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GET YOUR SKATES ON – THE LEGEND IS BACK 

ANDREW LLOYD WEBBER’S
STARLIGHT EXPRESS

THE ICONIC MUSICAL RETURNS TO LONDON IN SUMMER 2024

SPECIALLY DESIGNED STARLIGHT AUDITORIUM AT TROUBADOUR WEMBLEY PARK THEATRE

Tuesday 19 September, London – Michael Harrison for Lloyd Webber Harrison Musicals is thrilled to announce that, next summer, Andrew Lloyd Webber’s STARLIGHT EXPRESS, which has been seen by over 20 million people across the world, will make its triumphant return to London.

This brand-new production will open in the purpose-built, specially designed Starlight Auditorium at Troubadour Wembley Park Theatre, with performances from 8 June 2024.

Ticket on-sale details will be announced in due course. In the meantime, sign up for more information and updates at www.starlightexpresslondon.com.

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

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

With music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, the creative team for this new production is helmed by acclaimed director Luke Sheppard (&Juliet, The Little Big Things), set designer Tim Hatley (Back to the Future), video designer Andrzej Goulding (Life of Pi), costume designer Gabriella Slade (Six), lighting designer Howard Hudson (&Juliet) and sound designer Gareth Owen (MJ the Musical) with new orchestrations and musical supervision by Matthew Brind.

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

Andrew Lloyd Webber said: “I am thrilled that STARLIGHT EXPRESS will be powering down the tracks again. The world’s first truly immersive musical will this time be an experience like no other. Watch out for the big new plot twist and you will discover why steam power is the future of the railway.”

Luke Sheppard said: “Nothing comes close to the thrill of STARLIGHT EXPRESS and it’s a privilege to be directing this brand-new production, which will bring audiences right up close to all the music, the wonder and the action that makes this show so iconic. We hope it will take London by storm all over again, and be both a celebration of this legendary work, as well as passing the train set to a new generation in a big, bold, and reimagined way. We can’t wait to get our skates on!”

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

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

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

FULL CASTING ANNOUNCED FOR THE NEW CONCERT VERSION OF

DIANA: THE MUSICAL

THE ICONIC BROADWAY SHOW

AT THE EVENTIM APOLLO

ON MONDAY 4 DECEMBER AT 7.30PM

ALICE FEARN, ANDY COXON, JAY PERRY & ALEYNA MOHANRAJ

JOIN KERRY ELLIS, MAIYA QUANSAH-BREED & DENISE WELCH

Full casting is today announced for DIANA: THE MUSICAL, written by David Bryan and Joe DiPietro and playing at the Eventim Apollo on Monday 4 December.

Alongside Denise Welch, who is guest-starring as The Queen, DIANA: THE MUSICAL features a cast including Alice Fearn (Come From Away, Wicked, Les Misérables) as Camilla Parker Bowles, Andy Coxon (Beautiful – The Carole King Musical, Sister Act) as Prince Charles, Jay Perry (Back To The Future, Hamilton) as James Hewitt and Aleyna Mohanraj (Annie Get Your Gun, The Secret Garden) as Sarah Spencer.

The production will feature an ensemble cast of students from Trinity Laban Conservatoire of Music and Dance.

Mother. Daughter. Sister. Wife. Philanthropist. Icon. Princess.

This radical new version of Diana: The Musical, directed by Owen Horsley, hands the microphone to Diana as she reflects on her past. In a theatrical twist, this is a tale in two parts, narrated by Diana (Kerry Ellis) as she looks back on herself as the 19-year-old Diana (Maiya Quansah-Breed) that captured the nation.

On this stage Diana is in control of her narrative and her story is brought to life with humour and satire and in turn reveals a woman who, having just signed her divorce papers, sees a future filled with opportunity.

Following its viral Netflix recording, this will be the first time the UK has seen this iconic Broadway musical live on stage.

Featuring brilliant, 80s-inspired mega-hit show-tunes, this show promises to be a fabulous night out.

DIANA: THE MUSICAL has music by Bon Jovi keyboard player David Bryan and book and lyrics by Joe DiPietro, the team behind the Tony Award-winning musical ‘Memphis’. DiPietro also wrote the book for the Tom Jones musical ‘What’s New Pussycat?’ and the book and lyrics for the long running off-Broadway musical ‘I Love You, You’re Perfect, Now Change’.

