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Festival Theatre, Malvern – until 4 May 2024

Reviewed by Courie Amado Juneau

5*****

Cluedo 2, as the title suggests, brings the much loved classic boardgame to life once again, with a brand new story from the reliable pens of Maurice Gran and Laurence Marks.

Before the actors entered, the backdrop of the manor house with the classic Cluedo board behind it, at a skewed angle (thanks to Designer David Farley) was a perfect exemplar of scene setting. As was the fantastic ‘60s soundtrack (lots of lovely Beatles tunes got my boat afloat toute suite).

Not wanting to give the game away re whodunnit, with what and in which room (man, that feels good), I’ll just say that the entire cast was superb with Jason Durr (Colonel Mustard) and Gabriel Paul (Reverend Green) giving us a brace of Americans with the requisite larger than life bluster and convincing accents to boot. Meanwhile, Liam Horrigan brought rock star Rick Black (and several others) to psychadelacolour life. Jack Bennett as Wadsworth the butler delivered a standout performance with a manic, pedantic and joyously twisted character to die for (or is that to kill for?). Truly thespianic – he is an actor you know…

The ladies of the cast were all wonderful and an equal to the men, with Ellie Leach leading as the iconic Miss Scarlett. Hard to believe it is her stage debut! The scenes between her and Mrs Peacock (Hannah Boyce) had a frisson of cattiness that was a joy to behold. Mrs White’s “fruity” interjections (delivered with relish by Dawn Buckland) in the kitchen was possibly the funniest moment of the evening and her character was my favourite overall (alongside the aforementioned, marvelous, actor/butler).

Great costumes bringing that most stylish of periods (1968) to life; Debbie Bennett (Costume Supervisor) excelled herself. I thought the use of music, used especially effectively for the transitions between rooms and the “searches/chases”, gave proceedings more than a touch of Scooby Doo – with some wonderful hilarity involving pictures/picture frames. A faithful homage that obviously emanated from a place of love and respect and took one back to simpler, happier times. Anna Healey (Movement Director) and Mark Bell (Director) gave us some lovely allusions to Strictly, cleverly woven into several action scenes. I’m a massive sucker for a slo-mo vignette and the cast did this so well tonight.

Comedy was very much to the fore with lots of breaking of the fourth wall (especially either side of the interval). The theme of English idioms being misunderstood by the Yanks was a rich, recurring seam of comedy gold. The first half was fun, the second half took off like a rocket and didn’t let up till the numerous superb twists in the tale rounded things off most satisfactorily.

Anyone who saw Cluedo in its original run will know what to expect and will love this new tale from the same universe. With all the clever wordplay from the writers, whose vast pedigree precedes them, and some delicious Play That Goes Wrong moments there’s something for everybody. I cannot recommend this show highly enough – it’s murderously good fun! The actors dunnit, with the script, in the theatre – and will be doing it again until Saturday night, so don’t miss it as they dunnit so well!

Birmingham Hippodrome – until 4 May 2024

Reviewed by Amarjeet Singh

4****

Willy Russell’s Blood Brothers is an epic tale set in Liverpool spanning the 60’s, 70’s and 80s. With powerful themes of poverty, class divides, superstition and fate, it centres around the destiny of 2 boys, separated at birth but whose lives are intrinsically drawn together with devastating consequences.

Mrs Johnstone is a struggling, working class, single mother, having been left with a brood of children by her philandering husband. Pregnant with twin boys when he leaves, and barely able to make ends meet, she takes a cleaning job with a wealthy childless couple who are desperate to have a baby of their own. Upon learning of her dire straits, the lady of the house, Mrs Lyons, lures Mrs Johnstone into making a pact, that on the surface will solve everyone’s problems, but in actuality, leads to tragedy, as Mrs Johnstone agrees to let Mrs Lyons take one of the twin baby boys. The pact turns sour, things go awry. But for the safety of the boys, both women agree to never tell them the truth, parting ways and futures. But blood will tell, and the boys reconnect time and time again, their lives shaped by their environments, yet they become best friends and “blood brothers” until the realities of the world take hold and their differences become too stark to ignore, leading to a truly explosive conclusion.

