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Riverside Studios – until October 29 2023

Reviewed by Ben Jolly

3***

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

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

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

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

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

Leeds Grand Theatre – on tour until 16th November 2023

Reviewed by Dawn Smallwood

4****

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

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

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

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

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

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

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

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

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

OCTAGON THEATRE, BOLTON – UNTIL – SATURDAY 21 OCTOBER 2023

REVIEWED BY ZOE BROWN

5 *****

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

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

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

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

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

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

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

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

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

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

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

LIVERPOOL OLYMPIA – THURSDAY 5TH OCTOBER 2023

REVIEWED BY MIA BOWEN

4****

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

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

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

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

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

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

York Theatre Royal – Thursday 5th October 2023

Reviewed by Michelle Richardson

4****

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

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

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

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

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

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

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

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

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

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

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

Leeds Playhouse – until 7 October 2023

Reviewed by Sal Marino

5*****

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

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

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

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

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

Curve Theatre Leicester – until 14th October 2023

Reviewed by Amarjeet Singh

5*****

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

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

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

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

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

Theatre Royal Haymarket, London – until 16th December 2023

Reviewed by Phil Brown

5 *****

Michael Frayn’s ageless “Noises Off” is now 41 years old but remains as bright and original as newly minted coin .  Apparently, it is regularly revived by both professional  theatre and am-dram companies, and that’s because it’s possibly the closest thing to a theatrical slam dunk there is.  A virtual guarantee of bums on seats.  The fiendishly intricate interplay still leaves plenty of scope for mishaps, but in the hands of a seasoned director and cast, it is a scintillating display of acting skill, precision timing and clever comedy.   The 2011 staging at the Old Vic was my first memorable encounter with “Noises Off” with Lindsay Posner as director, and he brilliantly reprises that role for the superbly orchestrated chaos of this production.

Michael Frayn’s concept of a farce about a farce may have occurred to others, but you fancy only he has the goods  and the patience to actually realise it so perfectly.  “Noises Off” takes us through the life cycle of a farce suggestively entitled “Nothing On”  from Act 1 – during rehearsals at the Grand Theatre, Weston-Super-Mare, through Act 2 – back stage during a matinee performance in the Theatre Royal Ashton-under-Lyne  to Act 3 – towards the end of the tour, on stage at the Old Fish Market Theatre, Lowestoft where the performance of “Nothing On” finally unravels into disarray.  

Act 1 is set in the supposedly empty house of Belinda (played by Tamzin Outhwaite) and Frederick (Jonathan Coy, a veteran of the 2011 production) who are tax exiles   It is quite slow to start, with what seemed an overlong opening scene with aged housekeeper Dotty (Felicity Kendall) channelling Mrs Overall whilst wrestling with a plate of sardines and what is now an old fashioned, wired house phone.  This is the opportunity for director Lloyd Dallas (Alexander Hanson) to establish his directorial presence from alongside the stalls, as well as hint at the frustrations to come.  The pace and energy pick up when estate agent Garry (Matthew Horne) arrives with lover Brooke (Sash Frost) in tow, looking to use the empty house for some afternoon delight.  Then, as per the rules of farce, the owners, Belinda and Frederick show up.  And naturally, the supposedly empty house attracts the attention of a burglar, Selsdon (James Fleet). 

Act 1 sees the cast struggle with confusion – is it a technical or a dress rehearsal? – and director Lloyd’s mounting exasperation.  It also reveals the quirks of the players – Lloyd’s manipulativeness and weakness for/exploitation of the opposite sex, Dotty’s difficulty in combining speech with action, Garry’s inarticulate substitute of “you know what I mean” for  saying exactly what he means, Brooke’s tendency to lose a contact lens at key moments, Frederick’s liability to nosebleed at moments of stress and Selsdon’s liking for a tipple.  And in the best tradition of farce, there is considerable door traffic as the assembled occupants manage to mostly avoid each other.

Act 2 is where the comedic sparks really fly.  It’s a non-stop riot of laughter as we view the performance of “Nothing On” from backstage.  This is also where technician Tim (Oscar Batterham) and stage manager Poppy (Pepter Lunkuse) come into their.own and tensions and jealousies between cast members become fractious.  Director Lloyd unexpectedly shows up for a surreptitious liaison with Brooke and sends Tim out to get flowers and drink. These props are used for hilarious long running verbal and visual humour, as Poppy and others imagine the flowers are for them and cast members take turns to hide the drink from Selsdon.  The sequence of delightfully uncoordinated audience announcements made by Tim and Poppy is sublime. With director Lloyd propelled into full Basil Fawlty mode, the performance  of “Nothing On” resembles pure slapstick.

