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LOUIS GAUNT AND

FRANCES MAYLI McCANN

TO PLAY PETER PAN AND WENDY IN

 Performances run from 9 December at The London Palladium

Louis Gaunt returns to The London Palladium this Christmas after last year’s star turn in Jack and the Beanstalk and his forthcoming summer engagement playing The Scarecrow in TheWizard of Oz.

Frances Mayli McCann joins the company following a celebrated West End run as Bonnie in Bonnie & Clyde.

London, Friday 23 June: Michael Harrison for Crossroads Pantomimes today announces further casting for The London Palladium Pantomime confirming that Louis Gaunt will return to the world-famous venue to play Peter Pan in this year’s production and Frances Mayli McCann will join the cast as Wendy. They join the previously announced Jennifer Saunders, Julian Clary, Paul Zerdin, Nigel Havers, Gary Wilmot and Rob Madge. Performances begin on Saturday 9 December for a strictly limited five-week run.

Louis Gaunt (Peter Pan) performed the titular role in Jack and the Beanstalk in last year’s Palladium Pantomime. This summer he performs at the venue as The Scarecrow in The Wizard of Oz which opens on Friday 23^rd June. Other theatre credits include Stephen Sondheim’s Old Friends – A Celebration at the Sondheim Theatre, a West End run of Mary Poppins, Piaf at Nottingham Playhouse, Gypsy at the Royal Exchange Theatre, Grease – National Tour, Standing At The Sky’s Edge and Kiss Me, Kate at Sheffield Crucible, Sweet Charity at Nottingham Playhouse, Dick Whittington at the London Palladium, and Oklahoma! at Grange Park Opera, for which he won The Stage Debut Award for Best Actor In A Musical. His television credits include Lord Lumley in series 2 of Bridgerton for Netflix and Eddie in ITV’s The Larkins.

Frances Mayli McCann is a leading actress whose credits include the titular role of Bonnie in Bonnie & Clyde in London’s West End, following its sell-out concert at the Theatre Royal, Drury Lane. Olivier nominated for her portrayal of Kayla in Our Ladies of Perpetual Succour, Frances’ extensive list of stage credits includes Chess at the Theatre Royal, Drury Lane, Heather McNamara in Heathers: The Musical at the Theatre Royal, Haymarket, Eponine in Les Misérables, Evita at Regents Park, and Macbeth, The Great Wave and Here Loves Love all for The National Theatre. On screen, Frances can currently be seen as series regular Charlotte in Silverpoint for BBC / ABC and credits include Shetland (BBC), River City (BBC), Lip Service (BBC) and A Tale To Tell (Amazon).

Once again directed by Michael Harrison, Peter Pan will run from Saturday 9 December 2023 – Sunday 14 January 2024. Tickets are on sale now at www.palladiumpantomime.com

On the casting, Michael Harrison said, “I’m so thrilled Louis is joining our cast for Peter Pan this Christmas… following Jack and the Beanstalk last year, he is a firm favourite of both the audience and the regular Palladium company. Louis is a proper leading man who is also brilliant in the Palladium production of The Wizard of Oz. And following her starring performance in Bonnie & Clyde, we all can’t wait to welcome Frances for her Palladium panto debut.”

Julian Clary, Nigel Havers and Paul Zerdin have starred in pantomimes at The London Palladium since the 2016 production of Cinderella. Gary Wilmot joined the cast in 2017, with Rob Madge making a triumphant Palladium Panto debut in last year’s production of Jack and the Beanstalk. Louis Gaunt made his West End stage debut in the Ensemble in Dick Whittington at the Palladium in 2017.Frances Mayli McCann makes her Palladium debut this Christmas.

Harrison’s production has set designs by Mark Walters and costume designs by Hugh Durrant created especially for The London Palladium, choreography by Karen Bruce, lighting designs by Ben Cracknell, sound designs by Gareth Owen and composition and orchestrations by Gary Hind.

Peter Pan is produced by Michael Harrison for Crossroads Pantomimes.As a producer in the West End his credits include The Drifters Girl, Joseph and the Amazing Technicolor Dreamcoat, Gypsy, The Bodyguard, Annie, Mel Brooks’ Young Frankenstein, Crazy For You and The Wizard of Oz.

