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Regents Park Open Air Theatre – until 16 September 2023

Reviewed by Alec Legge

5*****

Unfortunately opening night of this well loved show had been washed out but with my fingers crossed I hoped the second night would turn out fine and I’m so glad it did, indeed I will be in danger of running out of superlatives during my review of this fantastic show.

Fortunately the night was warm and balmy, perfect for seeing the show outdoors.

Georges, Billy Carter, opened with a welcome to San Tropez as the MC of a drag nightclub on the French Riviera. And then the Chorus of Drag Queens known as Les Cagelles came on, What a sight to behold in their stunning over the top outfits and wigs! Their dancing was extremely well choreographed and coordinated. They appeared regularly throughout the show and I must mention their can can routine which was superbly executed with amazing dance moves and in which Albin, Carl Mullaney, joined in. For me this was the best routine in the show, absolutely awesome although the final scene with the whole cast performing was stupendous as well.

In between the dance numbers the plot unfolded, with Jean Michel, Ben Culleton, who was Georges son by a lady called Sybil, and was brought up by Georges and Albin, announcing that he was in love and going to marry a girl Anne, Sophie Pourret. Unfortunately Anne is the daughter of a right wing politician who wants to ban drag clubs, and who Jean Michel has invited to stay overnight at Georges and Albin’s flat. Jean Michel is so scared that the politician, Edward Dindon, Craig Armstrong, would not allow the marriage if he discovered that Georges and Albin were in a homosexual relationship.

Jean Michel then relates to Georges that he wants to change the flamboyant décor of the flat and that he wants Albin to vacate the flat for the night and his real mother Sybil to take her place as he feared Albins camp ways would give the game away. The play then continues with great comedy and excellent music, singing and dance.

I think the story line is well known but I won’t give any more away to those unfamiliar with it, suffice to say it was wonderfully comic with pathos included. It was very well received by the audience and after the fantastic closing number the cast were given a well deserved standing ovation.

The whole cast were admirable but I would single out Sophie Pourret, Anne, Ben Colleton, Jean Michel, Shakeel Kimotho, as Jacob Albin’s maid and of course Billy Carter as Geoges, Carl Mullaney, Albin, for special mention. Altogether the cast was truly superb and the seemed to be enjoying performing for us, which made for a wonderfully enjoyable evening for the audience.

The stage set had an art deco styled frontage behind which was a covered area set out as the interior of a night club with the band in one corner in plain sight of the audience. There was a large apron stage in front where most of the action took place. The clever use of mobile scenery on the apron enhanced the acting, particularly the scene in Albin’s dressing room, the promenade and the scene in the restaurant,’ Chez Jacqueline’,

The theatre itself is shielded on three sides by mature trees with the seating sloping up quite steeply thus giving a good view to all seats. I also noticed that there was disabled access for wheelchairs. The seating was adequate with plenty of leg room. The sound reproduction was very good and I could hear every word spoken or sung. The costumes worn by the Les Cagelles and the Ensemble were fantastically splendiferous and really enhanced the performance!

I have given a well deserved 5 Stars to the performance and would encourage all to see it and have a truly entertaining and pleasurable evening at this marvellous musical, rip roaringly funny comedy!

 Bridge Theatre  – until 24 February 2024

Reviewed by Phil Brown

5*****

When an entire audience leaves with beaming faces, a spring in the step, and joy in the heart, and gentlemen are whistling “Luck be a Lady Tonight” in the loos, you know that it’s been a show of rare quality.  Maybe I lead a sheltered life, but it felt like the best night out for a long, long time.  A triumph for director Nicholas Hytner and his team – Tom Brady (Musical Supervisor & Conductor), Arlene Phillips and James Cousins (Choreography), and Bunny Christie (Set & Costume & Designer) and, of course for the entire cast

The original Broadway production of “Guys and Dolls”was in 1950 and the first UK production in 1953.  Since then, it’s been almost as regular as panto on London stages.  And there is a very good reason for it –  a simple, witty, but captivating storyline (Abe Burrows with Jo Swerling) populated by the vivid characters from Damon Runyan’s brilliant comic writing about Broadway lowlife, and the outstanding song craft of Frank Loesser.  My verdict on the star studded 2018 production of “Guys and Dolls” at the Royal Albert Hall was “spectacular”.   This show towers above it for entertainment value.  

