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Sheffield Crucible – until Saturday 19 August 2023

5*****

This new production of Miss Saigon is definitely made in Sheffield.  It has grit and determination and a core of the famous Sheffield steel.

Unusually I have to start this review with a mention to the technical side of the flawless production.  The thrust stage is nothing more than a grey blank slate.  But as the show runs through the stage and backdrop become awash with light and colour. Designer Ben Stones, Lighting Designer Jessica Hung Han Yun  and Video and Animation Designer Andrzej Goulding, along with Direction by Robert Hastie and Anthony Lau have produced something huge but yet intimate and it’s truly amazing.

By special arrangement from Cameron Mackintosh and with music and lyrics by Claude-Michel Schönberg and Alain Boublil, Miss Saigon – a reworking of Puccini’s Madame Butterfly – started life at the Theatre Royal Drury Lane in 1989. Running for 10 years, it then had a reworking at the Prince Edward theatre in 2014. 

Set against the backdrop of the Vietnamese War of the 1970’s; innocent country girl Kim (JESSICA LEE) escapes to Saigon from her village and planned arranged marriage to Thuy (ETHAN LE PHONG). Found by The Engineer (JOANNA AMPIL) she takes her to his seedy bar Dreamland which is populated by the American GI’s who use the girls who work at the bar. Sensing she can use her innocence and sell her virginity to the highest bidder, The Engineer does the mock “Miss Saigon” contest to show off her purity against the other working girls. Gigi (AYNRAND FERRER) wins the contest but not before a bidding war has started on Kim. GI John (SHANE O’RIORDAN) is the winning bidder and gives Kim to his friend Chris (CHRISTIAN MAYNARD) as a present to cheer him up. She willingly gives up her virginity and Kim and Chris fall in love.

Fortune however deals them a series of cruel blows and when Saigon falls to enemy forces, in the musical’s iconic moment Chris is airlifted to safety in a helicopter and the pregnant Kim must fend for herself. Three years have passed, Saigon is now Ho Chi Minh. Thuy is now a Commissar and sends the very down at heel Engineer to find Kim. Thuy wants his arranged marriage. The Engineer finds Kim surviving on the streets with her son Tam (ANAYA AWOKO-BENNETT, IKAYAN-RAY MULOMO, DEACON PINDER and HIRAK SINGLA sharing the role). Whilst The Engineer sees a mixed race child as her passport to America, Thuy see’s it as a betrayal and means to kill the child until Kim kills him, shooting him with Chris’s gun. Kim, Tam and The Engineer escape to Bangkok.

Back in the USA, Chris is married to Ellen (SHANAY HOLMES). The Vietnamese war and losing Kim broke him and he fell into a depression. Ellen helped pick up the pieces but he still suffers with nightmares and was still trying to find word of Kim. John, now working for a charity that helps with war orphans, gets word of Kim and her son Tam and tells Chris. John, Chris and Ellen go to Bangkok to find Kim and his son.

Jessica Lee exudes vulnerability and has an effortlessly beautiful singing voice, clear and sweet, Christian Maynard is a suitably simplistic Chris. Ellen is sensitively played by Shannay Holmes, helping to understand how conflicted a woman she is. Ethan Le Phong as Thuy, Kim’s intended husband, has a rich, powerful voice and brings an intense dignity to his efforts to win her back. But the star is Joanna Ampil who plays The Engineer. She is charming and yet conniving, seedy, funny, savage, ruthless and sleazy and commands even an empty stage; everything The Engineer should be. I loved the  tiny but comedic part where she casts aside a red jacket – and her interpretation of American Dream is a joy, with a nod to Marilyn Monroe and Madonna’s Material Girl video

Miss Saigon, at almost 3 hours long, is packed full of songs. Based on an opera, it is nearly all sung through with very little dialogue. The live band conducted by Chris Poon played all the big songs like The Movie in my Mind, Why God Why, Sun and Moon and the Last Night of the World are sung in very quick succession. Bui Doi, as normal, had me in tears. The moment everyone waits for – the helicopter descending on to the stage, was impressive as it should be. Miss Saigon will always be a massive spectacle – a wave of raw emotion, gritty, violent and sexy. Suffocating but sincere the show reflects much more of the reality of war and Sheffield theatres have produced a masterpiece

