and African American culture all across the UK.

Already aware of the extravagant movement, costumes and lighting an Ailey production offers, I took my seat at Southampton Mayflower and relaxed, excited to watch the show.

The production opens with an excerpt from William Forsythe’s Enemy in the Figure– this is the perfect opportunity to showcase the talent of Ailey 2’s dancers. Every move performed with precision and power, complimented by the use of lighting, shadows, and fringed trousers.

Freedom Series, by Ailey 2’s Artistic Director Francesca Harper, focusses on memories and the future, the exploration of identity and community. This wholesome and fluid piece was so unexpected after a sharp, explosive start, but of course this just highlights the breadth of what the dancers can do. 

My favourite part of the entire production, lanterns are creatively intertwined into movement during Freedom Series, reminding me of fireflies, as (No One Knows Me) Like the Piano plays softly in the background. It was a beautiful, thought-provoking routine, once again (and quite literally) shining a light on the versatility of the dancers.

In complete contrast, charged with a different energy, Robert Battle’s The Hunt was the third routine of the night, demonstrating the primal nature of humans. This was performed by just four members of the company, but explosive and animalistic, this was an upbeat and thrilling piece that showed a different side to the human race.

Ending with Alvin Ailey’s Revelations, the final piece of the night explores a world of deep grief and sorrow, followed by moments of euphoria and joy. This is all against the backdrop of Ailey’s own experiences and upbringing, infused with African American culture.

A firm dance favourite of mine, this piece from 1960 continues to be performed year-on-year with the same beauty, grace and power. The use of gospel songs, holy blues and spiritual music compliments the movement and narrative beautifully. Every aspect of Revelations is timeless. 

Fix Me, Jesus received the biggest round of applause of the night, the duet wow-ing the audience with its breathtaking lifts, use of the floor and strong kicks suspended in the air. 

The dancers’ strength and ability to command the stage and perform such striking movement was an absolute joy to watch. Even running across the stage looked effortless. 

Francesca Harper took over as Artistic Director of Ailey 2 in 2021, and after watching this production, it is more than clear her vision has enabled the company to remain current and fresh, while celebrating the legacy of Alvin Ailey. 

The same dancers may feature in all four pieces, but each story was completely different from the last. From the most advanced but flawless ballet to Ailey’s iconic angular arms, spins and kicks, there is nothing this company cannot do. 

Seven Dials Playhouse, London – until 30th September 2023

Reviewed by Celia Armand Smith

2**

As we sit and wait for the show to start, I spy the classic “Say it’s carol singers” cards from Love Actually on the floor next to a bench. This is a show about romantic comedies and if there is one thing I love, its a rom-com, and nothing says meet-cute like a bench. The show opens and in bounces Georgie Grier, the writer and performer of “Sunsets”, in a fluffy pink cardigan and heart shaped sunglasses. Grier plays Denver, a podcast host, and we are the audience for a live podcast recording. The concept is a novel one, and one that Grier has a lot of fun with.

Denver is on a mission to find her happily ever after via Notting Hill, The Wedding Planner, When Harry Met Sally, and every other rom-com from the last 35 years. The podcast has six episodes, and we are taken through each one leading up to this, the live recording of the final episode, “The Grand Gesture”. Adverts for dog food and bus tours with long discount codes punctuate each episode, and there is an off stage producer called “Producer Hannah” in Denver’s ear moving things along and promising to cut out the bits that go wrong. Both familiar features in podcasts.

With direction from Grace O’Keefe, there are some laughs, each one thanked by the character of Denver, and at times, the acting feels natural and malleable. Ready to change direction at a cough or a phone accidentally going off.

The story takes many a twist and turn via love at work, a bus tour, parents called Harry and Sally, a van with a cinema in it, and an absent friend. There are so many elements in the plot that it’s almost too much to be able to take in, and things are never explained or realised completely causing a bit of confusion. Grier is obviously a talented performer with huge range, and maintains a frenetic pace throughout. By the end of the 80 minutes (it overran a bit), and after a surprising ending, we are left trying to reconcile all of the plot points and figure out how it was all supposed to fit together.

