Malvern Concert Club always gives us the very best in music, new talent and established stars in their field and tonight was no exception with the wonderful Quatuor Van Kuijk joined by classical guitarist of the moment Sean Shibe.
Opening the evening was Vierne’s String Quartet in D minor (1894). The work has that early 20th century sense of drama and melancholy. I particularly enjoyed the slow movement that can’t seem to make up its mind if it is agitated or calm but is always engaging. The players gave us muscular tutti moments coupled with light, filigree tripping figures which brilliantly brought the music to life. Not a work I was familiar with but it was obvious the quartet had an affinity and love for the material – the introductory speech set out their stall of presenting unjustly neglected French music to a wider audience. They certainly did that and gained another convert tonight. Shaun Shibe joined the quartet for Boccherini’s Guitar Quintet in D (1798). A rare treat hearing works for this ensemble. A courtly work with aspirations to be rustic; the use of “golpe” guitar technique (hitting the guitar top with the finger) and some clever bowing to evoke Spain’s flamenco heritage was particularly effective in this regard. After the interval Mr Shibe took centre stage with two very welcome Villa-Lobos etudes (extra to the programme). Then to three pieces for solo guitar played without break as a kind of three movement piece. First Adès “Habanera”: a dramatic piece in a thoroughly modern style which tonight’s soloist premiered back in 2021. Then the much loved and welcome De Falla’s “Homenaje ‘Pour le tombeau de Claude Debussy’” (1920) suitably dramatic and melancholy and displaying the full palette of classical guitar techniques which Mr Shibe executed with passion, gusto and precision. Lastly Poulenc’s “Sarabande” (1960) for solo guitar. A thoroughly satisfying triptych, providing an interesting contrast with the other pieces on the bill and showing intelligent programming from tonight’s six-string maestro. The final piece this evening was Castelnuovo-Tedesco’s “Quintet for Guitar and String Quartet” (1950). You can almost feel Spain’s sultry heat shimmering from the stage, especially in the even numbered movements. Was it my imagination (or longing for España) or could I hear echoes of the “Concerto de Aranjuez”?
The second movement was particularly impressive with a heartfelt yearning and intensity of playing that took the breath away; especially the deep, soulful playing from cellist Anthony Kondo! Gorgeous. Coupled with tight ensemble work from violinists Nicolas Van Kuijk and Sylvain Favre-Bulle and violist Emmanuel Francois plus Mr Shibe’s dramatic guitar, it was a musical marriage made in Heaven.
The passion and drama continued to the inevitable thunderous applause at the end.
Another thrilling evenings entertainment showcasing exceptional music making from the assembled talents of these gifted musicians, presented as always with a love and respect for the music in a commendably welcoming atmosphere by the wonderful Malvern Concert Club… What more could one need for a perfect evening? Let’s just say “I cannot wait for their next concert”!
The compact Cockpit Theatre in Marylebone is a bit of a fringe gem. It’s a purpose built, relatively modern (1969/70) community theatre with a tardis like ability to feel spacious inside. The buzzy, intimate atmosphere, audience friendly in-the-round configuration and good value tickets make for a welcoming theatre experience, even before the action starts.
The Cockpit’s one liner for Ovo’s production of ‘The Threepenny Opera’ is “a bold, imaginative musical comedy”. It’s certainly bold snd imaginative. I’m not sure that the comedy part was proven! However, in the context of Britain’s current fraught society, Ovo’s revival of this classic musical seems utterly prescient, given it was originally a socialist critique of the capitalist world.
Brecht/Weil/Hauptmann’s “cheap opera” has been updated for modern times with new lyrics by Director Adam Nichols in collaboration with original librettist Jeremy Sams. The directorial team of Adam Nichols, Julia Mintzer (Co-director) and Lada Valešcová (Conductor and MD) must be congratulated for managing intensely rich content to achieve such a cohesive, well-oiled production over 2½ hours involving 15 performers playing multiple parts as well as 21 instruments (including spoons!).