Leicester Square Theatre – until 9th September 2023

Reviewed by Ben Jolly

4****

The team from Sh!t-faced Shakespeare® have fallen off the wagon and now return to the Leicester Square Theatre, this time for a raucous rendition of the classic comedy, Much Ado About Nothing…

If you aren’t already familiar with the concept, it’s all in the title; each evening, a few hours before curtain one member of the cast is nominated to get completely sozzled and has to perform the play alongside their sober colleagues. The cast rotate roles, drinkers and master of ceremonies – who has the important job of holding the show together. In all honesty, I was somewhat hesitant toward this concept when I first heard of it. I’m a firm believer in the adage, “you gotta have a gimmick” but how would this one sustain to engage us after the initial shock factor had worn off upon being introduced to the drunk? Oh how naive I was.

Our compère last night was played by Beth-Louise Priestly who took on this role with wit, charm and an abundance of energy. While this part has the responsibility of keeping everyone in check (cast and audience alike), Priestly expertly straddled the line between fellow player and mother hen, egging us on and managing to keep the show from completely derailing – no mean feat indeed.

Flora Sowerby – the drunk for the evening – was playing the role of Beatrice, well, a somewhat version of Beatrice, anyway, as the bottle of Vinho Verde and champagne from Fortnum & Mason’s had certainly taken effect! Sowerby didn’t even try to conceal this and applied even less effort into remembering her lines, instead we ended up with a bastardised summary, interjected with aggressive outbursts and enough curse words to make Gordon Ramsey blush! Sowerby’s performance was perfection; she leans in just enough to keep us on our toes, dreading what might happen next but knows just when to pull back before the scene gets tired.

It became apparent early on that the comedy in Sh!t-faced Shakespeare® lies heavily with the ensemble, not the drunk as it may initially seem, Chris Lane’s performance of Don John being a prime example of this. The cast must be attentive and malleable and it ultimately pays off time and time again throughout the evening. The play and plot do tend to fade into the background but instead, the piece merges into its own improvised comedic performance, with as much audience participation that would be required for pantomime. 

There’s a reason why this global brand keeps coming back time and time again; its themes are universal and without pretension this comrade of misfits honour with dignity the timely traditions of performing Shakespeare, improvised comedy and, of course, to become completely inebriated while doing it.

Lyceum Theatre, Sheffield – until Saturday 15 January 2023

Reviewed by Kev Roberts

4****

My initial thought on watching a theatre production of Dirty Dancing, was whether I could watch it without reminiscing about the original movie and comparing the cast to those film actors. If I’m honest it took me a few minutes to get past this but once the show started, I became engrossed, and thoroughly enjoyed it.

Frances ‘Baby’ Houseman (Kira Malou) and Johnny Castle (Michael O’Reilly) soon draw you in, especially with their obvious chemistry and ability to play the parts perfectly without comparing them to Swayze and Grey. Malou’s kooky traits and comedic undertones and her ability to act as this beginner dancer (which is harder than it looks) is second to none and shouldn’t be underestimated. She portrays the vulnerability of the character well, whilst highlighting her strengths and morals, in always being there for others.

O’Reilly performance as Johnny is equally impressive. Its difficult to pull off an American accent without sounding a little cheesy but he does it with aplomb, downplaying it enough to sound authentic. His stern demeanour, but caring and sympathetic manner towards his friend Penny (Georgia Aspinall) is done well. Much of the highlights of the production of course is the fantastic dancing between them both. O’Reilly and Aspinall excite and impress with their moves and despite the relatively small stage of the Lyceum, this doesn’t pose a problem and they display their skills to the full.

The production generally stays true to the movie, yet it puts its own twist on it to ensure that the lesser known characters such as Tito (Colin Charles) and Mr Schumacher (Mark Faith) get to portray their own acting and singing talents also. Charles gets the audience going with his own unique moves and fabulous singing and Elizabeth ( Lydia Sterling) adds to the show with her fantastic vocals adding some extra substance to an already well known script. Faith as Mr Schumacher also injects some unexpected humour into the show with his goofiness highlighting his own performance well, despite being on the peripheral. This also applies to Daisy Steere who plays Lisa Houseman. Her portrayal of Lisa was outstanding, specifically at the end whilst she takes centre stage to sing her song, the audience were in stitches. Great comedic timing. Support acts such as Dr Houseman (Jack Loy) his wife Marjorie (Taryn Sudding) and Billy Kostecki (Danny Colligan) and the rest of the cast all play their part in ensuring a classic film was brought to life on stage.