Blood Brothers is powerful, provocative and deals with a lot of thought-provoking themes, which are still as relevant today as they were when the play was first written. However, there was humour aplenty amongst the heartbreak with some truly laugh out loud moments. The scenes depicting the boys as children were magical. Niki Colwell Evans is incredible as Mrs Johnstone. Watching her character grow as she transitions through the ages and witnessing her express a variety of emotions is stunning. She perfectly captured the distress, despair and the drain of a mother who has given up a baby. Her powerful voice is exquisite. Sean Jones’ depiction of Mickey as a 7-year-old completely captured his cheeky childhood capers. He had the audience utterly captivated as he rode in on an imaginary horse and firing his gun. Total brilliance. I wasn’t quite sure if Scott Anson as the Narrator, was supposed to be hamming it up, as it was quite comical rather than dramatic when he appeared on stage as the very present and rather heavy handed ‘Harbinger of Doom’, stating the obvious. Well played if so, with a great voice. The cast as a whole were an incredibly talented team of actors and singers, jumping from role to role in the blink of an eye, they fully embraced the character they were embodying.

With an end scene that shocked and stunned, Blood Brothers garnered a standing ovation and thunderous round of applause from an audience who were completely entertained by a superb cast.

RUNAWAY ENTERTAINMENT PRESENTS THE UK TOUR OF

FAYE TOZER JOINS THE COMPANY OF 101 DALMATIANS IN NEW MUSICAL ADAPTATION TOURING THE UK AND IRELAND IN 2024 

Actor and pop icon Faye Tozer will be playing Cruella de Vil in Norwich, Canterbury, Leicester and Wolverhampton, joining the previously announced dates of fellow Cruella Kym Marsh, who opens the UK and Ireland tour in June. 

The new musical version of Dodie Smith’s classic book, 101 Dalmatians is written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris. The director is Bill Buckhurst, with sets designed by David Woodhead, costumes designed by Sarah Mercadé and choreography by Lucy Hind. Musical supervision is from Alfonso Casado Trigo, orchestration by Jack Hopkins, the puppets are designed by Jimmy Grimes, with lighting by James Whiteside and sound design from Chris Whybrow. The musical director is Leigh Thompson, and casting director is Lucy Casson. 

Singer, Actress, TV personality and West End star Faye Tozer is probably best-known for BRIT Award winning pop band Steps who had number one hits with Tragedy and Stomp and have sold over 25 million records worldwide! Their 10th album The Platinum Collection celebrating 25 years reached an impressive No.1 in the official charts and they have proudly just completed their 10th UK Arena tour. Faye is no stranger to theatre and stage with musical theatre credits  including the brand new production of 42nd Street (UK tour) Singin’ in The Rain (Sadler’s Wells, Toronto and UK Tour), Everybody’s Talking About Jamie (Apollo Theatre), In The Spotlight (UK Tour), Over The Rainbow (Tour), Me And My Girl (UK Tour), Love Shack (UK Tour), Saucy Jack And The Space Vixens (The Leicester Square Theatre) and Tell Me On A Sunday (UK Tour). You may also have seen her gracing your TV screens on Ru Paul’s Drag Race (BBC), The Graham Norton Show (BBC), The One Show (BBC) Ant and Dec’s Saturday Night Take Away (ITV), Gogglebox (Channel 4), Midsomer Murders (ITV), Strictly Come Dancing (BBC), Tonight at the London Palladium,  All Round to Mrs Browns, The Sooty Show, Alan Carr Chatty Man, Steps On The Road Again (Sky Living), Sing If You Can (ITV), Steps The Reunion (Sky Living), Lorraine (ITV)  This Morning (ITV), Loose Women (ITV) and many, many times on Top Of Tops (BBC) back in the day! Faye also loves a Game Show for Charity, she’s appeared on Celebrity Catchphrase, House of Games, The Chase, Pressure Pad, The Crystal Maze, Pointless, The Hit List, Catch Point and Never Mind The Buzzcocks. Faye’s presenting work includes E Today, Pepsi Chart Show and SMTV Live. Film credits include St Georges Day, Mixed Up and Lady Godiva Back In The Saddle. 