Crossroads Pantomimes is the world’s biggest pantomime producer and part of Crossroads Live, a global leader in the production of musical theatre and immersive entertainment experiences.

JW3 in association with Plotnek Productions

JW3’s first Jewish Pantomime

Red Riding Hood and the Big Bad Pig

And a performance on Christmas Day!

Tale as old as time and as new as the world premiere of Red Riding Hood and the Big Bad Pig, JW3’s first Jewish Pantomime – the home of Jewish Arts and Culture in NW3 London, opens on Sunday 10 December 2023 – Sunday 7 January 2024.

It’s Chanukah, the Jewish festival of light, and Little Red Riding Hood’s village is in need of a new electricity source, at an affordable price. Will Red bring home the bacon? Will the Big Bad Pig be pig headed? Is the Wolf misunderstood and not so full of wind? And will Bubbe (Grandmother) save the day with her own special wind?

For the first time bringing together the traditions of Pantomime and Jewish storytelling, Red Riding Hood and the Big Bad Pig is traditional Pantomime magic at its best, with classic panto favourites including: sloshing buckets, getting lost in the woods, panto baddies and a catchy finale song sheet!

Red Riding Hood and the Big Bad Pig is written with Jewish humour by Nick Cassenbaum (Bubble Schmeisis), Director Georgia Green, (currently transferring her Bush Theatre production of Invisible to  59E59 in New York) says: “I’m so excited to bring this Chanukah Panto genre into existence. I loved panto as a child and my work pushes for a big relationship with the audience.” The Musical Director Josh Middleton (DJ Vadim, Indecent – Menier, Puppet Theatre Barge), will play live on stage with a three piece band. The live band and the cast will be playing a multitude of traditional instruments from: accordion, guitar, trumpet, Bulgarian bagpipe, harp and Irish whistle and singing a mix of modern Jewish pop and rock songs and traditional classic Jewish songs in Klezmer style – but with all new pantomime lyrics!

William Galinsky, programming director at JW3 says: “Panto is one of the oldest and best-loved British traditions, one of the few times a year people young and old come together to experience the joys of the theatre. The Jewish community has a long history of theatre and now is the time we brought those two traditions together for London’s first Jewish panto. JW3, as the home of Jewish culture, is uniquely positioned to bring together the best in Jewish theatre talent to put on a traditional Panto that has everything you know and love, with a JW3 twist. This Chanukah we want to bring some much-needed light to the world. I am sure, by the end of the show, when you think about where your troubles are, your only response will be ‘They’re behind you!’”

Another first is Red Riding Hood and the Big Bad Pig will have a performance at 2pm on Christmas Day (Monday 25 December)– not forgetting the stunning JW3 Ice Rink outside the front of JW3 – which will be open daily from Monday 4 December!

JW3’sintimate 220 seat state of the art, purpose built theatre, is perfect for a Festive treat of traditional pantomime Red Riding Hood and the Big Bad Pig, with a pig tail twist! And a full family day of entertainment for everyone to enjoy at JW3 with the delicious Baladyt vegetarian restaurant, bar and café, JW3 Ice Rink, theatre and cinema!

