In these challenging times with dreary weather boot, it was great to watch an evening of comedy at which I laughed a lot. A true farce according to an early definition is “a comic dramatic work using buffoonery and horseplay, typically involving ludicrously improbable situations.” This lived up to all expectations in this regard.
Written by Ray Cooney and directed by Ron Aldridge, the story is set in 1992 in the Doctors Common Room of a London hospital. It was fabulous to see accomplished actors, Mill regulars and new talent in this play. The simple but effective set meant no scene changes and clever use of a window with a view and a ledge gave the stage depth.
Dr. David Mortimore (Stephen Pinder) is preparing to deliver a keynote address to a group of neurologists. His main aim being to impress his audience and Sir Willoughby Drake (Eric Carter) with the prospect of achieving greater things. He has been practising, and his wife Rosemary Mortimore (Rachel Fielding) is there to support him.
It is the arrival of Jane Tate (Natasha Gray), an ex-nurse at the hospital minutes before the event where things start to unravel. She has an 18-year-old son, Leslie (Francis Redfern) who has found out who his father is and wants to meet him. Naturally, the doctor wants to keep this revelation from his wife at all costs and assumes the role of a vicar. Queue (James Bradshaw) David’s colleague Dr. Hubert Bonney who somehow gets hoodwinked into the role much to Leslie’s excitement and Jane’s shock.
Add to the mix, Dr. Mike Connolly (Oscar Cleaver) who is running rehearsals for the hospital panto. Little does he know that he will be playing matron (Elizabeth Elvin) along with duplicate matrons following the real matron’s fall from the window and rescue, after an appropriately placed injection of sedative. The unfortunate Police Sergeant (Titus Rowe) sent to investigate the situation, cannot establish what is going on, at which he declares the place a madhouse. The equally mad Bill Leslie (Iain Stuart Robertson), an eccentric hospital patient, identified as Jane’s ex-husband or one of them despite the fact Jane has never been married to anyone, is very enthralled with Jane, his new room and refuses to leave. This contributes to the mayhem.
All the actors gave very credible performances. A particular mention must go to James Bradshaw who for me provided brilliant comic timing in multi guises (so funny), Elizabeth Elvin as Matron especially when under the influence of sedative and to Francis Redfern’s portrayal of a confused, angry young man desperate to know his father, the one serious point of this play.
There was so much going on it is difficult to cover it all, but it is well worth seeing if you are seeking a right good laugh and of course the Mill is lovely setting together with the new food arrangements. We had a great evening.
Petersfield Festival Hall – until 22nd February 2025
Reviewed by Lucy Hitchcock
4****
Stage One Youth Theatre invite you to cut loose and kick off your Sunday shoes with a performance of Footloose this half term!
This incredibly talented cast of performers have hit the nail on the head of this show. we follow Ren (Arthur Westmorland) as he navigates a move to Bomont, a town with officials who have outlawed dancing following a car crash-headed up by Reverend Shaw (Joshua Witt). Together with Rev.Shaw’s daughter-who likes to break the rules-Ariel (Emma Moignard) Ren manages to persuade the officials to look within themselves and the town finally gets to see the beauty of dance!
This show is a triumph, the talent and energy this group had was infectious-I was engrossed with every scene as they sang, danced and acted perfectly. The vocals from Westmoreland and Witt were astounding, I found it hard to believe these are young people-they had the gravitas and stage presence of professionals! Caitlin Biddlecombe as Reverend Shaws wife Vi was incredible. Her rendition of ‘Can you find it in your heart?’ was breathtaking-she told the story beautifully with such a tender tone that nearly had me in tears. Another stand out was Ella Burgos as Rusty, along with her crew Jessica, Urleen and Wendy-Jo (Tori Clark, Tayla Fallon, Lucy Mengham). This quartet were fabulous, with some really difficult harmonies executed with ease and in perfect pitch. Burgos is definitely one to watch-I am so excited to see where she goes, she is superb at what she does.
It was hard to find anything I would change with this production, it was truly brilliant. My one note, is I would have loved to see the cast slow their dialogue a little and really relish in their characters, savouring the moments on stage. There were a few lighting issues, with some of the cast not being fully illuminated during their solos-but I don’t believe this caused too much of a problem for the overall production.