When fashionista Cruella de Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, there’s trouble ahead for Pongo and Perdi and their litter of adorable, tail-wagging young pups.

This classic canine caper is brought to life on stage with spectacular puppetry, show-stopping choreography, hilarious songs and irresistible puppies!

Faye Tozer said: “I’m going into my wicked era with this dream role – it really doesn’t get much better than Cruella de Vil! When they offered me the part, I just jumped at the chance. I love that it’s something people probably don’t expect me to do and can’t wait to create my own version of her for this incredible new musical.”

After launching in Wimbledon the production will visit Birmingham, Norwich, Canterbury, Leicester, Manchester, Belfast, Wolverhampton, Newcastle, Southend, Dublin, Liverpool, Milton Keynes, Woking, Cardiff, Southampton, Aberdeen, York, Glasgow, Edinburgh, Oxford and Brighton. 

Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book)

Stage adaptation by Zinnie Harris

Director Bill Buckhurst

Set design David Woodhead

Costume design Sarah Mercadé 

Choreography Lucy Hind

Musical supervision Alfonso Casado Trigo

Orchestration Jack Hopkins

Puppets design Jimmy Grimes

Lighting design James Whiteside 

Sound design Chris Whybrow

Musical director Leigh Thompson

Casting director Lucy Casson

Original production first performed at Regent’s Park Open Air Theatre, London in 2022

For more information visit www.101dalmatians.co.uk

Facebook: /101Dalmatians  | Instagram/TikTok: @101DalmatiansUK

Norwich Theatre Royal – until Saturday 4th May 2024

Reviewed by Boo Wakefield

3***

The Syndicate is the stage adaptation of the successful BBC show written by the late Kay Mellor. Her daughter, Gaynor Faye directs the play and performs the role of Kay, an over-enthusiastic representative from the lotto company. Gaynor Faye’s son, Oliver Anthony, plays the role of Jamie, the jack-the-lad shop worker, making this production a family affair.

Set in a small supermarket, the syndicate comprises of Bob (William Ilkley) the father figure who is the manager of the store, and his employees: Leanne (Rosa Coduri-Fulford) a struggling single mum whose previous life is catching up with her, the un-worldly and unlucky Denise (Samantha Giles), Stuart (Benedict Shaw) whose complicated home life has him running in circles and his brother Jamie. Due to financial burdens, Stuart’s partner Amy (Brooke Vincent) pushes him to find a solution to their problems, resulting in an attempt to steal from the shop with the help of Jamie, an act which goes terribly wrong.

There are several layers to the plot, with the overarching framework being a syndicate of five Yorkshire shop workers winning a lottery jackpot of £24 million. Within this framework each character has their own sub-plot and, despite the inevitable protestations that the win won’t change them, each is affected very differently. Perhaps with the exception of the shop manager Bob (played superbly by William Ilkley), the other four lead characters have flawed personalities and past behaviours which the play reveals to us and which the win exposes mercilessly. As a salutary tale of the potential pitfalls and unintended negative consequences of sudden significant wealth on those least equipped by life experience to cope with its affects, it’s a powerful play.

It tries to be a comedy but the humour is, at best, that of a middling sitcom, at worst a bit lame. Save for the briefest moment before Bob is violently assaulted during a robbery, the play is absent true theatricality, instead being structured in a series of deliberate set pieces and events, with the linkages between those set pieces not helping the flow: frequent darkened set changes; a rather prosaic set design; and short bursts of pop songs about money all tend to jar rather than help.

The play opens by emphasising that the characters are normal folk who live routine, not to say bland and mundane, lives. No problem with that of course, but the challenge is lifting them into compelling characters we can enjoy and feel we relate to. It’s no easy ambition given the start point, unfortunately it’s one that never quite comes off. If you want theatre which makes visible rather than repeats the visible then this is not for you; but if you enjoy a feelgood stage-based sitcom, then this is for you.

Hall for Cornwall, Truro – until 4 May 2024

Reviewed by Kerry Gilbert

5*****

A Captivating, Intense and Thrilling Musical

Jesus Christ Superstar originated as a concept album between Andrew Lloyd Webber and Tim Rice. It has received many stage adaptions including the latest version which has been revamped and transformed into something that is like nothing you have seen in an Andrew Lloyd Webber show before.