One of the key differences was the richly immersive experience created at the Bridge Theatre, from the moment you enter the building.  The Bridge made the most of its “in the round” configuration by staging the action as a promenade event with the whole of the ground floor, normally, a conventional stage and stalls, given over to a performance space accommodating various rise and fall stages and a standing audience – an inspired way of improving audience engagement and fun for everyone.  “NYPD cops” made sure standing audience members were shepherded appropriately as the different stages popped up and down in the course of the show.  What could have been a logistical nightmare worked perfectly.

Before the opening, this space simulated a busy pre-show Broadway with the necessary neon and “walk/don’t walk” signs as well as hot dog and drink stalls.  During the interval, it became the Hot Box nightclub with a vocal group reprising numbers from Act One and a special performance by Miss Adelaide (played by Marisha Wallace) that some lucky guy sitting on stage will dine out on for a long time.  And, afterwards, it became a dance floor with cast and audience mixing freely and indulging in some manic dance jamming.  

To briefly summarise the plot – Nathan Detroit (played by Owain Arthur) needs cash to hire a venue for his floating crap game.  To raise the money he bets that the more cerebral Sky Masterson (Andrew Richardson) won’t be able to fly a beautiful member of the Save-A-Soul-Mission, Sarah Brown (Celinde Schoenmaker), to Havana for dinner.  Meanwhile Nathan is trying to dodge marriage to his fiancée of 14 years, Miss Adelaide (Marisha Wallace), and  Sky falls in love with Sarah and arranges for 12 sinners (Nathan Detroit and his associates) to be delivered to the Save-A-Soul-Mission for saving.

This was a really well conceived and well-oiled show in all respects.  Sets were smartly changed by using ceiling hung neon signage illuminated with precision timing, the only conventional props being a few tables and chairs , a hat-stand, a smoking industrial pipe and some  street lights.  Economical and effective.   Dialogue was snappier than brand new elastic. Classic songs were delivered with real verve.  Dance routines performed on the limited space afforded by the staging were small miracles of gymnastics and razor sharp coordination. The band was on fire.  And so was the cast.  

Of the four main leads, the superb Marisha Wallace was perfectly cast as Miss Adelaide and glamorous Hot Box nightclub singer.  Relatively new cast member Owain Arthur played the ducking and diving Nathan Detroit, to a tee, featuring a showpiece duet with Miss Adelaide – “Sue Me”.   Andrew Richardson as Sky Masterson was coolness personified – as smooth as the dulce de leches he fed Sarah Brown (Celinde Schoenmaker) in Havana.  He summed up a central theme in  “Guys and Dolls” –  “Why is it the minute you dolls get a guy that you like, you take him right in for alterations?”   There were also several good moments in the singing spotlight with Sarah (“I’ll Know” and “I’ve Never Been in Love Before” as well as the lead on the swinging “Luck Be a Lady Tonight”.   Celinde Schoenmaker didn’t quite capture the virginal purity we might expect of the innocent Sarah Brown and her singing occasionally verged on harsh, but these are minor quibbles.  Her big number was the ringing  “If I Were a Bell” delivered with due abandon.  Possibly the performance of the night belonged to the excellent Cedric Neal playing Nicely Nicely Johnson with a rollicking, crowd pleasing, show stopping  “Sit Down You’re Rocking the Boat”.

This show is simply sensational.  No detail has been overlooked, as illustrated by the wonderfully informative programme which even has a section on how to shoot craps.  As a self confessed “Guys and Dolls” nut, I wonder if such a scintillating performance could ever be surpassed.   Right now, it’s the only legal high in town…

Apollo Theatre, London – until 17th September 2023

Reviewed by Celia Armand Smith

3***

Since 2:22 A Ghost Story opened in 2021, there have been six casts in five different theatres. The current iteration includes Frankie Bridge, best known for being in the band The Saturdays, in the role of Lauren. She takes over from Sophia Bush, and what an acting debut it is. 2:22 has been quite the leaping off board for people in entertainment, most notably Laura Whitmore, Cheryl, and now Frankie Bridge.

Danny Robins’ 2:22 A Ghost Story is set in a renovation project in Hackney which has marriage problems, baby problems and ghost problems. Jenny (Jaime Winstone) and Sam (Clifford Samuel) are hosting a dinner party for their friends Lauren (Frankie Bridge) and Ben (Ricky Champ). Sam is a scientist, interested only in facts, Ben is a builder and is interested in everything including the supernatural. As more booze is consumed, and tempers are frayed, we edge closer to 2:22 (there is a huge digital clock on the wall). Still directed by Matthew Dunster, strange things are happening and Jenny is determined to make sceptic Sam see and hear what she has witnessed during the previous nights he has been away. There are jump scares, eerie vibes, and twists and turns around every corner.