Act 3 enters the realms of the surreal as relationships, the set and stage timing all fatally disintegrate and the cast resorts to ad-libbing their way through the turmoil before eventually abandoning the plot and descending into incoherent improv shouting “doors and sardines”….

This brilliantly produced and superbly acted show is an absolute masterpiece of comedy.  Although it is a pretty star studded cast individually, each performer plays their part in making the full ensemble the real star of the show.  They succeed in bringing Frayn’s play to exhilarating  fruition with a wonderful exhibition of stagecraft.  The audience loved it and Michael Frayn was even coaxed onto stage to soak up the extended raucous applause.  This is a must-see show.

Riverside Studios – until 25 November 2023

Reviewed by Ben Jolly

3***

Opening at Riverside Studios last night, Flowers for Mrs Harris tells the tale of widowed working-class cleaner, Ada Harris, who after falling head over heels in love with her employer’s Dior dress vows that for the first time in her life she will do something for herself and somehow, someway, buy her very own couture Dior. Based on the 1958 novel Mrs ‘Arris Goes to Paris by American author Paul Gallico, this musical adaptation first came to light at the Crucible Theatre, Sheffield before a revival in Chichester in 2018.

With too much focus on exposition and a distinct lack of action, this fish-out-of-water musical neither soars nor lands from a dramatic perspective. Historically, the musical theatre industry has enjoyed many successes using novels as source material. It worked well (to say the least) for Wicked, Phantom, Les Misérables… so what got lost in translation for Mrs Harris? In this case, the material has been vastly glossed over to allow room for the insertion of music which unfortunately does not elevate or stir emotion, nor does it steer the narrative. There isn’t a single line of melody that sinks in as the whole evening is plagued with songs that are composed purely of recitative. The book and lyrics have been overly simplified leaving us with two dimensional caricatures and stock stereotypes who are left without any real antagonist to play against. Furthermore, any form of conflict is resolved and wrapped up before it has even transpired.

The saving grace for this production is the cast. Lead by Olivier Award-winner, Jenna Russell who as always has expertly constructed a wonderfully rounded, present and nuanced character in the shape of Ada Harris. She is brilliantly supported by Annie Wensak who embodies the role of best friend Violet. Wensak’s performance is reminiscent of an East End Hilda Ogden and she finds the humour and playfulness in each moment she has to shine. Kelly Price, doubling in the roles of Lady Dant and Madame Colbert brings a fresh (and much needed) boost of energy with every scene; her choices are direct, bold and she hits each comedic beat with keen precision. 

This is the third outing of Flowers for Mrs Harris in under ten years and it makes one ponder what it is that warrants the multiple return visits to the stage? With such a thin plot and weak direction, this production should be aided with some high-level production values which, alas, we have also been denied. This was especially clear when finally arriving in Paris at the top of Act 2, we are greeted with a montage sequence to showcase the latest season of Dior’s dresses. What could have been a real “wow-factor” moment ended in a cringe-worthy and painful watch as awkward models staggered down the wobbling staircase, parading creased costumes that looked like they were paid for in full with Mrs Harris’ weekly milk stout budget. Sacré bleu!

SONY MASTERWORKS BROADWAY

RELEASES NEW SINGLE

‘THIS TIME’

PERFORMED AND WRITTEN BY

JOSS STONE AND DAVE STEWART

FROM THE TIME TRAVELLER’S WIFE: THE MUSICAL

AVAILABLE TO STREAM TODAY, FRIDAY 6 OCTOBER

ORIGINAL CAST ALBUM TO THE MUSICAL IS AVAILABLE NOW

STAGE MUSICAL TO OPEN ON 1 NOVEMBER

AHEAD OF FIRST PREVIEW TOMORROW, SATURDAY 7 OCTOBER

AT THE APOLLO THEATRE IN LONDON’S WEST END

MASTERWORKS BROADWAY is delighted to announce the release of This Time, a new single performed and written by Joss Stone and Dave Stewart, from THE TIME TRAVELLER’S WIFE: THE MUSICAL,available to stream today, Friday 6 October: tttw.lnk.to/thistime 

Speaking on the single’s release, Joss Stone said, “Dave Stewart is a legend. He is able to take an emotional ballad into the pop world seamlessly.”