This version is dark in more ways than one: the telling of Christ’s last few days of his life as he ventures through love, betrayal, and sacrifice. It’s a non stop sung through opera with many guitar riffs and some amazing lighting from designer Lee Curran. You are introduced to characters that have a vital part in those last few days and see how they interact and treat Jesus in his last few moments before crucifixion.

The stage setting is very dark and moody, and reflected the rock nature of the show with scaffolding, a giant crucifix, and microphones swinging around stage. Placed throughout the set, on different levels are the stunning musicians. There is a blur between musical and staged concert and as someone who loves nothing more than musical theatre and rock concerts, this was right up my street.

Jesus (Ian McIntosh) was phenomenal and had everyone at the edge of their seats. His vocal range is second to none and his rendition of Gethsemane was so raw and powerful and nothing short of perfection. He can belt, his falsetto is pitch perfect and he crucially makes you believe in the torment he feels. Strong support is given by Mary (Hannah Richardson). There is a purity to her voice which shines especially when she performed ‘I Don’t know how to Love Him’. Judas (Shem Omari James), proves more problematic. I struggled to tell what he is singing despite concentrating hard to focus on the word. As this is a production with no spoken dialogue, the songs drive the narrative. It proves difficult to truly understand the motivation behind the character and his subsequent betrayal if you cannot decipher the lyrics. Watch out for the scene stealing turn from Herod (Timo Tatzber). You won’t miss him in his shimmering fold cape which lifted the mood at the right time. Caiaphas (Jad Habchi) and Annas (Matt Bateman) gave incredible performances, and their vocal range was insane and truly impressed me. Pilate (Ryan O’Donnell) was truly hateful and gave a strong and mesmerising performance. The accomplished ensemble performed with precision, gusto, and seemingly endless stamina. The costume design was moody and semi-contemporary, which worked well with the industrial, girder inspired set design.

Jesus Christ Superstar is a curious, yet successful, blend of the sacred and the profane. There is much to admire from this driven cast and dramatic story.

Lyric Theatre, Hammersmith – until 18th May 2024

Reviewed by Phil Brown

3***

This 90 minute (no interval) play written by well known actor David Haig is based on a 1956 novella by Philip K Dick.  Dick’s novella looks forward 100 years to 2054, whilst Haig’s adaptation uses a similar time horizon of 2050-2055.   Meantime, in the real world, there have been phenomenal developments across the board in human knowledge, expertise and experience, particularly in politics, technology, life sciences and neuroscience.  As a result, the basic story of Minority Report is nowhere near as fantastical as it would have been on initial publication, and the prescient power of the message is somewhat diluted and certainly less shocking as a consequence.

At its heart, the story is about the surveillance society, continually scanned for “pre-crime” – criminal thought just on the verge of crystallisation, but not consciously formed.  It paints a bleak, dystopian picture, one that is all too credible in this post-truth day and age, where hate crime has just appeared on the statute books north of the border, and where the wrong opinion can get you summarily cancelled.  

It raises interesting questions about liberty and trust.  As we know from recent experience, expert predictions can be hopelessly wrong.  Can we ever trust a “black box” system to be right in every case (no) and do we accept restrictions on privacy and liberty if the greater good is deemed to be served.   Thankfully the apparently small step from hate crime to thought crime would actually require incredible technological advance as well as the “co-operation” of the public to get chipped.  Interestingly, Haig’s well constructed play makes reference to the 2038 Implant Referendum…

Haig makes a few changes to Dick’s basic story.  The protagonist, neuroscientist Julia Anderton, powerfully and convincingly played by Jodie McNee, is a women, rather than a man, and is driven in her role as the head of British Pre-crime, by the murder of her twin sister Laura.  Her husband Sir George Anderton (a very credible boffin played by Nick Fletcher) is the technical whizz behind the pre-crime technology.  Rather than Dick’s 3 mutants with precognitive abilities, we have 3 precogniscant interpreters (precogs) – expert neuroscientists based in a secret location, who somehow analyse millions of thought waves to identify pre-murderers.  Pre-criminals are then disabled by intense sound and arrested by the red circle – a nano film membrane that in one memorable line leaves the culprit “ vacuum packed like meat in a supermarket”.  Within 20 minutes, they are installed in a Humane Detention Centre (HDC).