For further information, interviews, photography, tickets please contact DGPR

Deborah Goodman: [email protected] / +44 (0)208 959 9980 / +44 (0)7958 611218

LISTINGS INFORMATION for JW3 PANTOMIME and JW3 ICE RINK

Red Riding Hood and the Big Bad Pig

at

MONDAY 10 DECEMBER 2023 – SUNDAY 7 JANUARY 2024

Sunday – 10 December	6:00pm
Tuesday – 12 December	11:00am
Wednesday – 13 December -2 x shows	10:00am & 2:00pm
Thursday – 14 December – 2 x shows	10:00am & 2:00pm
Friday – 15 December	10:00am
Sunday – 17 December – 2 x shows	10:00am & 2:00pm
Monday – 18 December – 2 x shows	11:00am & 7:30pm
Tuesday – 19 December – 2 x shows	11:00am & 7.30pm
Wednesday – 20 December	3:00pm
Thursday – 21 December – 2 x shows	10:00am & 3:00pm
Saturday – 23 December	7:30pm
Sunday – 24 December – 2 x shows	11:00am & 3:00pm
Monday – 25 December	2:00pm
Tuesday – 26 December – 2 x shows	11:00am & 3:00pm
Wednesday – 27 December – 2 x shows	3:00pm & 7:30pm
Thursday – 28 December –  2 x shows	3:00pm & 7:30pm
Friday – 29 December	10:00am
Sunday – 31 December – 2 x shows	11:00am & 3:00pm
Tuesday – 2 January 2024	2:00pm
Wednesday – 3 January – 2 x shows	3:00pm & 7:30pm
Thursday – 4 January –  2 x shows	11:00am & 3:00pm
Friday – 5 January	10:00am
Saturday – 6 January	7:30pm
Sunday – 7 January – 2 x shows	11:00am & 3:00pm

JW3:                341-345 Finchley Road, London NW3 6ET

Box Office:      jw3.org.uk                 

0207 433 8988

Red Riding Hood and the Big Bad Pig

Ticket Prices:-

Previews 10 & 12 December: £15

Adult: £24 – £28

Child: £12 – £18

Schools tickets: £12.50 per child with a free adult seat with every x 10 children

Running time: 2 hours – including 15 minute interval

Press performance: Tuesday 12 December at 11000hrs.

JW3 Ice Rink – Monday 4 December 2023 – Sunday 7 January 2024

Ticket Prices from: £9 per child and £14 per adult (boot hire included)

Open from 12:00pm – 9:00pm – skate sessions 50 minutes, start on the hour.

MRS. DOUBTFIRE EXTENDS IN THE WEST END UNTIL JUNE 2024

SHAFTESBURY THEATRE, LONDON
www.mrsdoubtfiremusical.co.uk

Due to popular demand, the new hit family stage musical of Mrs. Doubtfire, which opened this week to critical acclaim at the Shaftesbury Theatre in London, has extended bookings until June 2024, with a new weekly schedule including Sunday performances from January 2024, and over 13,000 new seats put on sale at £30 or under.

As part of the new booking period, a dedicated relaxed performance, which has been scheduled on Saturday 20 January at 2.30pm will be put on sale soon. Relaxed performances are open to everyone but may benefit those who normally find it challenging to access and enjoy theatre. The performance will include reduced volume and lighting states with a laid-back approach to audience movement permitting and encouraging everyone to relax and respond naturally.

A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

The cast of Mrs. Doubtfire includes Gabriel Vick (Avenue Q) as Daniel Hillard, Laura Tebbutt (School of Rock) as Miranda Hillard, Carla Dixon-Hernandez (Matilda the Musical) as Lydia Hillard, Cameron Blakely (Newsies) as Frank Hillard, Marcus Collins (Kinky Boots) as Andre, Samuel Edwards (Anything Goes) as Stuart Dunmire, Ian Talbot OBE (Hairspray, and Director of The Mousetrap) as Mr. Jolly and Kelly Agbowu (Sylvia) as Wanda Sellner.

Further cast include Nicole Carlisle, Joshua Dever, Joseph Dockree, Rebecca Donnelly, Amy Everett, Maria Garrett, Kiera Haynes, Vicki Lee Taylor, Adam Lyons, Lisa Mathieson, Corey Mitchell, Ellie Mitchell, Matt Overfield, Rhys Owen, Christopher Parkinson, Micha Richardson, Tom Scanlon, Paulo Teixeira and Samuel Wilson-Freeman.

Mrs. Doubtfire also introduces Max Bispham, Elliot Mugume and Frankie Treadaway who alternate the role of Christopher Hillard and Scarlett Davies, Angelica-Pearl Scott and Ava Posniak who alternate the role of Natalie Hillard.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell (team behind the hit Tony Award-nominated musical Something Rotten!). Direction is by 4-time Tony winner Jerry Zaks (Hello, Dolly!), Choreography by Lorin Latarro (Waitress), and Music Supervision, Arrangements & Orchestrations by Ethan Popp (Tina: The Tina Turner Musical). Scenic design is by David Korins (Hamilton), Costume Design by Catherine Zuber (Moulin Rouge! The Musical), Lighting Design by Philip S. Rosenberg (Pretty Woman The Musical), Sound Design by Brian Ronan (Beautiful: The Carole King Musical), Hair Design by David Brian Brown (Frozen), Casting by Stuart Burt (Cabaret) and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical. 