In regards to the set, this is equally impressive as stated earlier the stage feels quite small but the way the set is constantly changed without a break in acting keeps the nostalgia and flow of the show. You genuinely feel you are at Kellermans on vacation and in the moment. The way the build up to the famous lift and the dance training between Baby and Johnny is also clever, especially the lighting for the log scene. This of course is the build up to the last dance and the famous lift that the raucous and expectant crowd have been waiting for and despite probably doing it a thousand times they don’t disappoint.

Of course we all know nobody puts baby in the corner and this production definitely needs to be front and centre like Baby and Johhny. It takes a well loved movie and transforms it into a fantastic stage adaptation that is filled with fun, wit, warmth and outstanding dancing, ensuring the audience definitely had the time of their lives.

“RODGERS & HAMMERSTEIN’S OKLAHOMA!” STARRING HUGH JACKMAN COMES TO CINEMAS FROM 16 JULY

UK and Ireland – The Olivier Award-winning 1998 production of Rodgers & Hammerstein’s Oklahoma!, starring then-newcomer Hugh Jackman (Les Misérables, The Greatest Showman) as Curly, will screen in over 300 cinemas across the United Kingdom and Ireland from 16 July to 19 August. Tickets for the cinematic experience are available at www.oklahomaincinemas.com.

The cinema screenings are presented by Trafalgar Releasing, in partnership with Concord Originals and The Rodgers & Hammerstein Organization, to celebrate the 80^th anniversary of the groundbreaking 1943 Broadway premiere. This 25-year-old production of Oklahoma! features some of the most delightfully hummable songs by the legendary team of composer Richard Rodgers and librettist/lyricist Oscar Hammerstein II, including “Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe on Top,” “People Will Say We’re in Love” and the joyous title tune, “Oklahoma.”

Directed by theatre legend and three-time Tony Award winner Trevor Nunn (CATS, Les Misérables) with new choreography by five-time Tony Award winner Susan Stroman (The Producers, Crazy for You), the film also stars Maureen Lipman as Aunt Eller, Josefina Gabrielle as Laurie, Tony and Olivier Award winner Shuler Hensley as Jud Fry, Vicki Simon as Ado Annie, Jimmy Johnston as Will Parker and Peter Polycarpou as Ali Hakim. The stage production transferred to London’s West End in 1999 and won four Olivier Awards, including Outstanding Musical Production. 

The creative team includes set and costume designer Anthony Ward, lighting designer David Hersey, music director John Owen Edwards and orchestrator Robert Russell Bennett, with additional orchestrations by William David Brohn and new dance music arranged by David Krane. The film was produced by Richard Price and Chris Hunt and directed by Trevor Nunn and Chris Hunt. Director of photography was Paul Wheeler and editing was by Keith Palmer. 

PLAYFUL PRODUCTIONS 

ERIC KUHN, KARL SYDOW, SAYERS AND SAYERS PRODUCTIONS AND SUE VERTUE/HARTSWOOD FILMS

PRESENT THE THE CHICHESTER FESTIVAL THEATRE PRODUCTION OF 

THE UNFRIEND

BY STEVEN MOFFAT
DIRECTED BY MARK GATISS

The Unfriend
noun.

A person, often met on holiday, who doesn’t understand that “let’s keep in touch” means “goodbye.” Sometimes a murderer.

-BAFTA WINNER LEE MACK WILL LEAD THE CAST AS HAPLESS PETER IN STEVEN MOFFAT’S HIT COMEDY THE UNFRIEND DIRECTED BY MARK GATISS
 

–THE UNFRIEND WILL OPEN AT WYNDHAM’S THEATRE FROM 16 DECEMBER FOR A STRICTLY LIMITED SEASON UNTIL 9 MARCH 2024, WITH A PRESS NIGHT ON 9 JANUARY 2024
 

-LEE MACK IS JOINED BY SARAH ALEXANDER AS DEBBIE, NICK SAMPSON AS THE NEIGHBOUR
 

-THEATRICAL GREAT FRANCES BARBER WILL REPRISE HER PERFORMANCE AS THE FORCE OF NATURE ELSA JEAN KRAKOWSKI
 

-THE PRODUCTION BROKE BOX OFFICE RECORDS AT THE CRITERION THEATRE EARLIER THIS YEAR
 

-TICKETS ARE ON SALE AT 12 NOON ON THURSDAY 13 JULY FROM WWW.THEUNFRIEND.COM

Producers Playful Productions are delighted to announce that Steven Moffat and Mark Gatiss’ record breaking collaboration The Unfriend will be making its return to the West End this year. The show will open in previews at Wyndhams’ Theatre on 16 December and will run until 9 March 2024.