The play opens with a self congratulatory celebration of the 10th Anniversary of British Pre-Crime in 2050.  Julia’s Thatcherite zeal seem perfectly pitched in selling its success.  Inevitably it is interrupted by the libertarian group Cognito, specifically Fleming (played by Danny Collins), which is quickly snuffed out, followed by a demo of a different  kind – the pre-crime system at work.  This is where Julia’s certainty gets well and truly demolished as it becomes apparent she has been identified as a pre-murderer.  The ensuing action sees Julia wholly unprepared to accept the conclusion of the pre-crime system she has imposed on the population as a whole, and sets about about evading arrest and trying to prove her innocence with the help of AI Assistant David (nicely played by Tanvi Virmani) and more surprisingly, libertarian group Cognito’s Fleming.

Aside from an excellent twist at the end, as a plot it’s pretty humdrum, even tame.  The script veers between compelling and mundane, with a few weak attempts at humour eg threatening the AI assistant with a “downgrade  to Alexa or even worse Siri”.  There is some mambo jumbo around the precogs and scope for pruning.  In the circumstances, the cast does a great job with the material.  The production (Jon Bausor) is high quality and adds much needed gloss to bolster the show, but owes something to Bladerunner.  Direction (Max Webster) is reasonably pacy and there is good use of lighting (Jessica Hung Han Run), effects (Tal Rosner – Video Designer/Richard Dinner – Illusions Designer) and sound (Nicola Chang).  

This well honed performance works on a couple of levels – as simple light entertainment and as a thought provoking question – how might technology be exploited for political purposes.  What really resonates for me though, was that Julia Anderton’s motivation derives from a direct personal experience.  A sample of one.  Haig might have put his finger on a disturbing trend in current politics.

Nottingham Theatre Royal – until Saturday 4 May 2024

Reviewed by Louise Ford

4****

For never was a story of more woe that this of Juliet and her Romeo.

Last night’s performance of Romeo and Juliet has a long history with Northern Ballet, having been first  premiered in Leeds in 1992. It was devised by Christopher Gable CBE and Massimo Moricone and has been performed across the globe to critical acclaim. However in 2015, in true Shakespearian fashion, the sets and costumes were destroyed by flood and the ballet was put on hold. Over the last year the company has worked to recreate the costumes and sets, originally designed by Lee Brotherston OBE, to breathe new life into this production.

The production sticks closely to the Shakespearian tragedy with all of the well known scenes, the fights, the first meeting between Romeo and Juliet, the balcony scene and the tragedy in the crypt.

The curtains open and we are transported to 16th century Verona, a city of crumbling Roman pillars which  open and close to create the various squares and palaces. The pillars bear the broken words Amo  Vi  Om (amor vinci omniscient), love conquers all.

The town is busy getting ready for carnival with the Montagues decorating the square, all flags and bunting. Into the square strides three friends Romeo (Joseph Taylor), Benvolio (Filppo Di Visio) and Mercuitio (Harris Beattie). They are in high spirits, dressed in bright  colours and colourful bandanas. However the carnival atmosphere is short lived as the Capulets enter the square. The Capulets, led by Tybalt (Harry Skoupas) are all dressed in black and red with gold trimmings and brocade ,a formidable force to be reckoned with.

The fight scenes, of which there are many, are expertly choreographed by Jonathan Howell. The frenzied action when Tybalt kills Mercuitio and when Romeo kills Tybalt are really electrifying. 

The costumes (the list of people involved in the costume production is too long to replicate, but they are given full credit in the program) in particular for the Capulets, are a triumph of Renaissance head dresses . The costume for Lady Capulet (Helen Bogarch) is particularly splendid. The differences between the rival families is clearly shown in their costumes. The solid black masks and batons during the “Dance of the Knights” gives the routine an ominous military feel. The simplicity of Juliet’s and Romeo’s costumes gives them an ethereal feel, and sets them apart from the rest of the cast.