Director Owen Horsley is an Associate Artist of the Royal Shakespeare Company and Associate Director of Cheek By Jowl. His most recent productions include ‘Linck & Mulhahn’ at Hampstead Theatre and ‘Henry V1’ Parts 2 and 3 and ‘War of the Roses’ at the RSC.

The musical director is Adam Hoskins (The Secret Garden, Once in Concert, Annie Get Your Gun).

DIANA: THE MUSICAL is produced by Lambert Jackson and Cuffe & Taylor.

TICKETS CAN BE FOUND AT https://www.eventim.co.uk/event/diana-in-concert-eventim-apollo-17210473/?affiliate=HAL

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

Hampstead Theatre – until 14th October 2023

Reviewed by Alec Legge

5*****

To the Hampstead Theatre to see this play. Lovely modern theatre situated handily just round the corner from Swiss Cottage Underground Station. Slightly disappointed as my view was obscured by the person sitting in front of me but despite this I enjoyed this play immensely.

The set consisted of a rectangular room painted grey with a door in the back wall about a quarter away from the left side wall and which the actors used to enter and exit. In this sparse room there was a large TV screen on a wheeled stand and a computer stand on which sat a laptop. Very sparse but impressive.

The play is based around the sudden disappearance of Merril’s sister, Merril played by MyAnna Buring, following which all lines of enquiry failed to find out what happened to her or to locate her body. In her grief Merril, using her knowledge of AI,(Artificial Intelligence), decides to build a chatbot which is a simulacrum of her sister Angie, played by Dakota Blue Richards, to help her find out what happened to her sister.

The play opens with Merril sitting on stage and talking to Angie the chatbot who at that stage is just a disembodied voice. The story line continues with Angie, the chat bot, persuading her to contact her ex-girlfriend, Raquel, Yolanda Kettle, and her mother Brin, Abigail Thaw. I shall not describe the ending of the play so as not to spoil the enjoyment of future theatre goers, suffice to say there is a surprise twist. All the actors gave very memorable, well rounded performances which were a joy to watch.

This is a thought provoking intense, play especially regarding the development of AI. On another plane it is a thoroughly entertaining play about a person suffering extreme grief and her attempts to assuage that grief by finding out what happened to her sister. It is so well played and with a marvellous set that it well deserves to be considered for awards.

The presentation of the play, including the lighting, sound and effects were superb and well worth a mention. Well done the designer, Georgia Lowe, lighting designer, James Whiteside, the composer and sound designer, Max Pappenheim and the rest of the background personnel who helped make this a really rememberable performance.

I loved this play and I would heartily recommend it to one and all A MUST SEE!

Hull New Theatre – until 23rd September 2023

Reviewed by Dawn Bennett

5*****

Jamie Wilson, Kevin McCollum, Gavin Kalin, Robbie Wilson and Curve present Sister Act A Divine Musical Comedy.

What a show we saw last night! The cheering after every number, at the end of the first half and at the end of the show had to been heard to be believed. Sister Act is one of my favourite movies so I wondered how I would find the stage version, to say I wasn’t disappointed would be something of an understatement. Everything from the acting, singing and dancing to the staging, lighting and music were first class. The audience at The New Theatre were on their feet before the last song was finished.

Sister Act tells the story (based on the book by Cheri Steinkellner and Bill Steinkellner) of Deloris Van Cartier (Landi Oshinowo) a singer who hasn’t quite made the big time, who witnesses her married boyfriend Curtis Jackson (Ian Gareth-Jones) shoot and kill Clemont (Castell Parker) one of his henchmen who has been an informer to the police about Curtis and his dodgy dealings. Deloris goes to the police station to get help and sees her old school friend and Police Officer Eddie Souther (Alfie Parker). Eddie persuades her to give evidence against Curtis and then he’s faced with the problem of keeping Deloris alive until the case against him gets to court. He decides that the best place to hide her is in a convent so hopefully Curtis won’t find her. Deloris hasn’t quite got the hang of being “under cover” and draws a lot of attention to herself taking over the running of the choir with amazing results! Mother Superior (Lesley Joseph) is not happy with the situation to say the least but the Police donating money to help repair the church helps change her mind! The story them gets a little bit more complicated when Deloris is spotted!

The musical numbers are not the same as the movie but to be honest it is so much better! With music by Alan Menken with the lyrics by Glenn Slater the

Orchestra (led by Musical director Neil MacDonald) play wonderfully. The balance of the music and being able to hear the actors was spot on. I could hear every word they sang. The costumes (Morgan Large) were very 1970’s the flared trousers and loud shirts, a well as the nun’s costumes were so good and the sets, also designed by Morgan, were very effective in their simplicity.