This is a perfect way to spend your half term, enjoy the vocals, tap your toes….everybody, Footloose!!
Images are released today of the new cast of the UK and Ireland tour of the multi award-winning HAMILTON, in Bradford until Saturday 15 March before playing Southampton,Liverpool, Sunderland, Plymouth, Norwich and Glasgow.
The production stars Marley Fenton as Alexander Hamilton and Billy Nevers as Aaron Burr, alongside Roshani Abbey as Eliza Hamilton, KM Drew Boateng as Hercules Mulligan/James Madison, Chasity Crisp as Angelica Schuyler, Ashley J. Daniels as Marquis de Lafayette/Thomas Jefferson, Shak Mancel James as John Laurens/Philip Hamilton, Naomi Katiyo as Peggy Schuyler/Maria Reynolds, Akmed Junior Khemalai as George Washington and Louis Maskell as King George.
Casey Al-Shaqsy will play Eliza Hamilton from Wednesday 26 March.
The UK and Ireland tour of the Olivier, Tony and Grammy and Pulitzer Prize-winning musical opened at the Manchester Palace Theatre on Saturday 11 November 2023 and has continued to play to packed houses and critical acclaim in Edinburgh, Bristol, Birmingham, Dublin and Cardiff. The production continues to break records at the Victoria Palace Theatre in London, where it is currently booking until 29 March 2025, and on Broadway at the Richard Rodgers Theatre.
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.
“Romeo and Juliet,” a ballet interpretation of Shakespeare’s iconic play, graced the stage at the Hull New Theatre, courtesy of the esteemed Varna International Ballet and Orchestra.
While traditional dialogue is absent, the dancers’ expressive movements vividly narrate the passionate and tragic love story of the star-crossed lovers perfectly.
Set against the vibrant backdrop of Renaissance Verona, Prokofiev’s evocative score breathes life into this tale of intense emotion and enduring sorrow. Sergei Bobrovs choreography, infused with deep emotion, perfectly complements the narrative, showcasing the exceptional talent of Varna International Ballet under the guidance of Daniela Dimova and Peter Tuleshkov. Their award-winning soloists and impressive corps de ballet truly embody the spirit of this timeless narrative.
This ballet adaptation draws directly from Shakespeare’s original work, focusing on the immediate and intense attraction between Romeo and Juliet while streamlining the plot by sidelining some supporting characters. This approach allows the audience to appreciate the technical prowess of the dancers without getting lost in the complexities of the storyline.
The first act unfolds with the meeting of Romeo and Juliet at a grand ball, where their instant connection leads to a series of secretive exchanges. The narrative then transitions to the darker second act, highlighting the tragic consequences of Romeo’s impulsive actions, including the death of Tybalt, yet Juliet remains steadfast in her belief in his love, culminating in the well-known tragic conclusion. The stark contrast between the light-hearted moments in the first act and the somber themes of the latter encourages the audience to ponder the cruel twists of fate.
This seemed to be a young and vibrant company of performers who showcased remarkable ballet technique, excelling in both ensemble pieces and the standout solos of the lead characters. Mercutio, in particular, brought a playful and humorous energy to the performance, providing a refreshing contrast to the tragedy. Romeo’s character was portrayed with depth, revealing his loyalty, courage, and youthful innocence as he navigated the festivities to catch a glimpse of Juliet, who also stole our hearts with her beautiful performance.
The production also introduced some surprising elements. Alongside traditional ballet, modern dance influences were evident, especially during the conflict scenes between the feuding families. This blend of styles enriched the storytelling experience. The costumes, curtesy of Dmitry Tcherbadzhi, were used in a very surprising way. Dresses that were taken off and stood on their own, striking black and white ‘Death Herald’ outfits and the effectiveness of putting the two families in different colours.
Overall this production, with its unique blend of classic and contemporary style, gave us a compelling retelling of this well known tale and left the audience giving a rapturous applause.
As a child, who wouldn’t have fantasised about swapping their parents for rich, energetic, laid back and famous ones? Last night, I caught a glimpse of that fantasy turning into reality. David Baddiel, renowned among adults for his stand-up comedy, is also an accomplished children’s author. His bestselling book, The Parent Agency, was first published in 2014 and went on to win the Laugh Out Loud Award. This production marks the 10th anniversary of Baddiel’s book, which has now been transformed into a hilarious new family musical, adapted by Baddiel himself.