Anna Fleischle’s set is that of terraced house with fancy new crittall doors and a new kitchen, but the memory of the house that is was still lingers. Old wallpaper is peeling away, and light fixtures remain. Everything adds to the eerie feeling that someone in that house, or indeed the house itself, is trying to communicate with the inhabitants. Sound design by Ian Dickinson coupled with Lucy Carter’s lighting punctuate the play, rounding out the spooky sense of unease that permeates the theatre. Lights go on and off, and foxes and human screams intermingle making you question what you are witnessing.

For a first time treading the boards, Frankie Bridge seems at ease on the stage, only stumbling over her lines once or twice. There is good chemistry between the cast members, everyone hamming up their roles. Ricky Champ as Ben is particularly good, funny and poignant, and definitely the most likeable character. I guessed the ending, but that did not stop me thoroughly enjoying the whole show. The gasps and disbelief of the people around me when it’s all finally revealed are truly a delight.

2:22 A Ghost Story is really enjoyable, and seems to be staying put in the West End for the foreseeable. If you like a jumpscare, a giggle, and audibly gasping in unison with a theatre full of people, then 2:22 A Ghost Story is just the play for you. It’s a thrilling way to spend a couple of hours.

Curve Theatre Leicester – until 12th August 2023

Reviewed by Amarjeet Singh

5****

Kiss Me, Kate is a show within a show. A cleverly layered tale of conflict on and off the stage between the stars of a musical version of “The Taming of the Shrew“. Starring producer and actor Fred Graham, his ex-wife Lilli Vanessi, Lois Lane, a singer/dancer, in which Graham has some romantic desires, and Bill Calhoune, Lois’s love interest who has some questionable hobbies and who questions Lane’s commitment to him. A rampant gambler, Calhoune signs an IOU in Graham’s name triggering 2 gangsters to come after him.

Graham, on the verge of reconnecting with Vanessi, forgets he has sent a bouquet to Lois, which is delivered in error to Vanessi. On stage as Katherina/Kate, Vanessi reads the card and discovers that the bouquet was meant for Lane and threatens to leave the show. Her departure is prevented by two gangsters who have come to collect the IOU. As the first Act ends, art is imitating life, will the show go on?

This rendition, by The National Youth Music Theatre, was joyous, energetic, colourful and fun. Every moment was meticulously thought out. Being a play within a play performers never stopped performing, whether they were on stage, off stage, at the side of the stage or on the balcony, they stayed in character. They performed through dance, acting, music, facial expressions, I simply cannot emphasise how well performed this production was. Audience interaction, showstopping numbers, tightly choreographed dance sequences, it was a sumptuous production. Musical Director Charlotte Corderoy, Sound Designer Andrew Johnson and Choreographer Adam Haigh breathed new life into some classic numbers which were certainly hot. To hear such a large orchestra combined with such beautiful voices singing Porter at his best was a gift. The set/costume design and lighting by Richard Cooper, and Jamie Platt, respectively, kept things deceptively simple. The set is made up of monochrome drawings that are static and sometimes moved by cast members or are puppets, like birds and dogs. The colour is left to the cast. I would change the colour of the main puppeteer’s costumes from all white to all black, but that would be my only adjustment.

Central to Kiss Me, Kate is the relationship between wannabe artistic svengali Fred Graham, played by Charlie Weaver and his no nonsense, sassy ex-wife Lilli Vanessi, played by Sydney Richards. Weaver and Richards, drip with faux vitriol and this is magnificently displayed on stage as the ex-lovers whose love for each other grows increasingly obvious. Weaver wove seamlessly between 1940s Graham and Shakesperean Petruchio, handling huge chunks of Shakespearean dialogue with ease. Richards was a revelation as the sultry Kate and fiery cat like Katherina. Vocally stunning belting out ‘I Hate Men’ made the hairs stand up on the back of my neck. Watch out for a brilliant slow-motion scene as Katherina rejects lesser suitors in fierce fashion.