“Sunsets” has real potential with a strong concept and a solid performance from Georgie Grier. Rom-coms and podcasts are ripe for a ripping apart, and after a few edits to the script, this could be the perfect vehicle for it.

Forum Theatre, Malvern – 21st September 2023

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club always gives us the very best in music, new talent and established stars in their field and tonight was no exception with the wonderful Quatuor Van Kuijk joined by classical guitarist of the moment Sean Shibe.

Opening the evening was Vierne’s String Quartet in D minor (1894). The work has that early 20th century sense of drama and melancholy. I particularly enjoyed the slow movement that can’t seem to make up its mind if it is agitated or calm but is always engaging. The players gave us muscular tutti moments coupled with light, filigree tripping figures which brilliantly brought the music to life. Not a work I was familiar with but it was obvious the quartet had an affinity and love for the material – the introductory speech set out their stall of presenting unjustly neglected French music to a wider audience. They certainly did that and gained another convert tonight. Shaun Shibe joined the quartet for Boccherini’s Guitar Quintet in D (1798). A rare treat hearing works for this ensemble. A courtly work with aspirations to be rustic; the use of “golpe” guitar technique (hitting the guitar top with the finger) and some clever bowing to evoke Spain’s flamenco heritage was particularly effective in this regard. After the interval Mr Shibe took centre stage with two very welcome Villa-Lobos etudes (extra to the programme). Then to three pieces for solo guitar played without break as a kind of three movement piece. First Adès “Habanera”: a dramatic piece in a thoroughly modern style which tonight’s soloist premiered back in 2021. Then the much loved and welcome De Falla’s “Homenaje ‘Pour le tombeau de Claude Debussy’” (1920) suitably dramatic and melancholy and displaying the full palette of classical guitar techniques which Mr Shibe executed with passion, gusto and precision. Lastly Poulenc’s “Sarabande” (1960) for solo guitar. A thoroughly satisfying triptych, providing an interesting contrast with the other pieces on the bill and showing intelligent programming from tonight’s six-string maestro. The final piece this evening was Castelnuovo-Tedesco’s “Quintet for Guitar and String Quartet” (1950). You can almost feel Spain’s sultry heat shimmering from the stage, especially in the even numbered movements. Was it my imagination (or longing for España) or could I hear echoes of the “Concerto de Aranjuez”?

The second movement was particularly impressive with a heartfelt yearning and intensity of playing that took the breath away; especially the deep, soulful playing from cellist Anthony Kondo! Gorgeous. Coupled with tight ensemble work from violinists Nicolas Van Kuijk and Sylvain Favre-Bulle and violist Emmanuel Francois plus Mr Shibe’s dramatic guitar, it was a musical marriage made in Heaven.

The passion and drama continued to the inevitable thunderous applause at the end.

Another thrilling evenings entertainment showcasing exceptional music making from the assembled talents of these gifted musicians, presented as always with a love and respect for the music in a commendably welcoming atmosphere by the wonderful Malvern Concert Club… What more could one need for a perfect evening? Let’s just say “I cannot wait for their next concert”!

Cockpit Theatre, London – until 7th October 2023

Reviewed by Phil Brown

4****

The compact Cockpit Theatre  in Marylebone is a bit of a fringe gem.  It’s a purpose built, relatively modern (1969/70) community theatre with a tardis like ability to feel spacious inside.  The buzzy, intimate atmosphere, audience friendly in-the-round configuration and good value tickets make for a welcoming theatre experience, even before the action starts.

The Cockpit’s one liner for Ovo’s production of ‘The Threepenny Opera’  is “a bold, imaginative musical comedy”.    It’s certainly bold snd imaginative.  I’m not sure that the comedy part was proven!  However, in the context of Britain’s current fraught society, Ovo’s revival of this classic musical seems utterly prescient, given it was originally a socialist critique of the capitalist world.

Brecht/Weil/Hauptmann’s “cheap opera” has been updated for modern times with new lyrics by Director Adam Nichols in collaboration with original librettist Jeremy Sams.  The directorial team of Adam Nichols, Julia Mintzer (Co-director) and Lada Valešcová (Conductor and MD) must be congratulated for managing intensely rich content to achieve such a cohesive, well-oiled production over 2½ hours involving 15 performers playing multiple parts as well as 21 instruments (including spoons!). 