A remarkable team effort.
Captain Macheath (brilliantly played by Peter Watts) is an infamous gangster who kills and plunders at will, thanks to the protection offered by his ex army buddy the current Chief of Police,Tiger Brown (Lee Drage). He aspires to middle class respectability. The conniving Jonathan Peachum (Mark Carlisle), an equally unsavoury Fagin like character runs a major begging ring but fears Macheath’s relationship with his daughter Polly Peachum (Emily Panes) will hurt his racket. Celia Peachum (Annette Yeo) is Peachum’s wife who was hoping for a higher class match for Polly. Lucy Brown (Emilia Harrild) is the daughter of the police chief, Macheath’s lover and claims to be pregnant by him. Low Dive Jenny (Faith Turner) is another former love of Macheath and now a prostitute. (If the devil could cast his net…)
The wonderfully versatile cast were mostly deployed with their instruments on the bottom tier of seats surrounding the stage with some quick-fire visits to a minimally dressed centre stage for individual and ensemble performing duties. The basic set resembled a circular bandstand with a small podium and columns defined by dangling ropes. This cleverly served as Peachum’s HQ, Macheath’s lair and wedding venue – a Sainsbury’s abattoir, and his eventual prison cell. Props were various mannequin parts presumably reflecting their use in Peachum’s begging operation and Macheath’s abattoir.
There was so much going on in this show, there were inevitably moments of sensory overload, and some song lyrics were difficult to pick up – a minor shame in the scheme of things. For the most part, the spoken dialogue worked brilliantly and convincingly for such duckers and divers in conversation. The time and effort that has gone into preparing this production is evident. The whole company truly earned the enthusiastic reception for an impressively professional show. It was full blooded theatre – every performer gave their all, and the result was a high quality, and stimulating evening of entertainment, containing several towering individual contributions.
The physically imposing and naturally charismatic James Watt, seeming to channel Michael Caine at times, fairly bristled with barely suppressed testosterone as Macheath. Mark Carlisle, full of menace was suitably calculating and mercenary as Peachum. Emily Panes (as Polly Peachum) managed to tread the fine line between doting bride and hard nosed gold-digger/business partner with ease, as well as singing beautifully (including a great take on the ‘Pirate Jenny’ song) and playing the bandoneon. Emilia Harrild (as Lucy Brown) was probably the pick of the lead vocalists with a superb ‘Ballad of Mack the Knife’ plus expert cello. I also enjoyed Ben Howarth as Filch, a prospective Peachum beggar doubling up as one of Tiger Brown’s constables and main percussionist.
Ovo’s fine production of ‘The Threepenny Opera’ exudes energy and artistry. If you are open to going off-piste and experiencing something with more guts than the usual crowd pleasing fodder, and also supporting the admirable depth of performing talent around Britain, I would throughly commend this marvellous production.
The English language premiere of the international hit based on Daphne Du Maurier’s evocative novel doesn’t quite reach Hitchcockian heights.
The show opens with the wonderful Lauren Jones singing the most affecting and understated number of the show, “Last night I dreamt of Manderley” before the action begins in Monte Carlo. It is 1927 and the timid unnamed character is being trained as a companion and meets the suave widower Maxim de Winter (Richard Carson). A whirlwind romance ensues (blink and you’ll miss it) before they marry and he takes her to his ancestral home in Cornwall, Manderley. The second Mrs de Winter is a great disappointment to the staff, especially housekeeper Mrs Danvers (Kara Lane) who runs the house according to her beloved Rebecca’s standards. The ghost of Rebecca, the first Mrs de Winter looms large as everyone talks of her beauty and charm which they judge the unassuming new wife can’t match. Mrs Danvers campaign against Maxim’s new wife ramps up as she plays on her insecurities and the oppressive nature of the house takes its toll. The mystery surrounding Rebecca’s death is revealed and on learning of the true nature of Maxim’s relationship with Rebecca, the new Mrs de Winter finds her confidence and shows spirit as she grows in confidence and refuses to buckle under Mrs Danvers’ influence as she supports her husband in his hour of need.