The production is around 150 minutes long but the frequent set changes, which are seamless, and changes in tempo means that the time flies by. The scenes between Romeo and Juliet are captivating. On one hand the strength and virility of Romeo on the other the delicate childlike naivety of Juliet (Abigail Prudames). The balcony scene and the pas de deux are powerful and sensual.

The role of Juliet’s nurse (Dominique Larose) was the main comic turn. She clearly dotes on Juliet but isn’t afraid to defy the family to try and help the course of true love find its way.

For me the stand out performance was that of Mercuitio with his jaunty striped leggings he embodied the role of loveable rogue. He was part jester and part knave. His energy and enthusiasm was clear to see in his dancing.

A shout out to the aspiring dancers from the Gedling Ballet School who swelled the ranks of the villagers Hopefully some future stars in the making.

The outstanding score by Prokofiev expertly delivered by the Northern Ballet Sinfonia, conducted by Daniel Parkinson, showcases the dancing to perfection. The orchestra and conductor were given full credit by the ensemble and the audience at the end of the performance. This is particularly poignant as it is likely that the live orchestra will be replaced by a recording for future performances, in a need to cut costs. This is a worrying turn of events and something that we should all fight against. We all need live theatre and music to enrich our lives and to make society a better place.

JASON MANFORD

TO STAR IN UK PREMIERE

OF BROADWAY MUSICAL

SOMETHING ROTTEN!

IN CONCERT AT THEATRE ROYAL DRURY LANE

Making its UK premiere, the hit Broadway musical comedy SOMETHING ROTTEN! plays Theatre Royal Drury Lane on Monday 5 August and Tuesday 6 August.  SOMETHING ROTTEN! in Concert stars Jason Manford (The Producers, The Wizard of Oz, National Lottery’s Big Night of Musicals) as Nick Bottom and is directed by Tim Jackson (Two Strangers (Carry A Cake Across New York), Merrily We Roll Along).  The full Broadway score is performed by the London Musical Theatre Orchestra, conducted by Freddie Tapner (Love Never Dies, Chess, Kinky Boots).

Tickets go on general sale at 10am on 10 May 2024.  Exclusive pre-sale sign up is available now at www.somethingrottenconcert.com.

SOMETHING ROTTEN! was created by Hollywood screenwriters Karey Kirkpatrick (Chicken Run, James and the Giant Peach), John O’Farrell (Best-selling novels include The Best a Man Can Get, May Contain Nuts, The Man Who Forgot His Wife) and Grammy Award-winning songwriter Wayne Kirkpatrick (Change the World by Eric Clapton), who together went on to adapt Mrs Doubtfire into the West End and Broadway Musical.  The show follows the story of Renaissance writers Nick and Nigel Bottom as they seek to outshine Shakespeare by writing the world’s first musical.

SOMETHING ROTTEN! originallyopened on Broadway at the St. James Theatre in 2015 and received several Best Musical nominations, 10 Tony Award nominations and was hailed by Time Out New York as “the funniest musical comedy in at least 400 years”.

SOMETHING ROTTEN! in Concert is produced by Fourth Wall Live, JAS Theatricals, and the London Musical Theatre Orchestra in association with Alchemation.  Fourth Wall Live and the London Musical Theatre Orchestra produced the WhatsOnStage Award-winning concert of Love Never Dies and were producers/co-producers for the concerts of Bonnie & Clyde, Evita and Chess, all at Theatre Royal Drury Lane.

Originally produced on Broadway by Kevin McCollum, Broadway Global Ventures CMC Mastro/Goodman Jerry & Ronald Frankel Morris Berchard, Kyodo Tokyo, Inc. Wendy Federman Barbara Freitag LAMS Productions Winkler/DeSimone, Timothy Laczynski Dan Markley Harris/Karmazin Jam Theatricals Robert Greenblatt, and Jujamcyn Theaters. Developed in association with the 5th Avenue Theatre, Seattle, WA, David Armstrong, Executive Producer and Artistic Director, Bernadine Griffin, Managing Director and Bill Berry, Producing Artistic Director.

By arrangement with Music Theatre International.

Further casting and creatives are to be announced. 