New to the show, award-winning comedian and actor Lee Mack (Would I Lie To You, Not Going Out, Inside No. 9) will play the role of Peter, whilst Sarah Alexander (Jonathan Creek, Green Wing, Smack The Pony and Coupling) will play Peter’s wife Debbie and Nick Sampson (Witness for the Prosecution, Anthony and Cleopatra) will play The Neighbour. Frances Barber (Silk and Film Stars Don’t Die in Liverpool) returns to play the role of everyone’s favourite serial killer Elsa Jean Krakowski.

Lee Mack said: “I’m delighted to be joining The Unfriend with the brilliant Sarah Alexander and the wonderful Frances Barber, and of course all the other amazing cast. It’s such a fantastically written play by Steven Moffat that I might even go the whole hog and learn the words.”

While on holiday Peter and Debbie befriend Elsa: a lusty, Trump-loving widow from Denver, USA. She’s less than woke but kind of wonderful, so they agree to stay in touch – because no one ever really does, do they?

When Elsa invites herself to stay with the family a few months later, they decide to look her up online. But it’s too late: on learning the truth about Elsa Jean Krakowski, the deadly danger is already on a flight to London! What began as a casual holiday friendship is suddenly a threat to all their lives. 

Peter and Debbie now face the ultimate challenge of the modern world – how do you protect all that you love from mortal peril without seeming a bit impolite?

Because guess who’s coming… to MURDER.

Director, Mark Gatiss, said; “You can’t keep a good serial killer down! I’m absolutely delighted that Elsa Jean Krakowski has found a home at the beautiful Wyndham’s theatre and very much look forward to bringing Steven’s hilarious play back to the West End”.

Writer, Steven Moffat said: “It’s a real thrill to welcome a couple of comedy legends on board The Unfriend, for our new run at the Wyndhams Theatre.  Lee Mack is one of the funniest men in the country and someone I’ve been wanting to work with for years. And Sarah Alexander is not just brilliant and hilarious, she’s an old friend from our days together on Coupling. Can’t wait to get started all over again.”

Steven Moffat is a six-time BAFTA award-winning writer, whose hit television series include Doctor Who, Sherlock and Dracula – the latter two co-written with the actor and writer Mark Gatiss, who directs this production. Mark Gatiss is a member of the sketch comedy team The League of Gentlemen. Gatiss’ recent directing credits include The Mezzotint and The Amazing Mr Blunden for Sky Max, in which he also starred. He also recently adapted A Christmas Carol at Nottingham Playhouse and Alexandra Palace. Most recently he won huge acclaim for his role as John Gielgud in The Motive and the Cue at the National Theatre.

The Unfriend is designed by Robert Jones, with lighting by Mark Henderson, sound by Ella Wahlström, video design by Andrzej Goulding and casting by Charlotte Sutton CDG. The Unfriend by Steven Moffat was originally developed by Playful Productions.

CATHERINE TATE

& DAVID THRELFALL

TO STAR IN NEW

WEST END PLAY

Paul Unwin’s new play

based on the extraordinary true story

of one of the most famous poltergeist events in the world

Performances begin 30 November

at The Ambassadors Theatre, London

Tickets on sale today, Thursday 13 July, at

www.enfieldhauntingplay.com

Catherine Tate and David Threlfall will star in The Enfield Haunting, a new play based on one of the most famous poltergeist events in the world.

Written by Paul Unwin, and directed by Angus Jackson, The Enfield Haunting will play at Brighton Theatre Royal and Richmond Theatre, before moving to The Ambassadors Theatre in London for a limited West End season from 30 November 2023 until 2 March 2024. 

Tickets for all dates will go on sale to ATG Theatre Card Holders at 10am today, Thursday 13 July, at www.enfieldhauntingplay.com. Tickets are on General Sale from 12pm.

Catherine Tate, who is renowned for her TV, film and theatre work, including her current BBC series Queen of Oz, The Catherine Tate Show and Donna Noble in Doctor Who alongside David Tennant, will play Peggy Hodgson, a single mother who tries to protect her three children from something that is incomprehensible and deeply disturbing.