Sylvester Levay’s music and orchestrations are lush and ambitious. Having never seen Michael Kunze’s German language version I can’t comment, but Christopher Hampton’s English translation is unfortunately clunky and overblown at times. The choices to sing through some parts of conversations and talk through others is slightly baffling, and the numbers that are obviously deemed IMPORTANT could do with having a few choruses trimmed. Richard Carson does his utmost in his confessional “I’ll never forget her smile”, but there is so much thrown stylistically into that song that it is hard to care about a pivotal revelation. I found it disappointing that the writers went with Hitchcock’s version of Rebecca’s death rather than Du Maurier’s original, as Maxim’s actions and his wife’s decision to stand by him are much more questionable and interesting in the original version, but the choice fitted in with this melodramatic show.
Director Alejandro Bonatto keeps the action moving amidst some awkward scene changes on a set that never seems to quite match the lofty ambitions of the show. Perhaps on a larger stage and with a bigger budget the vision could be achieved. There is some atmospheric projections and lighting that impress, but soon become overused and lose impact. The expositional numbers from the staff at Manderley are fun, and the shipwreck scene is wonderfully staged. With the cast entering from the auditorium at certain points, I can understand the choice to have the cast running everywhere when Manderley burns, but the scene becomes unwittingly comical rather than dramatic, somewhat dampening the tension. Jones and Carson have gorgeous voices and try their best to make the underwritten characters memorable, while Kara Lane channels her inner Morticia as the increasingly unhinged Mrs Danvers. Lane is delightfully creepy and imposing and nails the title song with killer vocals. Unfortunately, that song is used a little too much as a marker of Mrs D’s obsessive devotion and loses its power.
There are the makings of a wonderfully dark and atmospheric production in this material – some judicial trimming and enhancing the writing of the de Winters would help. As it stands, Rebecca is a worthy attempt with soaring music and a fine cast.
Velma Celli’s, God Save the Queens is a mix of old fashioned cabaret and humour that Ian Stroughair (Celli) delivers with his usual confident demeanour and old school wit. He unashamedly informs the crowd from the start that if they’re easily offended then this shows not for them. Of course everyone knows what they’re getting from the experience and laps up his initial banter before settling down to enjoy the show.
The thing with Stroughair is although his alter ego plays up to the crowd with his stage character and diva antics, he can of course sing and very well at that. Beginning with Florence and the Machine (Dog Days are Over) he sets a tone from the start. Peppered with classics from Queens such as Adele, Amy Winehouse and Annie Lennox, he belts out hit after hit, hitting the high notes with aplomb.
A show like this can be particularly exhausting when delivering a set of powerful hits but Celli never falters. The crowd is encouraged to get involved throughout, which makes for a great atmosphere. Some personal stories from Celli adds some depth to the performance and then after the break you’re treat to some lovely moments with special guests Jessica Steel and Stuart Allen. This leads to a particularly poignant duet between Steel and Celli, singing Sinead O’Connors, Nothing Compares 2 U, which quietened the audience as it was a beautiful tribute to the late singer. Once Celli took centre stage again, the show was then wrapped up with a fabulous Queen medley sending the raucous crowd home satisfied that they’d been thoroughly entertained.
Despite the fantastic vocals and sharp wit of Celli, I think she was let down a little with the production. The show could do with a bit more glam befitting of a night with a Queen. Celli looked fabulous but the stage setting was rather drab. The band sat behind in relative darkness, looking at times to be bored and a little out of place. A show like this needs a background that is worthy of the songs and the artist performing them, their name up in lights, some dancers possibly. Aside from this Celli thoroughly entertained the crowd and I can understand how Stroughair has won so many accolades for other performances in the past. Just next time, we need a stage that is fit for a Queen.