Last night, I was fortunate enough to attend the Gala Night of The Parent Agency at the Storyhouse in Chester. It was a magnificent evening, marking the world premiere of the family musical, with David Baddiel in attendance. He signed copies of his bestselling book and interacted with his enthusiastic young fans!
Based on the book, the musical follows the story of a boy named Barry Bennett, who finds himself in an alternate world where children can choose their own parents. Frustrated with his own parents, whom he considers poor, always tired, overly strict and boring, Barry blames them for his uninspiring name. In his desire for better parental figures, he makes a wish and is suddenly transported to the Parent Agency, a place where kids can select their ideal parents. For Barry, this appears to be a dream come true. However, as he will soon find out, selecting new parents is not as straightforward as it seems…
This production boasts an outstanding cast. Rebecca McKinnis and Rakesh Boury deliver hilarious and incredibly talented performances as Barry’s parents, Susan and Geoff, as well as portraying the other parenting couples in the alternate world. They seamlessly transition between their various roles, ensuring the audience is treated to a laugh-a-minute experience. Their performances consistently stand out as a highlight. Among the standout characters are the exceedingly posh and flamboyant Lord and Lady Rador-Wellorff.
During last night’s performance, Max Bispham delivered a remarkable portrayal of Barry. He captivated the audience for the entire two-hour show, which is an impressive achievement for any performer, particularly someone of his age. His acting, singing, dancing and comedy timing were all exceptional.
The supporting cast also delivers impressive performances, with special recognition given to the captivating Elliot Broadfoot, who masterfully plays multiple roles as amusing characters, stealing nearly every scene—particularly as Peevish.
The production includes several catchy musical numbers by the renowned songwriter Dan Gillespie Sells, who is not only the lead singer of The Feeling but also the composer of the hit musical Everybody’s Talking About Jamie. Notably, the songs The Rador-Wellorffs and Gonna Make You Sweat are delightfully whimsical, enhanced by an exceptional creative team that brings together stunning set designs, choreography, and costumes. And let’s not overlook the fabulous wigs and makeup!
The Parent Agency is an immensely entertaining and enchanting new family musical that is brimming with heart and promises to captivate and ignite the imagination of audiences of all ages!
NATIONAL THEATRE’S CELEBRATED FAMILY HIT RETURNS TO THE OLIVIER THEATRE IN WINTER 2025
BALLET SHOES ANNOUNCED AS PART OF INCOMING DIRECTOR AND CO-CEO INDHU RUBASINGHAM’S INAUGURAL SEASON
Ahead of the last performance on Saturday, the National Theatre is delighted to announce that Kendall Feaver’scelebrated and acclaimed adaptation of Noel Streatfeild’s best-selling book Ballet Shoes will return for the festive season. Ballet Shoes’ return forms part of incoming Director and Co-CEO Indhu Rubasingham’s inaugural season and will run in the Olivier theatre from winter 2025. Further programming to be announced soon.
Directed by Katy Rudd, this ‘playful, graceful adaptation’ (★★★★★ Financial Times) ‘never puts a foot wrong’ (★★★★★ London Standard). Delighting audiences both old and young, the production ‘springs from page to stage with panache’ (★★★★★ WhatsonStage).
Speaking about the return of Ballet Shoes, incoming Director and Co-Chief Executive of the National Theatre Indhu Rubasingham,said:
“I am proud that Ballet Shoes will be returning to the Olivier this Christmas. It is a celebration of what the NT does best – when all the teams, departments and the widest range of expertise come together to create a family show for all audiences full of theatrical magic. I want more people to see this beautiful show made by wonderful artists, developed and built by this brilliant organisation.”
In a crumbling house full of dinosaur bones and fossils, three adopted sisters – Pauline, Petrova and Posy – are learning who they are and what they want to be. Under the watchful eyes and guidance of their guardian Sylvia, Nana, and some unlikely lodgers, they fight to pursue their individual passions. But in a world that wasn’t built for women with big ambitions, can they forge a future, keep their family together, and even learn a dance or two along the way?