Every performance in this production was brilliant. Charlie Jackson was enchanting as Lois Lane/Bianca with her hauntingly beautiful voice. Joe Butler-Smith was fabulous as Bill Calhoun/Lucentio, a truly wonderful actor and tap dancer. Joseph Brown as General Howell (a contender for the best booming American accent, and slow march) However, stealing the show, in true criminal fashion, were the criminally undernamed, First Gangster, Raphael Goold and Second Gangster, Georgie Lagden. They were a tour de force to behold. Incredibly funny, even when having to contend with a missing phone. “Brush Up Your Shakespeare” had the audience in stitches.

National Youth Music Theatre, consisting of forty-four cast members and twenty-seven musicians fully deserved the standing ovation at the end of this triumphant performance of Kiss Me, Kate.

Kings Theatre Portsmouth – until 12 August 2023

Reviewed by Lucy Hitchcock

2**

Mike Leigh’s creation of Abigail’s Party has hit Portsmouth to try and entice you to join the excitement.

We meet Beverley (Rebecca Birch) a bossy hostess who thinks she has the “mostess” and her suffering husband Laurence (Tom Richardson) who are hosting a party to introduce their friends Angela and Tony (Alice De-Warenne and George Readshaw) to Susan (Jo Castleton) the mother of Abigail who is hosting her first house party. As the party continues, the alcohol flows and the conversation gets more suggestive and flirtation erupts until there is fatality amongst the group. The cast seems to have some chemistry on stage, albeit a bit stunted and awkward at times unintentionally. The humour seemed to be strained and didn’t quite hit as intended for me-there were ripples of laughter through the audience however.

The set was fantastic, transporting you back to the 1970’s-with plenty of patterns, record players and fibre optic lights! Along with the costumes, this was visually pleasing and really made us feel that we were back in time (some of us for the first time entering the 1970’s!!)

This show has plenty of promise and room for brilliant performance but it fell just short of this. The storyline seemed to be almost like an episode of Emmerdale, with not much driving the plot forward except for an excessive influx of gin and tonics! It was very easy watching, but didn’t excite me enough to warrant a second viewing.

PRODUCTION IMAGES RELEASED FOR THE MUST-SEE COMIC CAPER, THE CROWN JEWELS COMING DIRECT FROM THE WEST END TO THE LOWRY, SALFORD FROM 19TH TO 23RD SEPTEMBER.

STARRING AL MURRAY, MEL GIEDROYC,

CARRIE HOPE FLETCHER, NEIL MORRISSEY & JOE THOMAS

CAST ALSO INCLUDES AIDAN MCARDLE AND TANVI VIRMANI

First-look images have been released for this year’s must-see theatrical comic caper, The Crown Jewels which following its West End premiere at the Garrick Theatre this summer comes to The Lowry, Salford from Tuesday 19 – Saturday 23 September.

Based on the true story of one of British history’s most audacious heist attempts, a super-star cast are confirmed to appear in this raucous royal affair including; Al Murray (The Pub Landlord) as Charles II;  Mel Giedroyc (BBC 1’s The Great British Bake Off, Channel 4’s Light Lunch); Carrie Hope Fletcher (Bad Cinderella, Les Misérables, Heathers in the West End); Aidan McArdle (Leopoldstadt, West End, Ridley, ITV); Neil Morrissey (BBC 1’s Men Behaving Badly, Line of Duty); Joe Thomas (Channel 4’s The Inbetweeners, Fresh Meat, BBC 2’s White Gold) and Tanvi Virmani (Life of Pi, West End).

Written by BAFTA-nominated creator of ITV’s The Durrells and BBC 1’s Men Behaving Badly, Simon Nye, and directed by multi-Olivier Award winner Sean Foley (Upstart Crow, The Ladykillers) it would be criminal to miss it.

Following its West End premiere The Crown Jewels then tours to The Lowry, Salford (Tuesday 19 – Saturday 23 September), Marlowe Theatre, Canterbury* (Monday 25 – Saturday 30 September), and the New Theatre, Cardiff* (Monday 2 – Saturday 7 October 2023).

* Additional casting to be announced.

The Crown Jewels is a riotous new comedy based on the most unbelievable royal caper in British history. Charismatic and unpredictable Colonel Blood is planning the greatest heist of all time: stealing the Crown Jewels in plain sight. With a gang of misfits by his side, what could possibly go wrong? But Charles II can’t afford a royal scandal, and no King likes people handling their Crown Jewels…

Writer Simon Nye says: “I hope audiences will be as titillated and thrilled as I am at the prospect of a riotous comedy-drama about a crown jewels heist that really happened. True crime comes to the West End, 350 years after the event. The cast is an amazing array of comedy talent, and the subject matter absurdly topical. Satire, sword-fighting, love, violence, an examination of the monarchy and Anglo-Irish relations – could you ask for anything more?”