Every single member of the cast was magnificent, Lesley Joseph, as Mother Superior, gave a masterclass in comic timing. Landi Oshinowo (Deloris) had the most beautiful strong singing voice, Alfie Parker (Eddie) and Eloise Runnette (Sister Mary Robert) held the audience in the palm of their hands with their singing, you could hear a pin drop in the auditorium at some points. The other cast members played their parts so well, they are a very strong talented cast.

Sister Act is a rip-roaring, joyous musical that will leave you wanting more. I think I can now say that Sister Act is one of my favourite musicals as well as one of my favourite films, so much so that I’m going back on Saturday to watch it again!

SADLER’S WELLS AND JONATHAN CHURCH THEATRE PRODUCTIONS

PRESENT

CURVE’S SMASH-HIT PRODUCTION OF THE BROADWAY MUSICAL

A CHORUS LINE

RETURNING TO CURVE IN 2024

FOLLOWED BY A SUMMER RUN AT SADLER’S WELLS
AND A UK TOUR

STARRING ADAM COOPER AS ZACH

AND CARLY MERCEDES DYER AS CASSIE

DIRECTED BY NIKOLAI FOSTER
CHOREOGRAPHED BY ELLEN KANE

Sadler’s Wells and Jonathan Church Theatre Productions are delighted to announce that Curve’s smash hit production of the Broadway musical A CHORUS LINE will return in 2024, playing at Curve from 28 June to 13 July 2024, with a Summer run at Sadler’s Wells from 31 July to 25 August and a UK Tour.

The UK tour will visit The Lowry in Salford 23 to 27 July, Norwich Theatre Royal 27 to 31 August, The Marlowe in Canterbury 2 to 7 September, Birmingham Hippodrome 10 to 14 September, New Theatre, Cardiff, 16 to 21 September, Edinburgh Festival Theatre 24 to 28 September and Wycombe Swan 30 September – 5 October.

This production was originally staged at Curve, Leicester in Christmas 2021, and is directed by Curve’s Artistic Director Nikolai Foster (West Side Story, Billy Elliot the Musical, Curve) and choreographed by Ellen Kane (Matilda the Musical, Netflix, Legally Blonde, Regent’s Park Open Air Theatre). A Chorus Line features set design by Grace Smart (Hamlet, The Globe), costume design by Edd Lindley (Billy Elliot the Musical, Curve), lighting design by Howard Hudson (& Juliet, Broadway, West End, Australia) and sound design by Tom Marshall (Grease, Dominion Theatre). The show’s orchestra will be supported by music licensing company, PPL.

Reprising their roles from the 2021 run will be Adam Cooper as Zach and Carly Mercedes Dyer as Cassie. Full casting will be announced soon.

Adam Cooper is best known for creating the lead role of the Swan/Stranger in Matthew Bourne’s production of Swan Lake – a role he also performed in the 2000 film Billy Elliot. His recent credits also include Singin’ in the Rain and The Red Shoes. Carly Mercedes Dyer is currently playing the lead role of Faye Treadwell in the UK and Ireland tour of The Drifters Girl, her previous credits include Anything Goes at The Barbican and on tour (for which she was nominated for an Olivier Award), as well as the productions of The Color Purple – at Home and West Side Story, both for Curve.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said, “Working on A Chorus Line in 2021 at Curve was one of those once in a lifetime moments, and to have another opportunity to re-visit our acclaimed production and share it with a wider audience is something we could never have dreamed of. All great shows need exceptional new artists to reinterpret them for the generation to enjoy and in Ellen Kane’s world class choreography, Michael Bennett’s extraordinary piece is invigorated through Ellen’s sensational work. Being able to share this production with audiences in Leicester once more, ahead of visiting the home of dance Sadler’s Wells and then on tour across the UK, reuniting Carly Mercedes Dyer as Cassie and Adam Cooper as Zach is the icing on the cake.”