Salford-born Jason Manford is one of the UK’s leading multi-talented performers, with a career also spanning acting, presenting, and singing on both stage and screen.

Away from comedy, Jason has hosted many shows for the BBC and ITV including Unbeatable, Sunday Night at The Palladium and The Royal Variety Performance.  He was a judge on ITV1’s Saturday night talent show Starstruck and has hosted BBC One’s primetime show Big Night of Musicals since 2022. Later this year, he will be back on BBC One hosting a new teatime quiz show, The Answer Run. Jason also presents his award-winning three-hour show every Sunday on Absolute Radio.

His other TV credits include: First & Last (BBC One), The Masked Singer (ITV1), What Would Your Kid Do? (ITV1), Scarborough (BBC One), 8 Out of 10 Cats (Channel 4), The Nightly Show (ITV1), Live at the Apollo (BBC One), Have I Got News For You (BBC One) and QI (BBC Two). Jason will join the cast of Waterloo Road (BBC One) when it returns for its next series later this year.

On stage, Jason has starred in numerous musicals in the West End and across the UK, including Sweeney Todd (Adelphi Theatre), The Producers (UK Tour), Chitty Chitty Bang Bang (UK Tour), Guys and Dolls (Royal Albert Hall), and Curtains (UK Tour & Wyndham’s Theatre).  Last summer Jason starred as the Cowardly Lion in The Wizard of Oz at The London Palladium, a role he will reprise later this month in his hometown of Manchester.  Jason has led the cast at the Manchester Opera House as Captain Hook in The Pantomime Adventures of Peter Pan and Jack in Jack and The Beanstalk.

He just announced a major UK stand-up tour for 2024/5, A Manford All Seasons.

LISTINGS INFORMATION:

Facebook & Instagram: @SomethingRottenConcert
X / Twitter: @SRottenConcert

SOMETHING ROTTEN!

Dates: 5th – 6th August 2024

Theatre Royal Drury Lane
Catherine Street
London
WC2B 5JF

Performances:  7.30pm on Monday 5 August, 2.30pm & 7:30pm on Tuesday 6 August.

Box Office: 020 3925 2998

Website: somethingrottenconcert.com

Leeds Grand Theatre – until Saturday 11 May 2024

5*****

If anyone was to write a musical about the tragedy of 9/11, you’d probably avoid it, imagining it to be possibly in bad taste. However with Oliver Award winner Come From Away, Irene Sankoff and David Hein have given us a beautiful, uplifting tale of triumph of adversity and its one of the best musicals you’ll ever see.

The town of Gander in Newfoundland became a temporary home for around 7000 people who found their 38 different planes transferred there, when American air space was closed after the atrocities in New York. Scared and tired the plane people were taken in and looked after by the towns folk. Given food, clothes, places to pray, phones internet and love the travellers were looked after in such a way they felt guilty for enjoying themselves in the circumstances.

This is a wonderful ensemble piece, with just 12 outstanding actors (Natasha Barnes, Daniel Crowder, Mark Dugdale, Rosie Glossip, Amanda Henderson, Kirsty Hoiles, Oliver Jacobson, Dale Mathurin, Nicholas Pound, Sara Poyzer, Bree Smith and Jamal Zulfiqar) playing both the locals of Gander; Beulah and Annette at the school, Janice the reporter on her first day on the job and Bonnie from the animal shelter and others. And the terrified plane people; the two Kevins, English Nick and Texan Diane who met on the plane and eventually married, famed female pilot Captain Beverley Bass and Hannah, the mother of a firefighter.

Sankhoff and Hein’s have written some blinding musical numbers, from the uplifting, scene setting Welcome to the Rock, the haunting Prayer based on the prayer of St Francis, the hilarious fish kissing Screech In and the heart wrenching Me and the Sky. The pure emotion of the songs and situation have you laughing in one moment and crying hysterically the next.

Kelly Devine’s musical staging, making full use of the simple but versatile staging of Beowulf Boritt and enhance the orchestrations of August Eriksmoen: played by the live band lead by Phil Cornwell.

Lasting just one hour and 40 minutes, this is a prime of example of wonderful things coming in small parcels.