Catherine said: “I’m thrilled to be part of The Enfield Haunting and can’t wait to start working with the first-class creative team and the brilliant David Threlfall.”

David Threlfall, who played Frank Gallagher in the highly acclaimed TV series Shameless, is an Associate Artist of the Royal Shakespeare Company (he played Don Quixote in the RSC’s production of and last year was nominated for a Tony Award for his role in Martin McDonagh’s The Hangman, plays Maurice Grosse, a ghost hunter.

David said: ‘I’m delighted to be reuniting with director Angus Jackson and working for the first time with the amazing Catherine Tate on Paul Unwin’s version of the UK’s most famous incident of psychological inhabitation,  The Enfield Haunting, in 1977.’ 

The Hodgson’s had no idea what a poltergeist was when, in the summer of 1977, furniture and toys started moving of their own accord. They were an ordinary, working-class family, who lived in a North London council house at 284 Green Street, Enfield, but for the next eighteen months became the centre of one of the most famous poltergeist events in the world.

Janet, the possessed sixteen-year-old, was nearly pulled out of a window. The local ‘lolly pop lady’ saw her floating six feet in the air in an upstairs room and Janet was found fast asleep in a neighbours’ bed. There are tapes of Janet growling for hours in a voice that doctors said would destroy a sixteen-year-old girl’s vocal cords after a few minutes.

Paul Unwin’s new play is the story of one night in the spring of 1978 when events were approaching a climax. Based on the first-hand accounts of one the one the ghost hunters, The Enfield Haunting is the true story of what happened when Peggy Hodgson tries to protect her three children from something that is incomprehensible, deeply disturbing and is hurtling to a terrifying conclusion.

Maurice Grosse was one of the ghost hunters. A kind and protective man, he was determined to help the Hodgson’s but as the night unfolds it slowly becomes clear that he is searching for something that he is convinced that only Janet can help him find.

Writer Paul Unwin said: ‘Before Guy Lyon Playfair the poltergeist expert died in 2018, I spent a long afternoon with him in his basement flat in Earls Court. He and Maurice Grosse had spent months with the Hodgson family trying to protect them, but also make sense of what was going on. What Guy told me was terrifying. So much of what appears to have happened was impossible to fake and yet at the centre of the whole thing were real people trying to make sense of their lives. The Enfield Haunting is a psychological ghost story. It is a ghost story for now.’

Paul Unwin co-created the world’s longest running medical drama, Casualty (alongside Jeremy Brock). He has directed extensively for TV, including, Shameless, Five Little Pigs, Messiah, Combat Hospital and Breathless.  As a theatre director his work includes:  Arthur Miller’s The Man Who had all the Luck at Bristol Old Vic (where he was Artistic Director) and the Young Vic, and the Misanthrope for Bristol Old Vic and the National Theatre.  His other plays include This Much is True and The Promise. His films include The American and Elijah.

Listings Information

THE ENFIELD HAUNTING 
By Paul Unwin
Directed by Angus Jackson

Brighton Theatre Royal

New Road, Brighton, BN1 1SD

Tuesday 14 – Saturday 18 November 2023

Box Office: https://www.atgtickets.com/venues/theatre-royal-brighton/

Richmond Theatre

1 Little Green, Richmond TW9 1QH

Tuesday 21 – Saturday 25 November 2023

Box Office: https://www.atgtickets.com/venues/richmond-theatre/

Ambassadors Theatre, London

West Street, London WC2H 9ND
 

Performance Dates

Thursday 30 November 2023 – Saturday 2 March 2024

Performance Times

Mondays – Saturdays at 7.30pm

Thursday & Saturday matinees at 2.30pm

Tickets

Tickets from £25

Box Office: 0333 009 6690

Tickets on sale from 10am to ATG Theatre Card Holders

General On sale from 12pm on 13 July 2023

Suitable for ages 12+

Social Media

Instagram: @EnfieldHauntingPlay

Twitter: @EnfieldPlay

Facebook: /EnfieldHauntingPlay

Actor, singer and director Michael D’Cruze sat down with fairypowered to have a lovely chat and answer 20 questions.  Michael is currently starring as Grandpa Joe in Charlie and the Chocolate Factory on tour.  Tour details and tickets can be purchase here

Let’s start with a few favourites

Favourite show (whether you have been in it or not)? 

Evita, which I directed as part of Youth Theatre and Sweeney Todd.  I’d love to star in either of them professionally

Favourite book?