Directed by Katy Rudd with set designer Frankie Bradshaw, costume designer Samuel Wyer, choreographer Ellen Kane, composer Asaf Zohar, dance arrangements and orchestrations Gavin Sutherland, lighting designer Paule Constable, sound designer Ian Dickinsonfor Autograph, video designer Ash J Woodward, illusions Chris Fisher, casting director Bryony Jarvis-Taylor, dialect coach Penny Dyer and voice coach Cathleen McCarron.
Ballet Shoeswill play in the Olivier theatre this winter 2025. Recommended for ages 7 to 107!
AT KING’S HEAD THEATRE Andrea Valls and Jonny Weldon join the previously announced Amanda Abbington and Rosie Day
Katy Galloway Productions today announces the full cast for the world première of (This is not a) Happy Room at King’s Head Theatre, written by Rosie Day. Joining the previously announced Amanda Abbington and Rosie Day are Andrea Valls and Jonny Weldon, with the company completed by Jazz Jenkins, Tom Kanji and Alison Liney.
Directed by Hannah Price, (This is not a) Happy Roomopens at King’s Head Theatre on 31 March, with previews from 26 March and runs until 27 April.
Katy Galloway said today, “I’m thrilled to be announcing the incredible cast that we have for ‘(This is not a) Happy Room’. As a producer I love to bring incredible new writing to the stage, and I am very excited for audiences to get to enjoy this deviously dark comedy.”
Katy Galloway Productionspresents
The world première of
(THIS IS NOT A) HAPPY ROOM
By Rosie Day
Cast: Amanda Abbington (Esther), Rosie Day (Elle), Alison Liney (Agatha), Jazz Jenkins (Hayley),
Tom Kanji (Charles), Andrea Valls (Laura) and Jonny Weldon (Simon)
Director Hannah Price; Sound Design: Adrienne Quartly; Lighting Design: Rory Beaton; Set and Costume Design: Georgia de Grey
26 March – 27 April 2025
Meet the Hendersons, a happily dysfunctional family, reuniting for their dad’s third (or fourth?) wedding. Nobody expects the death of his bachelorhood to become an actual funeral… but it would be a waste of the buffet not to repurpose it, right?
Following the West-End run of her critically acclaimed Instructions for a Teenage Armageddon, and hailed as Saltburn meets Schitt’s Creek, Rosie Day’s new searingly sharp dark comedy premieres at the King’s Head in March 2025.
Amanda Abbington plays Esther. Her theatre credits include When it Happens to You (Park Theatre),
The Unfriend (Criterion Theatre), The Son (Kiln Theatre, Duke of York’s Theatre), The Little Princess (Royal Festival Hall), The God of Carnage, Abigail’s Party (Theatre Royal Bath), God Bless the Child (Royal Court Theatre) and Love Me Tonight (Hampstead Theatre). Her television credits include Desperate Measures, Wolfe, The Net, Sherlock, I Hate Suzie, Mr. Selfridge (as series regular Miss Mardle), Cuffs, The Queen and I, Unsaid Stories, Safe, Married Single Other and After You’ve Gone; and for film, The Lost King, Three Pints and a Rabbi, Decrypted, The Six Days of Sistine, Crooked House, Another Mother’s Son and Ghost.
Playwright Rosie Day also plays Elle. As a writer, her debut play Instructions for a Teenage Armageddon opened in the West End in Spring 2024 and is now being produced for television by BBC3 and Emma Thompson. Her theatre credits include When It Happens to You (Park Theatre), The Fellowship (Hampstead Theatre), Instructions for a Teenage Armageddon (Southwark Playhouse), Again, The Girl who Fell (Trafalgar Studios), Spur of the Moment (Royal Court Theatre), Velocity (Finborough Theatre), A Winter’s Tale, Playboy of the Western World and Summerfolk (National Theatre). Her television credits include Outlander, Living the Dream, Good Omens, Urban Myths, The Sandman and Prime Suspect 1973; and for film, All Roads Lead to Rome, Down a Dark Hall, The Seasoning House, Good Night and Butterfly Kisses.
Andrea Valls makes her professional stage debut as Laura. Her television credits include Bridgerton, Grantchester, Cheaters, The Death of Bunny Monroe, Toads, The Mallorca Flies, Spent, Flaps, East Mode with Nigel NgWaffle the Wonderdog, Valentine Nights and The Midnight Beast Present Valentine’s Day; and for film, Red White and Royal Blue.