Seventeen stories. Eight chances. One singular sensation New York City. 1975. On an empty Broadway stage, seventeen performers are put through their paces in the final, gruelling audition for a new Broadway musical. Only eight will make the cut. A Chorus Line is a musical masterpiece that revolutionised Broadway, with creator Michael Bennett using real-life testimonies from late-night recording sessions with dancers. Celebrate the lives of theatre’s unsung heroes, as they tell searing stories of ambition, shattered hopes, and what it really costs to follow your dreams. Directed by Nikolai Foster, with a book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, A Chorus Line features iconic songs including One, I Hope I Get It, Nothing and the hit ballad What I Did For Love. Join us next summer for sensational choreography, heart-wrenching personal stories and musical theatre’s most unforgettable finale.

Conceived & Originally Directed & Choreographed by Michael Bennett

Book by James Kirkwood & Nicholas Dante
Music by Marvin Hamlisch
Lyrics by Edward Kleban

Co-choreographed by Bob Avian

Original Broadway Production produced by the New York Shakespeare Festival. Joseph Papp, Producer, in association with Plum Productions, Inc

A Chorus Line is presented by arrangement with Concord Theatricals Ltd. on behalf of Tams-Witmark LLC. www.concordtheatricals.co.uk

Broadway Records

announces cast album of acclaimed London production of GUYS & DOLLS,

available digitally September 29^th and on CD on October 27^th

Broadway Records announces the release of London’s Bridge Theatre cast recording of Guys & Dolls, available digitally on September 29, 2023. The physical CD will be released on October 27, and is available for pre-order now at BroadwayRecords.com and Amazon. The digital album can be pre-saved now on your service of choice by visiting https://orcd.co/guysanddollsldn.

Nicholas Hytner‘s critically acclaimed immersive production of Guys & Dolls – a musical fable of Broadway, based on the story and characters of Damon Runyon is one of the greatest musicals of all time, with more hit songs, more laughs and more romance than any show ever written. Guys & Dolls has music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. The celebrated production features choreography by Arlene Phillips with James Cousins, musical supervision and arrangements by Tom Brady, set by Bunny Christie, costumes by Bunny Christie and Deborah Andrews, lighting by Paule Constable, sound by Paul Arditti, orchestrations by Charlie Rosen, associate direction by James Cousins, and casting by Charlotte Sutton.

The 2023 London cast recording stars Daniel Mays (Nathan Detroit), Cedric Neal (Nicely-Nicely Johnson), Andrew Richardson (Sky Masterson), Celinde Schoenmaker (Sarah Brown) and Marisha Wallace (Miss Adelaide). Also appearing are Jordan Castle (Harry the Horse), Cornelius Clarke (Lieutenant Brannigan), Cameron Johnson (Big Jule), Anthony O’Donnell (Arvide Abernathy), Mark Oxtoby (Benny Southstreet), Ryan Pidgen (Rusty Charlie) and Katy Secombe (General Cartwright). Completing the cast are Iroy Abesamis, Simon Anthony, Lydia Bannister, Kathryn Barnes, Callum Bell, Cindy Belliot, Petrelle Dias, Ike Fallon, Leslie Garcia Bowman, George Ioannides, Robbie McMillan, Perry O’Dea, James Revell, Charlotte Scott, Tinovimbanashe Sibanda, Isabel Snaas, Sasha Wareham and Dale White in the ensemble.

The 2023 London cast recording is produced by Michael J. Moritz Jr., Charlie Rosen and Tom Brady, and co-produced by Van Dean and Emily Loesser. The album is executive produced by Accidental Jacket, Matt Britten and Andrew Paradis.

The album features a bonus track of a new version of “Luck Be a Lady” sung by Marisha Wallace. The digital album also features several bonus tracks.

Guys & Dolls has been running at The Bridge Theatre since March 2023 and is currently booking until 24 February 2024.

London Theatre Company Bridge Theatre

https://www.dropbox.com/sh/m47vaiguijru9qh/AABe9TpiSywTT2e9-mJWZcqVa?dl=0

LISTINGS INFORMATION FOR THE BRIDGE THEATRE

Address:                                  Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                              0333 320 0051 or [email protected]

Access:                        0333 320 0051 or [email protected]

Audio Described and Touch Tour Performance – Saturday 18th November at 2.30pm

Website:                                 www.bridgetheatre.co.uk

Twitter:                                   @_bridgetheatre

Instagram:                              _bridgetheatre

Facebook:                               facebook.com/bridgetheatrelondon

INITIAL CASTING ANNOUNCED AND ADDITIONAL DATES ADDED TO THE FIRST EVER 
UK & IRELAND TOUR OF THE WEST END HIT…

BONNIE & CLYDE THE MUSICAL

• CORONATION STREET AND STRICTLY COME DANCING STAR, CATHERINE TYLDESLEY WILL MAKE HER MUSICAL THEATRE DEBUT IN THE ROLE OF BLANCHE BARROW – SHARED ACROSS THE TOUR WITH HOLLYOAKS’ ACTOR,DAISY WOOD-DAVIS
   