Fiery Angel and The Shed present the KBTC production of William Shakespeare’s KING LEAR
Additional £20 tickets will be released for Kenneth Branagh’s King Lear – available through three new schemes
Weekly lottery – 14 tickets per performance in the front row of the Stalls will be available in advance via a weekly lottery scheme
Day tickets – Additional seats in the front row of the Stalls, plus standing tickets at the back of the Stalls will be released online every performance day
Advance standing tickets – standing tickets in the Grand Circle will be released online each week for the following week’s performances
Following the sale of approximately one hundred £20 tickets per performance of King Lear, the producers today announced the planned release of additional £20 tickets via three schemes.
The Weekly Lottery, Day Tickets, and Advance Standing Tickets will all be priced at £20 per ticket, with no additional booking fees or charges.
For more information and to purchase these tickets, please visit www.delfontmackintosh.co.uk/whats-on/king-lear
Weekly Lottery 14 tickets per performance in the front row of the Stalls will be made available via a lottery process on a weekly basis.
An online lottery application process will open at 00:01am on Thursdays and close at 10am on the following Wednesday. Successful applicants will be notified at 1pm on Wednesdays and will have two hours to purchase their tickets.
Online application forms for the first draw will be available from Thursday 12 October. The first draw will take place on Wednesday 18 October for the first performance on 21 October, along with the following week’s performances.
Day Tickets Additional seats in the front row of the Stalls, plus standing tickets located at the back of the Stalls will be released online at 10:30am on the morning of each performance day for any performances taking place that day.
Advance Standing Tickets Standing tickets in the Grand Circle will be released online each Wednesday, following the weekly lottery draw, for the following week’s performances. This scheme will provide an opportunity for anyone who does not wish to participate in the lottery, or whose lottery application has been unsuccessful, to purchase £20 tickets in advance.
The production will run for 50 performances only and will have a running time of approximately 2 hours with no interval.
Curve Theatre Leicester – until 23rd September 2023
Reviewed by Amarjeet Singh
3***
One of Kafka’s best-known works, Metamorphosis tells the story of salesman Gregor Samsa, who wakes one morning to find himself inexplicably transformed into a huge insect. Following his transformation, he is unable to work or reassimilate into normal life and thus he begins to contemplate his existence. Poet Lemn Sissay has teamed up with Frantic Assembly to bring the novella to the stage with the focus being on an economic system which forces people on to a conveyor belt of capitalism and discourages all forms of individuality and creativity.
Gregor Samsa is a salesman providing for his mother and sister and his unemployed, debt ridden, controlling father. The opening scene portrayed brilliantly the monotony of the daily grind as Samsa’s sole dialogue is a repetition of a line, and he repeats a pattern of movement coming through a door and up steps to represent his working day. This soon becomes exhausting, both for him and unfortunately for the viewer.
At times during the first half, I struggled to connect to the play, there appeared to be a battle between lyric and movement, an either or. Static or frenetic. I honestly wasn’t sure what was happening in parts. Having read Kafka, I had the context, but this was too fragmented and disjointed to decipher. The second half was more cohesive, but unfortunately some people didn’t return.
The set, designed by Jon Bauser was deceptively minimalistic. A box room, claustrophobic, perfectly portraying Samsa’s prison. Flash fashion magazines were projected on to the grungy white walls during the opening scenes. The ceiling light had a role of its own, swing, pivot, flashlight. A bed which swallowed, masked and tilted. The sinister slow move of the room made for a very disconcerting feel indeed. My only criticism would be that the audience on the peripheral seats would miss what was happening within the room as its quite boxed in.
Simisola Majekodunmi made magic with shadow work, casting images of insects on the wall, in lieu of a full insect costume and utilising harsh lights to disorientate and blind. Sudden blackouts also added to Samsa’s ability to scuttle and leap in the blink of an eye across his room. Again my only criticism would be that the audience on the peripheral seats would miss some of the insect shadow work as it could only be seen if you had front facing seats.