A BRAND-NEW PRODUCTION OF THE AWARD-WINNING MUSICAL
FEATURING A RE-IMAGINGED BOOK AND NEW MUSIC
Bill Kenwright presents
GARY BARLOW AND TIM FIRTH’S
CALENDAR GIRLS
THE MUSICAL

The Calendar Girls are back!
THIS TIME WITH EVEN MORE LAUGHTER, MORE SONGS AND MORE ICED BUNS!

Following the death of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing and set about creating a nude calendar to raise money for charity.

Calendar Girls the Musical brings together a stunning cast of music, stage, and television stars, including five Mrs Johnstone’s from Bill Kenwright’s production of Willy Russell’s smash hit Blood Brothers.

Tanya Franks (Eastenders), Maureen Nolan (The Nolans), Lyn Paul (The New Seekers), Amy Robbins (Coronation Street), Paula Tappenden (Theatre Star), Marti Webb (Tell Me on a Sunday) and Honeysuckle Weeks (Foyles War) as the ladies, turn preconceptions upside down, but are they prepared for the emotional and personal ramifications they will face as they each come in to bloom?

This brand-new production of the award-winning musical, written by Gary Barlow and Tim Firth, features a re-imagined book and new music!

With unforgettable songs, each performance continues to add to the millions already raised for Blood Cancer UK and proves that there is no such thing as an ordinary woman.

New Wimbledon Theatre – until 1st July 2023

Reviewed by Ben Jolly

3***

A lacklustre production of a listless show sparks lukewarm feelings of nostalgia in this thoroughly watchable family friendly show at the New Wimbledon Theatre.

Based on the classic Roald Dahl novel of the same name and released in 1964, the musical adaptation originally opened at Theatre Royal Drury Lane in 2013. Ten years later it is touring the provinces in its first UK tour which opened in November last year; it has had a few tweaks and alterations along the way from the first production as the show has since transferred to Broadway, played two US national tours, toured Australia and has had multiple productions across the globe. It is a shame that after so many facelifts, the creative team have still been unable to rectify the problems that the show has faced from the beginning.

Heart and joy are intrinsic to a show like this and yet again this production does not provide the demand; without these key ingredients, we are merely presented with a flashy, one dimensional troupe of characters who, like comic book characters deliver superficial entertainment but fail to provide any substance.

The first act depicts Charlie’s struggles and family life (who was played exquisitely by Amelia Minto on opening night), after we learn of the legend of Wonka and his plan to open the factory to five lucky winners of the highly sought after golden ticket, we are subjected to song after song in a painfully formulaic structure introducing the characters. The economical choice was to have these children (with the exception of Charlie) played by adults, I have no aversion to this, but when you’re an adult “playing” a child instead of allowing the material to speak for itself it comes across rather creepy, which unfortunately was the case with some of the performances last night.

There are however, a few moments that spark joy within the first act, these are the ones which touch on the heart of the subject, Charlie and their family life. Michael D’Cruze is a fun-loving, charming Grandpa Joe and Leonie Spilsbury has a lot of heart and warmth as Mrs Bucket, it’s a slight shame that the pendulum couldn’t be swung in the opposite direction with her portrayal as Mrs Teavee in the second act, however. When (spoiler alert) Charlie finally gets their golden ticket, I must admit I got goosebumps, although the jury is still out on whether that was genuine excitement for the character or if I was just relieved that the plot was finally advancing.

We end the first act with the introduction (finally) of Mr Willy Wonka himself. Gareth Snook immediately injects an abundance of energy and the much needed theatricality we’d been missing until now. Like a breath of fresh air we feel safe in the hands of Mr Wonka who can direct the narrative and bring us back on track. His opening number gives us elements of vaudeville with a performance that feels akin to the Engineer in Miss Saigon’s ‘American Dream’.