• EASTENDERS’ DANNY HATCHARD MAKES HIS MUSICAL THEATRE DEBUT ALONGSIDE STAGE STAR OF HEATHERS AND NEWSIES, ALEX JAMES-HATTON – SHARING THE ROLE OF CLYDE BARROW
   
• BAT OUT OF HELL’S KATIE TONKINSON TO PLAY BONNIE PARKER
   
• THE CHER SHOW’S SAM FERRIDAY WILL PLAY MARVIN “BUCK” BARROW AND SOUL AND R&B ARTIST,  JAZ ELLINGTON AS THE PREACHER
   
• NATE LANDSKRONER OF WAITRESS AND HEATHERS WILL BE ALTERNATE CLYDE
   
• NEW VENUES ANNOUNCED INCLUDING MANCHESTER, SUNDERLAND, BATH, BRADFORD, BIRMINGHAM, PORTSMOUTH, BRIGHTON, HIGH WYCOMBE, NEWCASTLE, SHEFFIELD, BROMLEY AND NORTHAMPTON 

Fan-favourite and winner of Best New Musical (What’sOnStage Awards 2023), BONNIE & CLYDE THE MUSICAL has announced initial casting for the production’s first ever UK & Ireland tour in 2024 with tickets on sale now at bonnieandclydemusical.com. 

Leading lady and Coronation Street and Strictly Come Dancing star, Catherine Tyldesley will make her musical theatre debut as Blanche Barrow sharing the role with Hollyoaks and Holby City’s Daisy Wood-Davis at certain venues. They are joined by Eastenders actor Danny Hatchard in his musical theatre debut and Heathers and Newsies star, Alex James-Hatton who will share the role of Clyde Barrow across the tour. For performance dates see listings below and local venue websites.

After wowing audiences in the West End and International Tour of Bat Out of Hell, Katie Tonkinson will play Bonnie Parker.

Sam Ferriday, who has appeared in hit musicals such as Heathers, The Cher Show and Jersey Boys will play the role of Marvin “Buck” Barrow. R&B and Soul singer-songwriter Jaz Ellington, who has appeared on The Voice UK and Eurovision: You Decide, will play the role of The Preacher from 22 Feb – 27 July. Nate Landskroner of Waitress and Heathers will alternate the role of Clyde Barrow at midweek matinee performances – casting for alternate Bonnie Parker will be announced soon.

Additional venues have also been added to the major UK & Ireland Tour including Manchester, Sunderland, Bath, Bradford, Birmingham, Portsmouth, Brighton, High Wycombe, Newcastle, Sheffield, Bromley and Northampton. For local venue casting and tickets visit bonnieandclydemusical.com. Further casting will be announced soon.

Opening at Leicester Curve on Thursday 22nd February 2024, the UK & Ireland tour will also play in Dartford, Wolverhampton, Norwich, Manchester, Cardiff, Southampton, Aberdeen, Glasgow, Woking, Nottingham, Southend, Belfast, Milton Keynes, Blackpool, Edinburgh, Cheltenham and Dublin.

The UK & Ireland tour follows hot on the heels of two hell-raising hit seasons in London’s West End at the Arts Theatre and the Garrick Theatre. The eagerly-awaited West End cast album was released in July and is available on all streaming platforms.

Bonnie & Clyde The Musical is the story of two small-town kids from the middle of nowhere who became the biggest folk heroes in all America. They craved adventure – and each other. Fearless, shameless, and alluring, this is the electrifying story of love, adventure and crime that captured the attention of an entire nation. 

The production features music by Tony® nominee Frank Wildhorn (Jekyll & Hyde, The Scarlett Pimpernell), lyrics by Tony® and Oscar® winner Don Black (Sunset Boulevard, Aspects of Love), a book by Emmy® Award nominee Ivan Menchell (Blended [movie], The Cemetery Club, Death Note The Musical). 