Wind in the Willows by Kenneth Grahame. It was one of the first shows I was in as a teen.  I don’t read much but I’ve read that a few times and I own a few copies

Favourite theatre? 

Brighton Theatre Royal.  It’s the first theatre I appeared in, an amateur production of Hello Dolly when I was 14

Favourite song?

I’m a big fan of Birdy, I think she’s incredibly talented and Adele. I like both of them

Favourite music? 

Anything chilled and with a tune.  And again, I’m a huge fan of Birdy

Favourite food? 

Well, I’m half Indian so I love a curry, but I’m also half Irish so I love fish and chips

Favourite drink? 

Coffee! Brandy in coffee but mainly coffee.  I’m touring with a coffee machine.  I do like coffee

What is your favourite role?

Grandpa Joe, I can’t wait to get out on stage every night, I’m really enjoying it 

What was your first role? 

My first professional role was Chino in West Side Story.  There were all these talented people at Guildford (Guildford School of Music and Drama) and I didnt think I was that good. But then I got the role, so somebody saw something in me

And what role would you really like to play? 

Teviot in Fiddler on the Roof or Malvolio in Twelfth Night the Musical

If you weren’t a performer what would you be?

Ten years ago I would have said a Chef, but now I think I would be a Gardener

What made you decide to be a performer? 

I was an awkward and shy child.  But I went to a drama group and it was good and I enjoyed it.  Then I appeared in a show and found I was popular and it helped me to overcome the shyness

Do you enjoy touring?

I love being there but I don’t enjoy packing up and leaving home.  Once I’m there, I love it

What advice would you give 16 year old you?

Don’t be an actor, it’s hard work facing rejection and fighting bias.  But if you do want to do it, enjoy it but find something else you are good at so you have something else to do in between roles

Do you fancy branching out in Producing or Directing?

I have directed but I find it stressful and I want to avoid stress. I do enjoy teaching though

What was the last stage show you saw and really enjoyed? 

Matthew Bourne’s The Midnight Bell.  Incredibly talented performers

Favourite line from any show? 

In Charlie, Mrs Beauregarde says “Mr Wonka, you’re crazy” and Wonka says “Thank you” – that makes me smile every night

If you could be anyone else for the day, who would it be? 

A Formula One Racer or Fighter Pilot.  Anything with adrenaline

What are the nicest/weirdest things you have ever received from fans?

I get some lovely letters and cards.  And a six page epic poem about how lovely I am.  But a little girl drew a picture during the show and wanted to give it to Grandpa Joe, I was really touched to receive that

Can you tell us what you will be up to next?

I’m in Charlie for the rest of the tour and I am really enjoy that

MIZ ROCKS AGAIN!

CAMERON MACKINTOSH

ANNOUNCES

THE WORLD TOUR
OF
LES MISÉRABLES
THE ARENA SPECTACULAR

OPENING WITH EUROPEAN DATES

INCLUDING LIMITED UK DATES FROM SEPTEMBER 2024

Cameron Mackintosh, in association with Nick Grace Management, is delighted to announce the World Tour of LES MISÉRABLES THE ARENA SPECTACULAR opening with European dates, including limited UK dates from September 2024.

Already booked to perform in over 15 countries worldwide including the UK, Italy, Luxembourg, Switzerland, Norway, Denmark, Sweden, Australia, Japan, Taiwan, South Korea and beyond, the World Tour will begin as the stage musical enters its 39^th revolutionary year and will run throughout the upcoming 40^th anniversary celebrations for the world’s longest running musical in 2025. After which it is planned to play North and South America.

LES MISÉRABLES THE ARENA SPECTACULAR will be expanded from the hugely successful Les Misérables The Staged Concert which played for over 200 record-breaking performances in the West End. It will have an extraordinary new design specifically created for arenas (and large theatres) with audiences of between 3,000 – 5,000.  This spectacular production will have a UK company of over 110 actors, musicians and crew featuring a core cast with a great number of celebrated Les Mis guest stars appearing as their schedules allow.

Exact dates, cities, venues, casting and on sale details will begin to be revealed this Autumn.

To be the first to hear all the news and receive details of priority on sale for

LES MISÉRABLES THE ARENA SPECTACULAR please sign up at lesmis.com/concert.