This show needed at least some elements of high production values to help it, and yet we were let down again as most of the second act is told through the use of graphics on a video screen. The production relies too heavily on this element and yet again we are missing that big dose of theatricality, not even the Oompa Loompas were able to provide this; there was a moment of anticipated applause from the audience upon the mere mention of their names but it shortly ended when upon entrance it turned out the Oompa Loompas had been taken over by the Cybermen from Doctor Who – with equally robotic choreography.

All was not lost, however, the final few scenes managed to ignite some elements of magic and warmth, it just needed to be more consistent throughout. Anyone who knows the work of Roald Dahl relies heavily on the macabre and turns it on its head to provide a sense of hope. We just didn’t see this enough.

The show ultimately is a safe hit, it has and will continue to entertain families throughout the country, the story alone and its legacy will see to this. The score by Marc Shaiman is enough to provide a heart warming soundtrack to the night and the music really soars in the few moments when every piece of the puzzle comes together. I just wish that the creative team behind the show and this particular production had used a little more pure imagination.

Sue Townsend Theatre Leicester – Wednesday 21st June 2023

Reviewed by Amarjeet Singh

4****

Enlightenment revolves around the disappearance of Adam, a 20-year-old backpacker who has gone missing for 6 months since the Jakarta bombings, and the attempts by his mother Lia, stepfather Nick and grandfather Gordon to find out what has happened to him. Becoming increasingly desperate, they employ the services of a psychic and a television documentary maker. This leads to Adam being tracked down in a Thai hospital and then being immediately flown to the UK, turning their world upside down and causing them to question all that they took for granted. Is everything really as it seems?

Kathryn Marper was a powerful central figure as Lia, a mother on a roller coaster of emotions, struggling to hold on to hope and keep the shadows at bay. On a tireless search for answers and need to be with her son, pulling herself back from the edge of the gruesome possibilities. She balanced light and dark beautifully. Harrison Deaves as Nick her husband was superb in playing both cynic and sinking stepfather as he tried to ground his wife, return to normality, protect the family from exposure and exploitation and deal with his own emotions. Hayden Sterland was magnificent as Gordon, grandfather, statesman and a bit of a lothario. He brought gravitas and humour to the role. Abby Ferguson as Joanna the media hack was wonderfully hammed up, white stilettos and all, it was interesting to see how she transitioned in the play, a definite shift. Isha Gilbert as Joyce the clairvoyant provided some comic relief in the tense tale. Taiven Allen as Adam was schizophrenically sinister, jumping from being childlike to inappropriately adult in a Machiavellian moment.

Director Kieran Vyas sustains the tension throughout both acts by using the bare stage and a screen with projected images on it, moving his cast around freely and bringing in back story. The wall projections were a wonderful part of the design, showing time passing, when day turned to night, via a window, as well as seeing projections of Adam as a baby with Lia interacting with him to show their bond. We also saw how Lia got rid of more and more of her possessions by the projected artwork and books disappearing. It was also brilliant how a projected painting was brought onto stage in real format. Luke Davies and Matthew Trott did an excellent job with design and Lighting.

For all the superb acting, Enlightenment is dialogue heavy and could have benefited from some quieter moments to show the gnawing grief for all involved with the absence and not knowing. The first act largely sets the foundations as the characters discus absence, loss and uncertainty. The action steps up a gear when Adam is seemingly found. Emotional honesty is lost in all the words and theories about loss and tales of western entitlement, there are many and none fleshed out enough for them to land and work effectively, so Act one feels drawn out and Act two feels rushed.

Its only in Act Two that we meet Adam, and the real ‘drama’ begins. Adam, as it turns out is not actually Adam, but a young man of a similar age who has lost his memory. He has all of Adams’ documents but no answers. Lia and a reluctant Nick take this ‘cuckoo’ in, and they slowly discover his darker side. This shift is a gamechanger for everyone, including the audience, the play suddenly moves from a ‘pull at the heart strings melodrama’ and becomes a ‘sinister thriller’.

Enlightenment is well performed, and the production value was spot on, the only issue is, ultimately, it’s a very odd play and not very plausible. Even with all the desperation, the choices the couple make are quite bizarre. The dialogue heavy, confused agenda biased plot loses its way. Unfortunately, this is why it’s only a four-star review, otherwise the great cast were a breath of fresh air to watch. Bravo to these brave new wonders.