A remarkable team effort. 

Captain Macheath (brilliantly played by Peter Watts) is an infamous gangster who kills and plunders at will, thanks to the protection offered by his ex army buddy the current Chief of Police,Tiger Brown (Lee Drage).  He aspires to middle class respectability. The conniving Jonathan Peachum (Mark Carlisle), an equally unsavoury Fagin like character runs a major begging ring but fears Macheath’s relationship with his daughter Polly Peachum (Emily Panes) will hurt his racket.   Celia Peachum (Annette Yeo) is Peachum’s wife who was hoping for a higher class match for Polly.  Lucy Brown (Emilia Harrild) is the daughter of the police chief, Macheath’s lover and claims to be pregnant by him.  Low Dive Jenny (Faith Turner) is another former love of Macheath and now a prostitute.  (If the devil could cast his net…)

The wonderfully versatile cast were mostly deployed with their instruments on the bottom tier of seats surrounding the stage with some quick-fire visits to a minimally dressed centre stage for individual and ensemble performing duties.  The basic set resembled a circular bandstand with a small podium and columns defined by dangling ropes.  This cleverly served as Peachum’s HQ, Macheath’s lair and wedding venue – a Sainsbury’s abattoir, and his eventual prison cell.  Props were various mannequin parts presumably reflecting their use in Peachum’s begging operation and Macheath’s abattoir.

There was so much going on in this show, there were inevitably moments of sensory overload, and some song lyrics were difficult to pick up – a minor shame in the scheme of things.   For the most part, the spoken dialogue worked brilliantly and convincingly for such duckers and divers in conversation.  The time and effort that has gone into preparing this production is evident.  The whole company truly earned the enthusiastic reception for an impressively professional show.  It was full blooded theatre – every performer gave their all, and the result was a high quality, and stimulating evening of entertainment, containing several towering individual contributions.

The physically imposing and naturally charismatic James Watt, seeming to channel Michael Caine at times, fairly bristled with barely suppressed testosterone as Macheath.  Mark Carlisle, full of menace was suitably calculating and mercenary as Peachum.  Emily Panes (as Polly Peachum) managed to tread the fine line between doting bride and hard nosed gold-digger/business partner with ease, as well as singing beautifully (including a great take on the ‘Pirate Jenny’ song) and playing the bandoneon.  Emilia Harrild (as Lucy Brown) was probably the pick of the lead vocalists with a superb ‘Ballad of Mack the Knife’ plus expert cello.  I also enjoyed Ben Howarth as Filch, a prospective Peachum beggar doubling up as one of Tiger Brown’s constables and main percussionist.

Ovo’s fine production of ‘The Threepenny Opera’ exudes energy and artistry.  If you are open to going off-piste and experiencing something with more guts than the usual crowd pleasing fodder, and also supporting the admirable depth of performing talent around Britain, I would throughly commend this marvellous production.

Charing Cross Theatre – until 18 November 2023

Reviewed by Claire Roderick

3***

The English language premiere of the international hit based on Daphne Du Maurier’s evocative novel doesn’t quite reach Hitchcockian heights.

The show opens with the wonderful Lauren Jones singing the most affecting and understated number of the show, “Last night I dreamt of Manderley” before the action begins in Monte Carlo. It is 1927 and the timid unnamed character is being trained as a companion and meets the suave widower Maxim de Winter (Richard Carson). A whirlwind romance ensues (blink and you’ll miss it) before they marry and he takes her to his ancestral home in Cornwall, Manderley. The second Mrs de Winter is a great disappointment to the staff, especially housekeeper Mrs Danvers (Kara Lane) who runs the house according to her beloved Rebecca’s standards. The ghost of Rebecca, the first Mrs de Winter looms large as everyone talks of her beauty and charm which they judge the unassuming new wife can’t match. Mrs Danvers campaign against Maxim’s new wife ramps up as she plays on her insecurities and the oppressive nature of the house takes its toll. The mystery surrounding Rebecca’s death is revealed and on learning of the true nature of Maxim’s relationship with Rebecca, the new Mrs de Winter finds her confidence and shows spirit as she grows in confidence and refuses to buckle under Mrs Danvers’ influence as she supports her husband in his hour of need.