Felipe Pacheco as George Samsa was spectacular. He showed incredible physical strength and athletic flexibility and demonstrated Samsa’s metamorphosis as magnificently as the production enabled him to. There is a wonderful scene where he is caught up in several chairs, insect like, very clever work indeed. Louise May Newberry and Troy Glasgow were fabulous as the parents and Joe Layton played his multiple roles with gusto. Hannah Sinclair Robinson was arresting as Greta and brought some great tension to the stage, especially when there was a slight sinister incestuous moment.
The production is lyrically beautiful and when there is movement its mesmerising, but unfortunately, Metamorphosis misses the mark. It lacks direction and progressive tension and ultimately, you’re left feeling this is a rather lengthy adaptation which has only focused on some of Kafka’s genius ideas.
THE LOWRY, SALFORD – UNTIL SATURDAY 23RD SEPTEMBER 2023
REVIEWED BY MIA BOWEN
4****
The Crown Jewels is based on a true-life historical incident about one of the most daring heist ventures in British history. Written by BAFTA nominated, Simon Nye creator of Men Behaving Badly and directed by multi-award winner Sean Foley, who is known for his work on shows such as Upstart Crow. Last night the amazing array of comedy talent, brought this production to life, at the Lowry Theatre.
This production has enlisted some of the cream of British comedy, Al Murray in his stage debut who is known for his character the Pub Landlord, Neil Morrissey from Men Behaving Badly and Line of Duty, Mel Giedroyc from the Great British Bake Off and Joe Thomas from The Inbetweeners. Other cast members include the very talented Tanvi Virmani from Life of Pi and Carrie Hope Fletcher from Les Misérables and Heathers, who had the chance to show off her undeniably strong voice.
The year is 1671, Irish Army Officer Colonel Blood, a charming and erratic figure takes on the most engaging and high-wigged of all monarchs, Charles ll, who is awaiting his coronation. Blood hatches a treasonous plan to steal the Crown Jewels in plain sight with the help of his gang of misfits.
There are some genuinely funny moments, especially during the first half where Murray interacts with the audience in his Pub Landlord stand-up comedy style. During the audience participation a gentleman is asked where he is from and he replies, ‘Royal Borough of Warrington’. Murray clearly enjoys his regal role with his flamboyant mannerisms and over-egging aristocratic vowels and accent, reminding me of Moira Rose from the American comedy, Schitt’s Creek. The funniest moments in the show comes when Murray and Giedroyc work the audience and are allowed to just improvise, because they themselves are laughing so much!
Adonis Siddique is a standout as the King’s footman, a wide-eyed and busy moustached man providing a few laughs.
You can expect a right royal knees up, kind of an evening!
Producers Jeffrey Seller and Cameron Mackintosh are delighted to announce casting for the first ever UK and Ireland Tour of the multi award-winning HAMILTON, with Shaq Taylor as Alexander Hamilton, Sam Oladeinde as Aaron Burr, Gabriela Benedetti as Peggy Schuyler/Maria Reynolds, KM Drew Boateng as Hercules Mulligan/James Madison, Daniel Boys as King George, Maya Britto as Eliza Hamilton, Aisha Jawando as Angelica Schuyler, DeAngelo Jones as John Laurens/Philip Hamilton, Billy Nevers as Marquis de Lafayette/Thomas Jefferson and Charles Simmons as George Washington.
They are joined by Simeon Beckett, Taylor Bradshaw, Cletus Chan, Kyerron Dixon-Bassey, Kyeirah D’marni, Yesy Garcia, Jonathan Hermosa-Lopez, Levi Tyrell Johnson, Honey Joseph, Akmed Junior Khemalai, Richard Logun, Buna McCreery-Njie, Mia Mullarkey, Antoine Murray-Straughan, Kiran Patel, Izzy Read, Alice Readie, Harry Robinson, Phoebe Samuel-Gray, Jasmine Jia Yung Shen, Samantha Shuma, Michael James Stewart, Rhys West, Jack Whitehead and Sian Yeo.