Director Sean Foley continues: “I’m thrilled to have the opportunity to direct Simon Nye’s hilarious new play. An entirely modern take on the Restoration Comedy, it transports us to a completely different time – a time when England had a new king…whose name was Charles. I’m excited to be working with our brilliant cast, and we all hope to thoroughly entertain audiences in one of my favourite theatres – the Garrick – over this Coronation summer.”

Producer Simon Friend adds: “The Crown Jewels came out of a mad idea that Simon Nye and I cooked up during lockdown, fantasising about shows we could make if theatres were to ever reopen. We’re incredibly lucky that such a talented cast, with Sean as director, have gathered around for this hilarious play about a famous heist that went awry, and we look forward to bringing some laughter to the West End this summer.”

The creative team is Director, Sean Foley; Writer, Simon Nye; Set and Costume Designer, Michael Taylor; Lighting Designer, Natasha Chivers and Andy Graham, Sound Designer.

The Crown Jewels is produced by Simon Friend in association with Adam Kenwright, Trafalgar Theatre Productions, Jenny King, Gavin Kalin, David Adkin and JAS Productions.

For more information visit www.crownjewelsplay.com or follow FACEBOOK | TWITTER  | INSTAGRAM @CrownJewelsPlay

ENDS

LISTINGS INFORMATION 

The Lowry, Salford

Tuesday 19 – Saturday 23 September 2023

On sale now

www.thelowry.com

RICHMOND THEATRE CONFIRMS

ITS AUTUMN 2023 SEASON

With the weather beginning to cool down, Richmond Theatre will be opening its doors once again for what is set to be a thrilling and chilling Autumn season filled with award-winning stars, recognisable favourites and gripping stories. Audiences are encouraged to take shelter from the weather in the theatre’s decadent bar spaces before taking their seat in the Grade II-listed Frank Matcham building for an evening of entertainment.

The venue is incredibly excited to open the Autumn season by welcoming the award-winning Andrew Scott to their stage. Scott will be starring in a new one-man production of VANYA  – based on the Chekhov classic – before it heads to the West End. The show broke two Richmond records when it first went on sale: it sold the highest number of tickets in one day, and achieved the highest gross sales in a single day, which A Little Life had set earlier this year. There are limited tickets still available for the show, with audiences encouraged to book soon to avoid disappointment.

Richmond are pleased that the venue continues to attract performers of the highest calibre, with several stars confirmed for the upcoming season. In October, BAFTA and Golden Globe nominee Rupert Everett will star in A VOYAGE ROUND MY FATHER, John Mortimer’s celebrated autobiographical play about a man growing up in the shadow of a brilliant and eccentric barrister, constantly yearning for his father’s love and respect. In November, Catherine Tate and David Threlfall will visit Richmond Theatre in the pre-West End showing of brand-new thriller THE ENFIELD HAUNTING, based on the true story of the Enfield poltergeist of the 1970s. Later that month, Eddie Izzard will be presenting her show THE REMIX, full of her favourite material from the past 35 years. These are the only London dates of Eddie’s tour, so audiences are advised to secure their tickets as soon as possible.

There are also plenty of opportunities to catch a thrilling drama at the venue. Katherine Moar’s debut play FARM HALL will be presented at the theatre, based on the remarkable true story of German nuclear physicists detained at Farm Hall between July 1945 and January 1946. The best-selling crime novel of all time AND THEN THERE WERE NONE will receive a brand-new production, and West End sensation THE WOMAN IN BLACK is set to chill audiences, starring Richmond Theatre’s very own Mark Hawkins.  For those looking for something a bit lighter, PETER PAN GOES WRONG sets sail in September – Mischief Theatre’s production of the awfully big adventure promises to definitely and spectacularly not go right.

The venue will also be playing host to several special events this autumn, featuring familiar faces. In October, Ruby Wax returns to the stage with her new show I’M NOT AS WELL AS I THOUGHT I WAS, billed as her rawest, darkest and funniest show yet. Co-presenter of BBC Two’s ‘DNA Family Secrets’ Professor Turi King will uncover how DNA has revolutionised genealogy, forensics and more in her show FAMILY HISTORY, and Supervet Noel Fitzpatrick will offer an antidote to the hectic whirlwind of modern living. In November, SISTER SLEDGE LIVE FEATURING KATHY SLEDGE will take to the stage, playing all their greatest hits. If adventure is more your style, then don’t miss MARK ‘BILLY’ BILLINGHAM, the Chief Instructor on Channel 4’s ‘SAS: Who Dares Wins’, as he shares his incredible inspirational story.