The Shaftesbury Theatre, London – until June 2024

Reviewed by Amber Mills

5*****

The musical comedy Mrs. Doubtfire is here to save the day!

This is a fresh, new, fun-filled musical that’s bound to make you cry with laughter and have a joyous night out!

The ensemble cast was phenomenal, full of fire, and versatile. But one cast member, in particular, kept catching my eye, and that was Adam Lyons. Adam is part of the ensemble cast and covers Stuart Dunmeyer. His energy is electric and everything he does is full out with feeling! No matter what character he plays throughout the show, the intention and storylines are always crystal clear. His passion for the arts really shines through when he performs!

The star of the show Gabriel Vick who plays Daniel Hillard is simply sensational. The sheer amount of vocal impersonations Gabriel can do is mind-blowing, let alone switch between them in an instant! Not to mention the swift changes he has to do on and off stage. Doubtfire’s role requires a great deal of endurance, concentration, and sheer talent, and Gabriel continued to surprise me throughout the show, by having to do full-blown dance breaks and belter songs all in one go!

The acting overall in the musical is just first-class! As well as their sweet, amazing, powerful voices the children especially, have exceptional stage presence and were so professional. There are so many contrasting roles the ensemble have to play in this musical and they were always giving 100%.

One of my favourite dance numbers in the show was ‘Easy Peasy’. At this point in the show, without giving too much away Daniel Hillard (Gabriel Vick) is in the Hillard house following a kitchen tutorial when the video is animated by the dancers. The choreographer Lorin Latarro has created this frantically quick, slick tap masterpiece which creates an energetic atmosphere. I was hypnotized by their feet as they were manic but then the rest of their body just seemed to glide across the stage. Lorin Latarro has managed to cleverly integrate cool choreography and props in this manic number, which is what makes it a very impressive piece.

Doubtfire has many settings and set changes. All of which are extremely detailed and complemented by vibrant and vivid lighting patterns. This adds to the mood/message trying to be conveyed. Hats off to the hair, makeup, and wig department because every time any cast member entered the stage they looked pristine. I can tell that a lot of time and effort was also put into the individual characters’ costumes as they just enhanced the whole performance.

The decor on the stage was beautifully detailed and seamless during the transformation of the scenes. As this is a new musical I didn’t know what the musical score was going to be like. However, I was surprisingly shocked. Act 1 for me has the most uplifting and catchy songs people will remember. Act 2 was still impressive but I feel like there were a few dips in energy with the songs but this could be because a more heartfelt message is being portrayed at this point in the show. Doubtfire teaches an important lesson that even parents can make mistakes but it’s the importance of finding your family, whether or not it’s a conventional one.

Overall Mrs. Doubtfire is a fun-filled family night out that will leave you feeling fulfilled!

BILL KENWRIGHT’S

MULTI AWARD-WINNING PRODUCTION OF

BLOOD BROTHERS

ANNOUNCES LATEST UK TOUR DATES

Bill Kenwright‘s legendary, award-winning production of the international smash hit musical, Blood Brothers continues to tour across the UK with latest dates, venues and casting announced. The much-loved musical, known for sell out houses across the country, returns after a short break with gusto from 26 June to late 2023. Starting back in Norwich, Blood Brothers will travel up and down the country this summer and autumn with further venues to be announced. 

Niki Colwell Evans and Sean Jones, will continue to play the iconic roles of Mrs Johnstone and Mickey Johnstone respectively, with Gemma Brodrick stepping into the role of Linda, the “role of a lifetime” for the actress who has been a part of the production since she began in 2019.

Niki Colwell Evans first rose to fame in 2007 when she reached the semi-final of series 4 of The X Factor UK mentored by Louis Walsh. After her debut solo single ‘Love Me No More’ in 2008, she went on to play the iconic role Mrs Johnstone in Blood Brothers at the Phoenix Theatre between 2008-2009 and in 2010 where she received rave reviews from critics. Following on from this she performed in the pantomimes Cinderella as the Fairy Godmother at the Wolverhampton Grand Theatre (2009-2010) and in Kinky Boots as Trish (UK Tour 2018/21). She played the role of Paulette in the musical adaptation of Legally Blonde (UK Tour 2012) receiving high acclaim for her performance as Elle’s sassy confidante. Over the years, Niki has toured as a solo singer with pop stars such as Sonia, Lonnie Gordon, Big Fun and Yell. In 2016, she performed at the Queen’s 90^th celebrations at Windsor Castle alongside Dame Helen Mirren, Damien Lewis, Andrea Boccelli, Katherine Jenkins, Gary Barlow, Kylie Minogue and many more.