CameronMackintosh said today: “Jeffrey Seller and I are thrilled to introduce this hugely talented cast for the first ever UK and Ireland Tour of Hamilton.
I was fortunate to be in ‘the room where it happens’ earlier this week for the start of rehearsals and feel very proud that we will soon have two brilliant companies of Hamilton in the UK; in London at the Victoria Palace Theatre, where the show continues to break box-office records and on tour, starting at the Palace Theatre Manchester in November.
Jeffrey and I cannot wait for audiences around the country to discover, or enjoy again, Lin-Manuel Miranda’s revolutionary musical phenomenon.”
Shaq Taylor’s West End credits include playing Beast in Beauty and the Beast at the London Palladium, as well as on the production’s National Tour, Joe Scott in Girl from The North Country at the Gielgud Theatre, and Javert in Les Misérables at the Queen’s Theatre. His other credits include Herod in Jesus Christ Superstar at Regent’s Park Open Air Theatre, Sweet Charity at the Donmar Warehouse, Hadestown at the National Theatre, and A House Music Opera at The Young Vic. On screen he can be seen in Netflix’s Bodkin, and The Guernsey Literary Potato Peel Pie Society.
Sam Oladeinde has most recently appeared in Assassins at Chichester Festival Theatre. His West End credits Come From Away at the Phoenix Theatre, A Christmas Carol at the Dominion Theatre, The Prince of Egypt at the Dominion Theatre, The Book of Mormon at the Prince of Wales Theatre and the original West End Cast of Hamilton at the Victoria Palace Theatre. On television he has appeared in the BBC’s Casualty and Doctors and in the short film, Diary Room.
Gabriela Benedetti most recently appeared in Cabaret at the Kit Kat Club and Legally Blonde at Regent’s Park Open Air Theatre, having graduated from Urdang Academy in 2021.
KM Drew Boateng has appeared in Scroogelicious at Theatre Peckham, Five Guys Named Moe at Upstairs at the Gatehouse, The Color Purple at Curve, Leicester and via streaming platforms, Motown The Musical at the Shaftesbury Theatre, Hotel at the National Theatre, Blues in the Night at Hackney Empire, The Warriors at Barbican and Breakin’ Convention at Sadler’s Wells. On film he can be seen in Walking On Sunshine.
Daniel Boys’s West End credits include Falsettos at The Other Palace, The Boys in the Band at the Vaudeville Theatre, Spamalot at the Playhouse Theatre, Avenue Q at the Noel Coward Theatre and RENT at the Prince of Wales Theatre. He has appeared in the national and European tours of The War of the Worlds, Nativity! The Musical, Grease and West Side Story. In concert he has appeared in Treason at Theatre Royal Drury Lane, The Pirate Queen at the London Coliseum, Tommy at the Prince Edward Theatre and Disney’s Enchanted Evening at Hyde Park. On television he has appeared in Netflix’s Obsession, ITV’s Unforgotten and Endeavor and the BBC’s Life After Life, EastEnders, Holby City and Any Dream Will Do.
Maya Britto most recently appeared in Hamilton at the Victoria Palace Theatre, making her West End Debut. Her previous credits include The Magician’s Elephant with the Royal Shakespeare Company, the UK Tour of Tokyo Rose and workshops of Beyond The Circle and Becoming Angela at the National Theatre.
Aisha Jawando’s West End credits include starring as Tina in Tina – The Musical at the Aldwych Theatre, Martha Reece in Motown The Musical at the Shaftesbury Theatre, Beautiful a the Aldwych Theatre, The Book of Mormon at the Prince of Wales Theatre and The Lion King at the Lyceum Theatre. Her other theatre credits include Jack and the Beanstalk at the Alhambra Theatre, Bradford, Cinderella at Hackney Empire, The Life at Southwark Playhouse and the Original London cast of Fela at the National Theatre. On screen she will be seen in Universal Pictures’ Wicked and Netflix’s Sex Education.