Dave Stewart said “This Time is a song Joss and I crafted over a few years to mould into this amazing love story of THE TIME TRAVELLER’S WIFE: THE MUSICAL. I love Joss’s delicate vocal on this song, and the melody has been stuck in my head since we first wrote it; I think it may get stuck in yours too!”

Grammy and Brit award-winning singer-songwriter, Joss Stone, has released seven studio albums since she secured a record deal at 15 and released her critically acclaimed debut album, The Soul Sessions, in 2003.  In 2015, her album Water for Your Soul was released, achieving the spot of the number-one reggae album upon release and voted best reggae album by Billboard.  In 2019, she completed her most audacious project to date, The Total World Tour, in which she performed a gig and collaborated with local artists in over 200 countries around the world.  Joss Stone’s album Never Forget My Love, produced by Dave Stewart, was released on in: 2022.  Her latest album, 20 Years of Soul Live in Concert, will be released in December.

With a career spanning four decades and over 100 million album sales worldwide, award-winning singer, songwriter, musician, producer and Eurythmics co-founder Dave Stewart is among the most respected and accomplished talents in popular music history. Stewart co-wrote and produced each Eurythmics album in his world-famous duo with Annie Lennox. He has also produced albums and co-written songs with Bob Dylan, Mick Jagger, Tom Petty, Gwen Stefani, Damian Marley, Stevie Nicks, Bryan Ferry, A.R. Rahman, Katy Perry, Sinead O’Connor, Aretha Franklin, Al Green, Joss Stone and many others. His wide-ranging work has earned Stewart a long list of prestigious honours, including over fifty ASCAP and BMI Awards, four Ivor Novello Awards for “Best Songwriter”, four BRIT Awards for “Best Producer” (including a Lifetime Achievement Award), a Golden Globe Award and a GRAMMY® Award. His Eurythmics Songbook: Sweet Dreams 40th Anniversary Tour will play Sunderland Empire on 10 November and London Palladium on 17 November.

The Original Cast Recording to THE TIME TRAVELLER’S WIFE: THE MUSICAL is available to stream now – tttw.lnk.to/musical

Featuring new music by Joss Stone and Dave Stewart, the musical will begin performances tomorrow, Saturday 7 October, opening on 1 November, at the Apollo Theatre in London’s West End.

The cast of THE TIME TRAVELLER’S WIFE: THE MUSICAL is led by David Hunter (Henry), Joanna Woodward (Clare), Tim Mahendran (Gomez), Hiba Elchikhe (Charisse) and Ross Dawes (Henry’s Dad). 

The world premiere production of THE TIME TRAVELLER’S WIFE: THE MUSICAL is based on the best-selling novel by Audrey Niffenegger and the New Line Cinema film, with screenplay by Bruce Joel Rubin.  It has an original musical score and lyrics by multi Grammy Award-winning composers Joss Stone and Dave Stewart. With a book by Lauren Gunderson, additional music by Nick Finlow and additional lyrics by Kait Kerrigan, the production is directed by Bill Buckhurst and designed by Anna Fleischle, with choreography by Shelley Maxwell, lighting design by Lucy Carter and Rory Beaton, illusions by Chris Fisher, video design by Andrzej Goulding, sound design by Richard Brooker, sound FX design by Pete Malkin, musical supervision & arrangement by Nick Finlow, orchestrations by Malcolm Edmonstone and wigs, hair and make-up design by Susanna Peretz.  Casting is by Grindrod Burton Casting.  It is produced in the West End by Colin Ingram, InTheatre Productions, Gavin Kalin Productions, Teresa Tsai, Warner Bros. Theatre Ventures, Crossroads Live and Ricardo Marques.

LISTINGS INFORMATION

THE TIME TRAVELLER’S WIFE: THE MUSICAL

From 7 October 2023

Apollo Theatre

Shaftesbury Avenue

London

W1D 7EZ

Currently booking to 30 March 2024

Performances: Mondays – Saturdays at 7.30pm*, Wednesday & Saturday matinees at 2.30pm**

(*No performance on Monday 9 October; **No Wednesday matinee on 11 October)

Box Office:

Email: [email protected]

Phone: 0330 333 4809

Tickets from: £25

Website: timetravellerswife.com

Twitter: @TimeTWMusical

Instagram: @TimeTWMusical

TikTok: @TimeTWMusical