Richmond Theatre is dedicated to making sure people of all ages and abilities can take part in theatre and the arts, and our Creative Learning Department has various classes that are inclusive and fun for all! This currently includes Storytime sessions for under 5s, Guided Theatre Tours for all and monthly dance classes for over 50s. In September, the department will be starting a new class called Twirling Toddlers, a movement class for ages 2-4.

For further information regarding workshops and creative learning bookings, please contact [email protected]

Audiences are kindly reminded that Local Heroes discounts are offered to teachers, care workers, prison officers, armed forces, ‘blue light’ professionals and Max Card holders. Local Heroes are offered 25%* off ticket prices to a wide variety of shows including family favourites, dramas and musicals. If we can make a night at theatre more affordable for our heroes and their families, it’ll be our pleasure. To find out more, see here.

NEW CAST ANNOUNCED FOR

LES MISÉRABLES

LUKE KEMPNER AS ‘THÉNARDIER’

KATIE HALL AS ‘FANTINE’

WILL CALLAN AS ‘MARIUS’

AMENA EL-KINDY AS ‘ÉPONINE’

AND

DJAVAN VAN DE FLIERT AS ‘ENJOLRAS’

AT THE

SONDHEIM THEATRE

FROM 25 SEPTEMBER 2023

Cameron Mackintosh is delighted to announce new casting for the critically acclaimed new production of LES MISÉRABLES at the Sondheim Theatre from Monday 25 September 2023.

Joining the company from 25 September 2023 will be Luke Kempner as Thénardier, Katie Hall as Fantine, Will Callan as Marius, Amena El-Kindy as Éponine and Djavan van de Fliert as Enjolras. They join Josh Piterman as Jean Valjean, Stewart Clarke as Javert, Claire Machin as Madame Thénardier and Lulu-Mae Pears as Cosette.

The company is completed by Annabelle Aquino, Hazel Baldwin, Brad Barnley, Michael Baxter, Emily Olive Boyd, Rosy Church, Ben Culleton, Matthew Dale, Matt Dempsey, Sophie-May Feek, Matt Hayden, Tom Hext, Christopher Jacobsen, Jessica Johns-Parsons, Yazmin King, Sam Kipling, Anouk van Laake, Harry Lake, Sarah Lark, Ellie Ann Lowe, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Jonathan Stevens, Phoebe Williams and Ollie Wray.

Luke Kempner is an acclaimed stand-up comic, impressionist and actor widely recognised for his popular sketch videos which have amassed over 10 million views online. His television credits include being a regular host on Channel 4’s Steph’s Packed Lunch, Love Island Aftersun, Spitting Image, The Last Leg, Big Brother’s Bit On The Side, Deep Fake Neighbour Wars, Stand-Up Sketch Show, Murder in Successville, The Imitation Game, and Celebrity Karaoke Club. Luke’s many voices are also regularly heard on The Now Show on BBC Radio. No stranger to the musical theatre world, Luke’s previous performance credits include the 25^th Anniversary tour of Les Misérables, Avenue Q and South Pacific as well as starring in the West End production of Idiots Assemble: Spitting Image The Musical and his brand new show Edinburgh Fringe show, Gritty Police Drama: A One-Man Musical which follows success with previous shows including The Only Way Is Downton. Luke also co-hosts the Shit, I Married a Twin podcast with The Mac Twins.

Katie Hall returns to the role of Fantine having starred in the recent UK and Ireland tour of Les Misérables. Her numerous theatre credits include the roles of Cosette on tour, at the Queen’s Theatre, and in the 25^th Anniversary Concert of Les Misérables at the O2 Arena, Christine in The Phantom of the Opera at Her Majesty’s Theatre in the West End and on tour, Johanna in Sweeney Todd at the London Coliseum and Maria in the national tour of West Side Story.

Will Callan returns to the role of Marius, making his West End debut, having previously starred in the recent UK and Ireland tour of Les Misérables.

Amena El-Kindy makes her West End debut in Les Misérables, having recently appeared in Robin Hood: The Legend Rewritten at the Regent’s Park Open Air Theatre. Her other theatre credits include the 2022 UK tour of Beautiful, The Carole King Musical.