Jonny Weldon plays Simon. His theatre credits include 101 Dalmatians (Regent’s Park Open Air Theatre), The Witches (West Yorkshire Playhouse), Happy to Help (Park Theatre), A Mad World My Masters (RSC, Barbican Theatre and UK tour), Titus Andronicus, and The Snow Queen (Royal & Derngate). His television credits include One Day, Brassic, Breeders, House of the Dragon, Sneakerhead, Sister Boniface, Stath Lets Flats and Shakespeare and Hathaway; and for film, The People We Hate at the Wedding, Christmas on Mistletoe Farm, American Road Trip, Kiss on the Danube and High Hopes.
Jazz Jenkins plays Hayley. Her theatre credits include Fabulous Creatures (ArcolaTheatre).Jenkins graduated from LAMDA in 2023.
Tom Kanji plays Charles. His theatre credits include Twelfth Night (Orange Tree Theatre), The Spy Who Came in From the Cold, The Country Wife (Chichester Festival Theatre), Richard, My Richard (Shakespeare North and Theatre Royal, Bury St Edmunds), Julius Caesar, The Box of Delights (RSC), Pinocchio (Unicorn Theatre), Private Peaceful (Nottingham Playhouse), Home, I’m Darling (UK tour), The Taming of the Shrew (US tour), Shoe Lady (Royal Court Theatre), Love’s Labour’s Lost, The Winter’s Tale, Pericles, Romeo and Juliet, Julius Caesar, Doctor Scroggy’s War, Eternal Love (Shakespeare’s Globe), Yes, Prime Minister (Theatre Clwyd), Romeo and Juliet, Antony and Cleopatra, Much Ado About Nothing (Barbican Theatre), Fiddler on the Roof, Romeo and Juliet, The Story Giant, The Sum (Liverpool Everyman & Playhouse); and for television, Tyrant, Supacell, Silent Witness, Hustle and Midnight Man.
Making her professional debut at the age of 84, Alison Liney plays Agatha. She has performed with amateur groups in North London since the mid-sixties.
Hannah Price directs. Her directing credits include The Girl Who Fell, Boa, Again (Trafalgar Studios), End of the Pier, The Dead Monkey (Park Theatre), Down and Out Live (Stone Nest, London/La Generale, Paris), Permanence (Tarragon Theatre, Toronto), Escape the Scaffold (Theatre503/ The Other Room), Run the Beast Down (Marlowe Theatre/Finborough Theatre), 1984 Live (Senate House), Rainbow Class (Bush Theatre/Assembly Rooms), TEST (Scala Theatre, Basel), Cello/Fragile (Yard Theatre), Bud Take the Wheel, I Feel a Song Coming On (Shaw Theatre/Underbelly), That Moment (King‘s Head Theatre & UK tour).
For Theatre Uncut her credits include Refugee (Teater Grob, Copenhagen), In Opposition (Paines Plough Roundabout), Knowledge is Power: Knowledge is Change (Traverse & tour), Referendum Plays (Traverse), TU Istanbul: Power and Protest (Dot Tiyatro/Istanbul International Theatre Festival/Traverse), TU 2013: The Rise of the Right (Young Vic), The Cuts Plays (Southwark Playhouse/ Soho/Latitude/Traverse).
TUPPENCE MIDDLETON JOINS THE CRITICALLY ACCLAIMED CAST OF
TAKING OVER FROM ROMOLA GARAI
IN THE CELEBRATED PRODUCTION
WHICH IS RUNNING AT THE HAROLD PINTER THEATRE
UNTIL 19 APRIL 2025
ADAPTED AND DIRECTED BY ELINE ARBO BASED ON NOBEL PRIZE WINNER ANNIE ERNAUX’S LES ANNÉES
“It moved me in ways theatre often tries to but rarely achieves.” – The Independent
“Unmissable. Exquisitely mysterious, like life itself” The Daily Telegraph
“There is so much emotional depth, surprise and theatrical virtuosity here that it holds you rapt across the ages.” – The Guardian
Sonia Friedman Productions is delighted to announced that acclaimed actress of stage and screen Tuppence Middleton (The Motive and The Cue, Mank, Downton Abbey) will be joining the cast in Eline Arbo’s five-star, “masterpiece” (The Guardian) adaptation of Nobel Prize winner Annie Ernaux’s critically acclaimed semi-autobiographical novel The Years. She takes over the role fromRomola Garai whose last scheduled performance, as planned, will be Saturday 8 March. Tuppence Middleton’s first performance will be Monday 10 March.