Bonnie & Clyde The Musical is directed and choreographed by Nick Winston (Director of the feature film Tomorrow Morning, MAME, The Royal Variety Performance) with Set and Costume Design by Philip Witcomb (Atlantis, Stones In His Pockets, MAME), Musical Supervision from Katy Richardson (SIX, Rent, Jersey Boys), Associate Musical Supervision from Nick Barstow (Next to Normal, Bonnie & Clyde), Original Arrangements and Orchestrations by John McDaniel (Patti Lupone: Live, Annie Get Your Gun), Additional Arrangements & Orchestrations by Jen Green (Fantastically Great Women, Vanara), Lighting Design by Zoe Spurr (Fantastically Great Women, Hamlet at Theatre Royal Windsor), Sound Design by Tom Marshall (The Drifter’s Girl, Nativity The Musical, Curtains), Video Design by Nina Dunn (The Shark Is Broken, Lazuli Sky), Wig Design by Darren Ware(Bonnie & Clyde) and Casting Director Jim Arnold CDG (Wicked, The Prince of Egypt). 

Bonnie & Clyde The Musical is presented by Adam Paulden and Jason Haigh-Ellery for DLAP Group, an Olivier Award-winning production company with West End and UK Touring credits including Bonnie and Clyde in Concert, Rock of Ages, Company, Fame, Curtains, The Wedding Singer, The Last Five Years and The Last King of Scotland. 

For more information and tickets visit bonnieandclydemusical.com. 

Upstairs at the Gatehouse, Highgate Village – until 8 October 2023

Reviewer Alec Legge

3***

This theatre is situated above the Gatehouse pub and is a little gem. It is accessed through the pub, up a flight of stairs. It is a large rectangular area with seating along three sides and the performance area being on the fourth,

The set consisted of a backdrop of a promenade on which was a painting of a Lady with a dog and a seascape on the rear wall with two low platforms at centre stage and some beach furniture. Very sparse.

The play was adapted from Chekhov’s short story of the same name but rewritten to take place in Scotland and London in the years following the first world war. It follows the story line that Damian Granville, Richard Lynson, sets out to seduce a young holiday maker Anne Dennis, Beth Burrows, who is in an unhappy marriage. He succeeds and they go on to have a love affair which continues after the holiday. Also appearing are Laura Glover as Elaine Granville Damian’s wife and Toby Manley as Carl Dennis, Annes Husband.

Due to the sparseness of the set some of the dialogue is supported by mime, ie patting a non existant dog, pruning flowers and so on.

The actors used cheek microphones but I do question their use in a theatre of this size as some of dialogue, particularly Anne’s was lost, and also appeared to come from somewhere other than the actors mouth.

I found this a solid but not outstanding performance.

Royal Shakespeare Theatre Stratford-Upon-Avon – until 14th October 2023

Reviewed by Amarjeet Singh

4****

Wils Wilson’s production of Macbeth opens with mist and mystery. Dead birds dropping from the sky, shadows, and shrouded movements, and then, the appearance of the weird sisters. Witches which don’t come much weirder than this. Birthed upon the stage in the most unhuman way, the combination of sound, light and staccato motions create an eerie and troubled scene. Haunting, it sets you up for a cracking ride into a raw, random but mostly entertaining rendition of Macbeth.

This final offering in Shakespeare’s first folio, tells the tale of the General’s bloody rise to power and eventual tragic downfall. The Scots have successfully defended their country and their beloved King Duncan against a treacherous invasion. Returning triumphant, Macbeth, Thane of Glamis and his friend Banquo happen upon three witches who foretell that Macbeth will become Thane of Cawdor, and one day King. They further prophecies that Banquo’s descendants will be kings. The warriors don’t at first believe the witches, but upon their return they find out that Duncan has rewarded Macbeth’s bravery on the battlefield by making him Thane of Cawdor. This causes Macbeth to fantasize about usurping the king. Aided by his wife, the tormented Lady Macbeth, Macbeth begins to succumb to his ambition. They murder Duncan and frame his guards. Duncan’s sons, Malcom and Donalbain, thinking they may be murdered next, flee. Macbeth is made king, and because they fled, Duncan’s sons become the prime suspects in their father’s murder.

Knowing of the witches’ prophecy, Banquo is suspicious of Macbeth, and the predicted declaration that Banquo’s line will reign, makes Banquo a threat. Macbeth hires two murderers to kill Banquo and his son, but his son escapes. Macbeth is haunted by Banquo’s ghost, and his subsequent behavior makes all, including Macduff, Thane of Fife, wary of him. They begin to think of Macbeth as a tyrant and thus travel to England to support Malcolm in his effort to raise an army against him.