DeAngelo Jones has most recently appeared in the ensemble of Hamilton at the Victoria Palace Theatre, as well as appearing in the Vienna production of The Bodyguard and Kiss Me, Kate at the London Coliseum with Opera North.
Billy Nevers’ London credits include Fred in Groundhog Day at the Old Vic, Francois in &Juliet at the Shaftesbury Theatre, Legally Blonde at Regent’s Park Open Air Theatre and Jesus Christ Superstar at the Barbican and Regent’s Park Open Air Theatre. He has appeared in the concerts I Could Use A Drink in Concert at the Garrick Theatre, Roles We’ll Never Play at the Vaudeville Theatre and Apollo Theatre, and An Intimate Evening with Kristin Chenoweth at the London Palladium. On television he has appeared in NBC’s The Grinch Live,
Charles Simmons’ theatre credits include playing George Washington in the German production of Hamilton, and Ike Turner in Tina: The Tina Turner Musical in Hamburg. On television he has appeared on The Voice Germany, as a juror on Germany’s All Together Now and a vocal coach on X-Factor Germany.
The Olivier, Tony and Grammy and Pulitzer Prize-winning musical opened at the newly re-built and restored Victoria Palace Theatre in London in December 2017 where it continues to play to sell-out houses and is currently booking until 2 March 2024. The production continues to break records on Broadway at the Richard Rodgers Theatre, throughout North America, and commences its International tour in Manila this week.
HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education.
With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. The HAMILTON creative team previously collaborated on the Tony Award®-Winning Best Musical In the Heights.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe.
HAMILTON is produced in the UK by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Cameron Mackintosh.
“irrepressible wartime musical is a West End triumph” Emma John, The Guardian
“Hilarious tale makes Mincemeat out of its rivals…Before curtain I talked to a fan seeing this for the seventh time. I wondered why anyone would see the same show seven times. Now I know”
Neil Armstrong, The Mail On Sunday
“LAUGHING so hard I could barely breathe is not what I expected for a musical about a World War II top-secret plan.…the perfect invasion of the West End. Long may they occupy it.” Thea Jacobs, The Sun
“a Hamilton and Book of Mormon love child” TamsinAmy, Lifestyle and Culture influencer
“the feel-good West End musical of the summer…The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”
Alexis Soloski, The New York Times
65 ★★★★★ reviews and counting
Operation Mincemeat: A New Musical – 65 five-star reviews and counting – “a hilarious new musical that rivals The Book of Mormon for laughs” (Vogue), has extended its West End run for the fifth time through 21st April 2024. Operation Mincemeat follows thirty-three hugely successful years of TheWoman In Black at the Fortune Theatre.
Extension tickets will be available on general sale on Friday 29th September at 10am from the Official Box Office here
The fortnightly £25 ticket lottery continues here (next draw on Monday 2nd October). Access to exclusive perks is available via the Official Operation Mincemeat mailing list here.
New Ballot
Monday night ticket prices are frozen at £39.50 for the new booking period from26th February through 21st April 2024. To ensure fair access for fans tickets will be available through the Ballot here. The first draw will take place on Thursday 28th September.
Now starting to gain international acclaim including titles from the USA -“My far-and-away favorite production” (The New Yorker), Israel – “A story about the impossible that was possible…The guys who put on a show with zero budget conquered the most coveted goal of all. The mouse that roared… Fly to London now, right now” (Shlomut by Globes) and Germany –“stands out from the plethora of West End productions…The current must-see show” (Musicalzentrale), the extraordinary debut musical is written and composed by 2023 Stage Debut Award ‘Best creative West End debut’ nominated SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.
After five sold-out development runs at the New Diorama Theatre in 2019 and Southwark Playhouse in 2020, 2021 & 2022, plus an extended Riverside Studios run last summer, Operation Mincemeat: A New Musical is back.