Having previously run to critical acclaim at both the Internationaal Theater Amsterdam and at the Almeida Theatre, The Years is continuing to captivate audiences at The Harold Pinter Theatre and will run until 19 April 2025.
Tuppence Middleton said, “It is such a special opportunity to join this incredible company and to tell the story of ‘The Years.’ The book is very close to my heart and Eline’s sensitive and bold adaptation brings Annie’s universal journey through life to live audiences in the most visceral and moving way. To be a part of this production exploring growth, love, grief, sexuality, history, politics, and time – is a dream come true for any actor.”
Deborah Findlay, Gina McKee, Anjli Mohindra and Harmony Rose-Bremner continue their “extraordinary performances” (Observer) playing one woman in this mesmerizing, personal and political story, set against the backdrop of our rapidly changing world.
“MEMORY NEVER STOPS. IT PAIRS THE DEAD WITH THE LIVING, REAL WITH IMAGINARY BEINGS, DREAMS WITH HISTORY.”
She strikes a pose and the camera shutter clicks: a child playing in the debris of the Second World War. Click. A student discovering parties and men’s bodies. Click. An activist fighting for the right to choose. Click. A wife picking out a velvet sofa. Click. A mother taking her eldest to judo. Click. A lover seducing a younger man. Click. A grandmother presenting her granddaughter to the camera. Click.
The original production and adaptation of The Years was first produced as De Jaren by Het Nationale Theater in The Hague, Netherlands, in 2022.
The creative team includes; Music Supervisor and Sound Designer: Thijs van Vuure; Set Designer: Juul Dekker; Costume Designer: Rebekka Wörmann; Lighting Designer: Varja Klosse; Casting Director: Amy Ball CDG;Associate Director: Yasmin Hafesji.
Joshua McTaggart, CEO of Theatres Trust responds to the Creative Foundations Fund announcement:
Theatres Trust has been making the case for the urgent investment in theatre buildings, so we are thrilled that the government has announced its £85million Creative Foundations Fund. We know from our research and industry knowledge that this funding is desperately needed by so many theatres across England.
Our diligent team is primed to advise and support theatres up and down the country as they begin their journey on developing and delivering new capital projects, and we encourage people to make use of Theatres Trust’s free impartial expert advice service as they develop their applications.
We will continue our conversations with the government to ensure that our nation’s theatres receive the support they need to thrive and play a vital role in their communities.
The Kings Theatre, Southsea – until Saturday 22nd February 2025
Reviewed by Sally Lumley
4****
Legally Blonde the Musical has been brought to the stage at the Kings Theatre by local group The Portsmouth Players. The musical, based on the 2001 Reese Witherspoon movie, tells the story of Elle Woods (Beth Evans), a Fashion Merchandising graduate who gets into Harvard Law School to prove to ex-boyfriend Warner (Archie Mckeown) that she can be “serious”. With a positive attitude, and a perfect pink wardrobe, Elle strives to discover what it is she really wants, and to prove to everyone what she is really capable of.
This is a show full of strong female characters, and Portsmouth Players have drawn on a super-talented cast of local performers. Beth Evans as Elle had the audience rooting for her all the way through, and Georgina-Rose West was outstanding as Elle’s best friend Paulette, with wonderful vocals. Special mention also for Madison Cathrow who led an incredible skipping scene just after the interval in her role as exercise guru/murder suspect Brooke Wyndham.
This show made the most of every opportunity to make the audience laugh and there were some brilliantly silly scene stealing moments. Paulette’s dog Rufus (Stanley Searl) was full of attitude, and Kyle the UPS guy (Nick Williams) was hilarious as Paulette’s love interest, absolutely milking every moment he had on the stage. However, the ultimate scene stealer was of course the adorable Scooby as Elle’s dog Bruiser!
Legally Blonde is an inspirational, uplifting show about staying true to yourself and following your dreams. It’s full of poppy, catchy songs accompanied by a fabulous live band and delivered with buckets of fun and energy. Legally Blonde is a feel-good night out, full of heart – ‘omigod you guys!’