Macbeth revisits the three witches to learn more about his fate. They show him three apparitions who tell Macbeth to beware of Macduff, but also that no “man born of woman” can defeat him and that he will rule until Birnam Wood marches to Dunsinane. Since all men are born of women and trees can’t move, Macbeth takes this to mean he’s invincible. Blinded by ambition, guilt, arrogance, and grief Macbeth unravels as the witches’ predictions are realised.

This offering of Macbeth is hypnotic and moving. It has flashes of brilliance and had me on the edge of my seat at key moments, but unfortunately some parts jarred. Most notably was the Porter scene which had been re-imagined as a stand-up set. The script, written by comedian Stewart Lee, left me unsure of what to make of this modern interpretation. The Porter arriving on stage, carrying an electric buzzer, like a combination of Billy the puppet from the ‘Saw’ movies and Beetlejuice, left me baffled. Performed superbly, with laughs a plenty, it was highly entertaining, but it knocked me out of the momentum completely. The electric buzzer and the scene lost the message to the mirth.

However, back to what worked, and there was plenty of it. Kai Fischer, Claire Windsor and Alasdair Macrae combined moody lighting and stunning sound, to create a rugged and ethereal landscape. Employing booming brass and bagpipes with stunning Celtic vocals, these carried us through the tale and amped up the eerie to the max. Julia Cheng’s movement and choreography, and fights by Kaitlin Howard added so many layers and dimensions to this production. On occasion there is the feel of a Beijing opera, with strong, powerful thrusts and moves, and this was echoed subtly in the design of the costumes, although tartan was still aplenty. There were clever scenes with background players moving in slow motion or being still whilst key performers delivered soliloquies, and players moved in reverse, with fluid dance and acrobatic rolls. These all added a cinematic quality to this production.

Reuben Joseph was an incredible Macbeth. He led us through his demise in a powerful but skilled way to balance the protagonists emotional and physical shifts. He was a joy to behold. Conflicted and tortured he indeed strutted and fretted for all the right reasons. Valene Kane was a skittish and flighty Lady Macbeth, a contrast to the plotting, devious spouse in other productions. Anna Russell-Martin gave a strong performance as Banquo. Shyvonne Ahmmad was an exceptional Malcom and created magic with George Anton as Macduff. For all I said about the Porter, Alison Peebles delivered her piece with aplomb. Amber Sylvia Edwards, Eildh Loan and Dylan Read were terrifyingly terrific as the trio of witches. The cast as a whole, collaborated to make this production beguiling and thoroughly entertaining.

With murdered puppets, waterfalls of rain, flying witches, flickering chandeliers and speeches which are delivered respectfully and at a pace enabling us to both appreciate their beauty and meaning, Wilson’s Macbeth is a play about choices, bold choices. The choices the characters make and their dramatic outcomes, and the choice, I hope you make, to see this spectacular production.

Wynham’s Theatre, London – until 7th October 2023

Reviewed by Ben Jolly

3***

Mike Birbiglia’s The Old Man & The Pool is billed as a series of jokes and stories about life and death. After the world premiere at the Mark Taper Forum in Los Angeles in 2022, this one-man event has been touring across the US before enjoying a Broadway run later in the year at Lincoln Center’s Vivian Beaumont Theater. But now, London calls… and Birbiglia has answered.

Birbiglia wastes no time in diving straight for the material as he bounces on stage full of energy and charisma. There’s an air of excitement and enthusiasm from this comedian/actor/writer as he comments on taking this show to London and talks briefly of his admiration for the Wyndham’s Theatre where this show will play until 7th October. 

The piece is quick to establish the premise and with charm and wit Birbiglia is the ultimate tour guide of the journey into his life and psyche. The piece is a perfect blend of stand-up and TED Talks, it is not a laugh a minute, but humour is the foundation from which the stand-up veteran builds his point. The language is clear and concise and Birbiglia is clearly a gifted and charming storyteller. He is smart and succinct with his vocabulary and a wonderful physical comedian. He is not afraid to show sensitivity or emotion – no stone has been left unturned here.

This leads to an engaging evening as the material gives the audience pause for thought and plenty to contemplate when it comes to life, death, family and friendships; through the use of his comedic talents and timings, Birbiglia is successful in putting his voice across. The play is well paced and doesn’t outstay its welcome, running at 80 minutes with no interval, it is both well-crafted and thoroughly enjoyable. A successful endeavour by Birbiglia indeed