Djavan van de Fliert can currently be seen in the role of Kristoff in Disney’s Frozen at Drury Lane, which marked his West End debut and first professional role, having recently graduated from Arts Ed.

Since Cameron Mackintosh first conceived this acclaimed new production of LES MISÉRABLES in 2009, to celebrate the show’s 25^th anniversary, it has taken the world by storm. The UK and Ireland tour recently concluded its acclaimed run and the record-breaking tour of North America relaunched in 2022. A new tour of The Netherlands and Belgium opened in March this year in Amsterdam, and the new Korean production will open this autumn, with performances in Busan, Seoul and Deagu. The world tour of Les Misérables The Arena Spectacular, an expanded version of the hugely successful Les Misérables – The Staged Concert, will open in September 2024. Following this, the Japanese production of Les Misérables will open at the Imperial Theatre in Tokyo in December 2024.

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 120 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular and contemporary musicals.

Cameron Mackintosh’s production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by James Powell and Laurence Connor, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou, Christine Rowland and Paul Wills, lighting by Paule Constable, sound by Mick Potter, projections realised by Finn Ross & Fifty Nine Productions, musical staging by Geoffrey Garratt, and music supervision by Stephen Brooker and Alfonso Casado Trigo.

MGCfutures BURSARY PROGRAMME

OPENS APPLICATIONS FOR 2023

Including a new bursary with The Other Room in Cardiff

Artistic Director of MGC, Michael Grandage today announces that the seventh MGCfutures Bursary Programme will open for applications from 12pm today, 10 August, and close on 12pm on 31 August. MGCfutures is a charity, formed in 2013. The bursaries programme was launched in 2016 for arts practitioners who show a commitment to their chosen career and look to progress to the next stage of their development.

Applicants throughout the UK can apply for bursaries of up to £5,000, to support careers within the theatre industry. MGCfutures remains committed to expanding the reach of the bursaries across all the professions that play a vital role in making live performance happen.

In addition, MGCfutures will offer the following bursaries:

• The Other Room in Cardiff to create a 12-month placement as the venue’s first in-house Technical and Production Manager
• Stephanie Arditti Bursary to support those who wish to pursue a career in any aspects of costuming in theatre

Michael Grandage said today, “To date, MGCfutures has meaningfully helped 126 people develop their chosen career within the theatre. As we enter our seventh year it is my hope that we continue to build on this success and wherever possible, help change people’s lives for the better by supporting them at a crucial moment in their development.”

Applications must be submitted via the MGCfutures website: https://www.mgcfutures.com/2023-bursary/ from 12pm today, 10 August, and close at 12pm on 31 August.

Please note, bursaries are not available to support training or investments in productions.

Also launched today, is the new MFCfutures website, designed by award-winning design studio Bullet Creative, through which the bursary application is facilitated. The new site also showcases regular news and features from the growing family of bursary recipients; alongside comprehensive insights into careers across the spectrum of the theatre world, with helpful careers advice and guidance.

MGCfutures

MGCfutures is a charitable organisation committed to supporting the next generation of theatre makers and theatre goers, principally through its bursary programme, mentorship and online resources. Established in 2013 by director Michael Grandage, the charity aims to introduce people to the wide variety of jobs available within the theatre, both on and offstage, and also provides vital support to theatre makers at pivotal moments in their careers.

MGCfutures is governed by a Board of Trustees. It is also supported by the charity’s patrons: Judi Dench, Dawn French, Nicole Kidman, Jude Law, Daniel Radcliffe, Simon Russell Beale, Sheridan Smith, Aidan Turner, David Walliams and Ben Whishaw.

As previously announced the Theatre Community Fund, spearheaded by Olivia Colman, Phoebe Waller-Bridge and Francesca Moody will continue their 3-year support of the bursary scheme for a final year.

“My MGCfutures Bursary, allowed me to work on the long-term sustainability of my producing career through business and financial training, as well as developing my company’s artistic slates through acquiring rights for two works for adaptation. At this stage of my career, the recognition and support from MGCfutures has given me the confidence to take the next steps in moving towards becoming a leader in the industry – I can’t thank MGCfutures enough.” Nisha Oza, Producer and Bursary Recipient 2021

To find out more about MGCFutures’ work, and how to get involved, please contact Andrew Broadley [email protected]

• The MGCfutures Bursaries are funded through money raised by the company itself, through donations and the support of generous individual givers
• The recipients of the awards are selected from an industry panel including Michael Grandage. After the panel, each recipient will be met with to discuss their bursary and the support MGCfutures will give each one moving forward.