The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse.
Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler?
The production is directed by 2023 Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at theNational Theatre on the creative team are: 2023 Olivier Award nominated Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer. Grammy Award winning and Tony, Emmy, Olivier award nominated Steve Sidwell (Beautiful:The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2023 Stage Debut Award ‘Best creative West End debut’ nominated Joe Bunker is Musical Director. Georgie Staight joins as Associate Director and Paul Isaiah Isles as Associate Choreographer. Casting is by Pearson Casting.
Operation Mincemeat won The Stage Debut award for Best Composer/Lyricist and the Off-West End award for Best Musical Production and Best Company Ensemble. Following the first New Diorama Theatre run, Operation Mincemeat was listed in The Observer’s Top 10 shows of the year and most recently was listed in The Independent’s Top 15 shows of the year. The show is currently featured in the V&A’s Re:Imagining Musicals display, exploring how musicals have continuously reimagined, reinvented and reinterpreted themselves over time.
The 2023 Off-West End Best Musical Production Award winning returning cast (Southwark Playhouse/ Riverside Studios), David Cumming, Claire-Marie Hall, Natasha Hodgson, Jak Malone and Zoë Roberts, are joined by: Seán Carey (returning from Riverside Studios), Geri Allan, Christian Andrews and Holly Sumpton.
Operation Mincemeat is presented in the West End by Avalon (in association with SpitLip), who have supported since the Southwark Playhouse runs. The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.
Nottingham Playhouse – until Saturday 7th October 2023
Reviewed by Jill Heslop
5*****
Written by Tom Wright in beautiful poetic prose, this play The Real and Imagined History of the Elephant Man at Nottingham Playhouse, movingly portrays the fascinating life of Joseph Merrick played sensitively by Zak Ford-Williams, who became known in history as the Elephant Man. His life began in the East Midlands, in Leicester where his parents, played by Daneka Etchells and Tim Prichett, wanted him to fit in and survive the tough challenges of working in a cigar factory. However, due to his deteriorating condition, he is unable to maintain himself and his descent into living as a sideshow “monster” begins after his mother dies leaving him to fend for himself. He eventually goes to industrial London where he ends up in hospital.
Director Stephen Bailey in this production, shows how the harsh industrial environment reflects the harsh treatment meted out to anybody who does not fit in and play their part. The inhumanity of the doctors in the ‘safe’ environment of the hospital is shown when Merrick is examined as if he is just a specimen for scientific enquiry, with no understanding on their part that he is a real person, called Joseph not John, with feelings. The chances for humour here relieve the tension with a nice relationship built between Merrick and his nurse, played by Nadia Nadarajah, who finds out that he understands everything she has been saying. BSL is here shown to be a powerful and expressive language through Nadarajah’s skilful acting throughout in her various roles. There’s more irony later as well as pointing out the danger of making assumptions about people, when Merrick is introduced to another patient, Miss Fordham, played beautifully by Annabelle Davis as one of her several roles. Zak Ford Williams in the title role as Merrick, uses his body well to illustrate the pain and inner turmoil of the character, allowing us to “Imagine” his feelings as a man. At the end of the play Merrick is given agency as he is the one who screams out to the audience “You are all monsters!” forcing us to acknowledge the uncomfortable realities of the society we live in.
The Set and Costume Designer Simon Kenny chose well, with large oppressive boxes illustrating the confinement of the character and heavy iron girders showing the danger in the big city. The decision not to use prosthetics was a clever one as our focus is always on Merrick the man while Tom Wright’s script reveals to us the physical aspects of the “Elephant Man’s” condition. The cast is composed of all disabled, Deaf and /or neurodivergent actors with over 50% of the creative and supportive team also being Deaf, disabled and /or neurodivergent which strengthens the powerful message of this play about inclusivity and acceptance. This is a searingly moving play, brilliantly acted with real feeling and integrity.