I could go on and on expelling superlatives about Come From Away, but the very best thing you could do is to buy a ticket and see yourself and then you too can be welcomed to the rock

FULL CASTING ANNOUNCED FOR UK PREMIÈRE OF

I’M GONNA MARRY YOU TOBEY MAGUIRE

Jacob Stuckelman of Watermark Productions today announces full casting for the UK première of I’m Gonna Marry You Tobey Maguire by Samantha Hurley. Tyler Struble directs Kyle Birch (Brenda Dee Cankles) and Anders Hayward (Tobey Maguire) alongside the previously announced Tessa Albertson (Shelby Hinkley).

Following its sold-out run in NYC at Nancy Manocherian’s the cell theatre, I’m Gonna Marry You Tobey Maguire opens at Southwark Playhouse Borough on 3 July, with previews from 28 June, running until 10 August.

Jacob Stuckelman presents

I’M GONNA MARRY YOU TOBEY MAGUIRE

By Samantha Hurley

28 June – 10 August

Cast: Tessa Albertson (Shelby Hinkley), Kyle Birch (Brenda Dee Cankles), Anders Hayward (Tobey Maguire)

Directed by Tyler Struble; Set Designer: Rodrigo Hernandez Martinez; Lighting Designer: Holly Ellis; Sound Designer: Jamie Lu; Costume Designer: Reuben Speed; General Management: Katy Galloway Productions; Casting by: Harry Blumenau Casting; Production Management:  Chloe Stally-Gibson

Produced by Jacob Stuckelman, with Associate Producer Matt Krauss, co-producers Zachary Hausman, Robin Aren and Andrew Patino

To cope with the absence of her father, neglect of her mother, and ridicule by her classmates, eighth grader Shelby Hinkley has put all of her time and energy into the only thing that matters in 2004: Spiderman. When leading a devout online fan club proves insufficient to her needs, Shelby decides to risk it all for love, kidnap famous actor Tobey Maguire, and marry him in her basement. Her fantasies of happily ever after start to crumble as she realizes Tobey may not be the charismatic, heartthrob actor she thinks she knows.

A Y2K farce, I’m Gonna Marry You Tobey Maguire is a full-throttle explosion of our para-social relationships and the obsessions that detonate them.

I’m Gonna Marry You Tobey Maguire is Samantha Hurley’s debut play. Her original works have been performed at the UCB theatre, Nancy Manocherian’s the cell theatre, Characters Welcome, PIT and Brooklyn Comedy Collective.

Tessa Albertson plays Shelby Hinkley. Her other theatre credits include The Low Road (The Public Theater), Shrek The Musical (Broadway Theatre), Happy Days (The Wild Project Online), and Macbeth (Lewis Center for the Arts). Her television credits include Younger as series regular Caitlin Miller, Generation, The Family, The Good Wife and Instinct; and for film, Blame and Barry.

Kyle Birch plays Brenda Dee Cankles. His theatre credits include A Strange Loop (Barbican), The Color Purple (UK tour), In Pieces (Future Spotlight Productions online), and Bat Boy: The Musical (London Palladium) and Once On This Island (Southwark Playhouse).

Anders Hayward plays Tobey Maguire. His theatre credits include Adults (Traverse Theatre). His television credits include Vigil, Guilt, Life After Life, Gap Year; and for film, Silent Roar, Looted and Run.

Tyler Struble directs. Their other theatre credits include Edith Can Shoot Things and Hit Them (Kitchen Theatre Company) and The Beast (Soundscape Theatre). Struble served as dramaturg for What the Constitution Means to Me,and has assisted M. Bevin O’Gara, Kyle Haden, Rebecca Bradshaw, Suzanne Agins, Margarett Perry. They were previously Associate Producer at Kitchen Theatre Company in Ithaca, NY. At KTC, they were part of the producing team that helmed the world-première production of Shape by Kara-Lynn Vaeni.

IM GONNA MARRY YOU TOBEY MAGUIRE 

LISTINGS

Southwark Playhouse Borough, Little

77-85 Newington Causeway, London SE1 6BD

Box Office: 020 7407 0234

28 June – 10 August

Instagram: @marrytobeymaguireplay