Cameron Mackintosh said today, “Since the very first concert performance of Les Misérables in Sydney in January 1989, this remarkable musical has proved to be as powerful and successful in its every manifestation. Whether in its original full theatrical form, a blockbuster musical movie, or any of its numerous spectacularly staged concert performances. Over the show’s nearly 40 years existence, it has also proved to be the launch pad for an extraordinary list of stars around the world, in many different languages and countries. This much anticipated world tour will be a unique opportunity for many of these celebrated performers to play their favourite roles for short periods in different parts of the world, so fans will get the chance to see their favourite stars (and mine!) in their favourite musical. Both the show and the score of Les Mis continues to win poll after poll around the world as the publics favourite musical of all time containing so many of the most memorable and beloved songs ever written for the musical theatre. The euphoria of the cast reunion performances of Miz are legendary and always prove a sell-out so I look forward to this unique event being the ultimate demonstration of Do You Hear The People Sing ever!”

Nick Grace said today, “I’m thrilled to be co-producing this exciting new world tour with Cameron and to have the opportunity of working on this iconic musical.  I’m looking forward to taking this incredible new UK touring production all over the world, bringing it to existing Les Mis fans and those that will be experiencing the phenomenon for the first time.”

Nick Grace is one of the World’s leading producers and general managers of international touring productions and in the last 25 years has presented shows in 59 countries worldwide including BATMAN LIVE – World Arena Tour, WALKING WITH DINOSAURS – The Arena Spectacular, BLUE MAN GROUP World Tour and the ongoing MAMMA MIA ! UK & International Tour.

The critically acclaimed production of Les Misérables continues to play at the Sondheim Theatre, where itwill soon be celebrating its 39^th revolutionary year, and several other local language productions around the world. To celebrate the 10^th Anniversary of the Oscar-winning movie a remastered and remixed version will be released in 4K Ultra HD + Blu-ray + Digital on 18 July

The Crazy Coqs – 10 July 2023

3.5***

Melissa Errico is an American singer from New York with a long and distinguished career on Broadway and beyond.  After landing the role of Cosette in a touring version of Les Miserables whilst still at Yale, she went on to star in such shows as My Fair Lady, Call Me Madam, Camelot and The Sound of Music.  The Wall Street Journal considered her 2018 album “Sondheim Sublime” the best all-Sondheim album ever recorded.

By way of introduction, she described herself as a “100% Italian girl” with historic links to showbiz and a three week opportunity to play the femme fatale in Europe whilst her teenage kids were in summer camp.  In this 80 minute show, Errico presents what she describes as the best Italian fish stew – a personal catalogue of favourite and significant songs selected from across her life and career, whether it be through her high achieving family connection, past roles in musical theatre, or songwriters/composers that have been special influences.

Melissa Errico certainly knows how to dazzle.  Sweeping onto stage to a rapturous reception, she epitomised showbiz glamour in a glitzy figure hugging gown with more sparkle than a planet sized glitter ball.  Behind her, the James Pearson band (James Pearson – MD & piano, Graeme Blevins – sax/flute, Sam Burgess – double bass and Chris Higgenbottom – drums) sparkled with equal intensity instrumentally.  Pearson’s accompaniment was beautiful throughout and Graeme Blevins’ fills and solos on saxophone were superb.   Considering Errico had only arrived in town the previous day, the opportunity for rehearsal would have been limited, but the performance throughout was impressively cohesive.  Probably because she and James Pearson are old friends.  Talking of which, a long time friend from Paris – Isabelle Georges – joined Errico midway through the set to duet delightfully as well as take a crazy solo spot involving a kazoo break and wearing a miniature Eiffel Tower strapped to her head!

The song programme which ran to 15 or so songs plus encores touched on most of the great writers of the American Song Book with the emphasis on Sondheim but also Michel Legrand both of whom Errico described as mentors, but very opposing characters.  Inter song discourse of a slightly gushing quality filled out Errico’s back story in useful detail, but on occasion came across as maybe too much information or slightly unrehearsed.  Mostly though it was good context and often very amusing (Americans only know three French words – amour, bonjour and croissant…) 

For me, across a consistently high standard of performance, the real highlights were Sondheim’s lovely “Move On” from “Sunday in the Park with George (Seurat)”, Cole Porter’s “Its Alright With Me”,  the “Once Upon A Summertime”/“Windmills of Your Mind” medley, Legrand’s “Amour” medley with Isabelle Georges, the clever “I Can’t Speak French” written specifically for Errico by Mark Shaiman of Hairspray fame, and “You Must Believe in Spring”, also Legrand.