Instagram: MGCfutures

X: @MGCfutures

Facebook: MGCfutures

https://www.mgcfutures.com/2023-bursary/

FULL CAST ANNOUNCED FOR UK TOUR OF

THE AWARD-WINNING PRODUCTION

OF THE GLOBAL PHENOMENON
JESUS CHRIST SUPERSTAR

Full casting is today announced for the UK tour of the Olivier Award-winning reimagined production of Tim Rice and Andrew Lloyd Webber’s celebrated musical JESUS CHRIST SUPERSTAR.

Previously announced, the lead cast will include Ian McIntosh (Jesus), Shem Omari James (Judas) and Hannah Richardson (Mary). They are joined by Ryan O’Donnell (Pilate), Jad Habchi (Caiaphas) and Matt Bateman (Annas).

Julian Clary will play the role of Herod during the initial 2023 dates including Manchester (11 – 23 September), Newcastle (26-30 September), Aberdeen (10 – 14 October), Glasgow (16 – 21 October) and Liverpool (23– 28 October).

Further cast will include Jasmine Jules Andrews (Ensemble), Pàje Campbell (Ensemble), Louise Francis (Ensemble/Soul Singer), Francis Foreman (Ensemble/Priest), Megan Bryony G (Ensemble/Mob Leader), Joshua Hawkins (Ensemble/Peter), Darius J James (Ensemble/Priest), Cassandra Lee (Ensemble/Soul Singer), Stephen Lewis-Johnston (Ensemble), Charlie McCullagh (Ensemble/Alternate Jesus), Jago Mottart (Ensemble), Mia Musakambeva (Ensemble/Soul Singer), Timothy Roberts (Ensemble/Priest), Luke Street (Ensemble/Simon/ Alternate Judas), Timo Tatzber (Ensemble/Herod) and Jordan Michael Todd (Ensemble).

Completing the company will be Carla Bertran (Swing/Dance Captain), Daniel Bowskill (Swing/Fight Captain), Myla Carman (On-Stage Swing) and Christopher Tendai (Swing/Resident Choreographer).

Produced by David Ian for Crossroads Live and Work Light Productions who present the Regent’s Park Open Air Theatre production, JESUS CHRIST SUPERSTAR embarks on a 2023/24 UK tour opening at Manchester’s Palace Theatre from 11 September 2023. It will then visit Newcastle, Hull, Aberdeen, Glasgow, Liverpool, Milton Keynes, Plymouth, Wolverhampton, Bradford, Nottingham, Ipswich, Cardiff, Edinburgh, Leicester, Stoke, Bromley, Inverness, Bristol, Crawley, Southampton, Norwich, Eastbourne, Birmingham, Truro, Oxford, Wimbledon, Woking, Sunderland, Canterbury, Sheffield, Llandudno, Southend, Torquay, Dartford, Cheltenham and Blackpool*. Further tour dates are to be announced.

Featuring lyrics and music by Emmy, GRAMMY, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, this production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and is helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team is design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering.

A global phenomenon that has wowed audiences for decades, JESUS CHRIST SUPERSTAR’S iconic 1970s rock score was originally released as a concept album and opened on Broadway in 1971 at the Mark Hellinger Theatre. The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. Jesus Christ Superstar has been reproduced regularly around the world in the years since its first appearance, with performances including a Broadway revival in 2012, an ITV competition TV show called Superstar that led to casting Ben Forster as Jesus in an arena tour of the show, and a production at the Regent’s Park Open Air Theatre celebrating 45 years since the musical’s Broadway debut.

JESUS CHRIST SUPERSTARis set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

This production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre in concert version during the summer of 2020. The UK Tour runs in tandem with the hugely successful North America tour of the production which has to date played over 700 performances in over 90 venues since the tour opened in October 2019.

The 2023-2024 UK Tour of JESUS CHRIST SUPERSTAR is produced by David Ian for Crossroads Live and Work Light Productions. The original production was produced by London’s Regent’s Park Open Air Theatre.

For additional information about this production, please visit www.jesuschristsuperstar.com

Facebook & Instagram: @JesusChristSuperstar | Twitter: @JCSTheMusical

*Julian Clary plays the role of Herod in Manchester, Newcastle, Aberdeen, Glasgow and Liverpool. Casting for other venues is to be announced.