Sylvester Levay’s music and orchestrations are lush and ambitious. Having never seen Michael Kunze’s German language version I can’t comment, but Christopher Hampton’s English translation is unfortunately clunky and overblown at times. The choices to sing through some parts of conversations and talk through others is slightly baffling, and the numbers that are obviously deemed IMPORTANT could do with having a few choruses trimmed. Richard Carson does his utmost in his confessional “I’ll never forget her smile”, but there is so much thrown stylistically into that song that it is hard to care about a pivotal revelation. I found it disappointing that the writers went with Hitchcock’s version of Rebecca’s death rather than Du Maurier’s original, as Maxim’s actions and his wife’s decision to stand by him are much more questionable and interesting in the original version, but the choice fitted in with this melodramatic show.

Director Alejandro Bonatto keeps the action moving amidst some awkward scene changes on a set that never seems to quite match the lofty ambitions of the show. Perhaps on a larger stage and with a bigger budget the vision could be achieved. There is some atmospheric projections and lighting that impress, but soon become overused and lose impact. The expositional numbers from the staff at Manderley are fun, and the shipwreck scene is wonderfully staged. With the cast entering from the auditorium at certain points, I can understand the choice to have the cast running everywhere when Manderley burns, but the scene becomes unwittingly comical rather than dramatic, somewhat dampening the tension. Jones and Carson have gorgeous voices and try their best to make the underwritten characters memorable, while Kara Lane channels her inner Morticia as the increasingly unhinged Mrs Danvers. Lane is delightfully creepy and imposing and nails the title song with killer vocals. Unfortunately, that song is used a little too much as a marker of Mrs D’s obsessive devotion and loses its power.

There are the makings of a wonderfully dark and atmospheric production in this material – some judicial trimming and enhancing the writing of the de Winters would help. As it stands, Rebecca is a worthy attempt with soaring music and a fine cast.

York Theatre Royal

Reviewed by K.Roberts

4****

Velma Celli’s, God Save the Queens is a mix of old fashioned cabaret and humour that Ian Stroughair (Celli) delivers with his usual confident demeanour and old school wit. He unashamedly informs the crowd from the start that if they’re easily offended then this shows not for them. Of course everyone knows what they’re getting from the experience and laps up his initial banter before settling down to enjoy the show.

The thing with Stroughair is although his alter ego plays up to the crowd with his stage character and diva antics, he can of course sing and very well at that. Beginning with Florence and the Machine (Dog Days are Over) he sets a tone from the start. Peppered with classics from Queens such as Adele, Amy Winehouse and Annie Lennox, he belts out hit after hit, hitting the high notes with aplomb.

A show like this can be particularly exhausting when delivering a set of powerful hits but Celli never falters. The crowd is encouraged to get involved throughout, which makes for a great atmosphere. Some personal stories from Celli adds some depth to the performance and then after the break you’re treat to some lovely moments with special guests Jessica Steel and Stuart Allen. This leads to a particularly poignant duet between Steel and Celli, singing Sinead O’Connors, Nothing Compares 2 U, which quietened the audience as it was a beautiful tribute to the late singer. Once Celli took centre stage again, the show was then wrapped up with a fabulous Queen medley sending the raucous crowd home satisfied that they’d been thoroughly entertained.

Despite the fantastic vocals and sharp wit of Celli, I think she was let down a little with the production. The show could do with a bit more glam befitting of a night with a Queen. Celli looked fabulous but the stage setting was rather drab. The band sat behind in relative darkness, looking at times to be bored and a little out of place. A show like this needs a background that is worthy of the songs and the artist performing them, their name up in lights, some dancers possibly. Aside from this Celli thoroughly entertained the crowd and I can understand how Stroughair has won so many accolades for other performances in the past. Just next time, we need a stage that is fit for a Queen.