This was a very personal show where superior singing and superior songcraft combined to deliver a superior entertainment which was very well received by the audience.  Classy and sophisticated, yet bursting with energy and joie de vivre.  Errico and Georges were having so much fun themselves, they even rounded things off with a tap dance routine.   I’m not sure I would regard Errico as a classic femme fatale though.  In truth she’s a 100% all American girl with a heck of a voice.

Storyhouse, Chester – until Saturday 15th July 2023

Reviewed by Julie Noller

5*****

Tony Blair, Rock Opera, Musical Comedy are not generally the words that come to mind when thinking about the long standing Labour M.P. and former Prime Minister. Written by Harry Hill and Steve Brown, those familiar with Harry Hills TV work well would do well to expect typically British slapstick satirical humour. It’s silly, it’s daft, it’s downright hillarious. I get people will be reluctant to head to the theatre to watch as it’s hard to pin it down into a catergory.

It begins with a flash of lightening and clap of thunder as Tony is wheeled in on his deathbed, yes I jumped in my seat so from the very start I got what I wasn’t expecting. Tony’s deathbed confession is the flashback through the years, from worshipping Mick Jaggers (no one corrects him) to becoming the pop Prime Minister. It at times flies close to crossing the border into offensive territory, you feel your teeth gritting, but it does well to remember this is in Harry’s words not a history lesson, neither has it been endorsed by any fictionalised person on stage. It is just a comedic dramatisation of events through the years and if any of us are truly honest have probably wondered about and highly likely imagined. Enough about reality back to the stage, in Tony’s words let’s get back to him!

There are 8 actors on stage covering a multitude of characters, all close propellants in the rocket ship that is and was Tony Blair. We may learn a fact or two, we may already know a fact or two. But the strength is in the speed the story moves, the glossing over certain ideas, skipping past years that pulls us away from it being autobiographical. It feeds from British institutions such as Spitting Image and Monty Python and quite often switches up a gear from musical to farce, the trick is to watch for those little things such as Tony going glossy-eyed whilst maintaining that smile during Gordon Browns speech and to keep listening. Jack Whittle must’ve practised holding that smile for hours in the mirror, I wonder how much his jaw must ache.

To me he was convincing as Tony the man who wanted to be famous and ended up believing his own hype. The wrestling match between him and an ever deep breathing making me feel like hyperventilating Gordon Brown (Phil Sealey) had me looking for Harry Hill as it had his touch all over. Toni Burgess played Cherie Blair straight off Dock Road and into Brookside Close, You can’t help but actually warm to Cherie in a way I never did in real life; even pulling that flat smile of hers to perfection. Howard Samuels is Mandy the dame in this pantomime. Keeping the audience enthused, interacting constantly with us, sketching with Tony over wanting the carrot or the stick for which I am glad I was not in the first few rows and pulling chewed carrot out of my hair. Peter Mandelson now Lord Mandelson was always a character comedians loved and Howard deserves a massive standing ovation for bringing his quirky side to the front of stage, I even noticed the old joke of him being a blood sucking vampire slipping in. I loved Groucho Marx as Saddam Hussein as did my Iraq War veteran hubby, this also may explain why I got so many references through gags that I wonder if younger generations may miss great jokes. George Bush being rallied by Dick Cheney (the brilliant Howard Samuels again) who points out Saddam beat his Father and they should forget Afghanistan and get Iraq is another highlight for me, how they railroad Tony and he ends up looking like hes been caught up in the Hangover with a breakdown and a sexed up dossier leading to his downfall and fall from grace. It ends with the absolute genius song The Whole Wide World…. Is run by Assholes.

Where Tony back in his suit looking suave points out all the bad leaders ending with Putin in Russia. Tony Blair who then points a finger at the audience after someone shouts murderer from the back of the theatre and I’m still non the wiser if it was meant to be or someone getting carried away. Tony asks the question who of you put me here 3 times even after Iraq you still voted me in…. and do you know what that’s the whole point of the show yes he lied, yes he was smug and spun a good a word but he led and we followed. We kept him there. Tony the Rock Opera has brought a new format to the stage they’ve dissected a person by pulling them apart from a perfect shape and twisted the extreme motions moulded into a brand new package. Never before have I skipped back to my car humming The Whole Wide World is run by Assholes and I wonder if I’ll ever be the same again.