Sean Jones continues in the role of Mickey in Blood Brothers. Other stage credits include: Aladdin; Sleeping Beauty, Peter Pan; Cinderella; Snow White (UK Tour); Macbeth (UK Tour and Singapore); and Jacqueline’s Wilson’s world premiere of Wave Me Goodbye (Theatr Clwyd). TV credits include: Emmerdale; The Royal Today; and Hollyoaks.

Completing the current cast for 2023 is Joe Sleight (Eddie), Danny Whitehead (Narrator) and Timothy Lucas (Sammy), Josh Capper (Neighbour), Paula Tappenden (Mrs Lyons), Tim Churchill (Mr Lyons),Jess Smith (Brenda), Tori Hargreaves (Donna Marie/Miss Jones), Connor Bannister (Perkins), Graeme Kinniburgh (Postman/Bus Conductor), and Nick Wilkes (Teacher/Policeman).

Written by award-winning playwright Willy Russell, few musicals have been received with such acclaim as the multi-award-winning Blood Brothers. Considered ‘one of the best musicals ever written’ (Sunday Times), Bill Kenwright’s production surpassed 10,000 performances in London’s West End, one of only three musicals ever to achieve that milestone.  It has been affectionately christened the ‘Standing Ovation Musical’, as inevitably it “brings the audience cheering to its feet and roaring its approval” (Daily Mail). 

This epic tale of Liverpool life started as a play, performed at a Liverpool comprehensive school in 1981, before opening at the Liverpool Playhouse in 1983. The musical has since triumphed across the globe, completing sell out seasons in the US, Australia, Canada, New Zealand and Japan, and scooping up four awards for Best Musical in London and seven Tony Award nominations on Broadway.  

The superb score includes A Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True. 

Blood Brothers tells the captivating and moving tale of twins separated at birth, who grow up on the opposite sides of the tracks, only to meet again with tragic consequences.  

When Mrs Johnstone, a young mother, is deserted by her husband and left to her own devices to provide for seven hungry children she takes a job as a housekeeper in order to make ends meet. It is not long before her brittle world crashes around her when she discovers herself to be pregnant yet again – this time with twins! In a moment of weakness and desperation, she enters a secret pact with her employer which leads inexorably to the show’s shattering climax. 

Willy Russell is undeniably one of this country’s leading contemporary dramatists. His countless credits include Educating Rita and Shirley Valentine. Educating Rita, originally commissioned by the Royal Shakespeare Company, enjoyed a two-year run in the West End and was made into a movie starring Michael Caine and Julie Walters. Shirley Valentine also made the move from stage to screen in an enormously popular film starring Pauline Collins and Tom Conti. The celebrated on-woman play earned Russell his third Olivier Award and is currently running on the West End at the Duke of York’s Theatre until June 2023, starring Sheridan Smith.

Tour Dates

Norwich Theatre Royal                                  norwichtheatre.org
Tue 27 June – Sat 1 July 2023                         01603 630 000

Swansea Grand Theatre                                 swanseagrand.co.uk
Tue 4 – Sat 8 July 2023                                   01792 475715

Nottingham Theatre Royal                            trch.co.uk
Tue 11 – Sat 15 July 2023                               0115 989 5555

Hull New Theatre                                           hulltheatres.co.uk
Tue 18 – Sat 22 July 2023                               01482 300 306

Eastbourne Congress Theatre                       eastbournetheatres.co.uk
Tue 25 – Sat 29 July 2023                               01323 412000

Cambridge Arts Theatre                                 cambridgeartstheatre.com                 

Tue 1 – Sat 5 Aug 2023                                   01223 503333

Venue Cymru Llandudno                               venuecymru.co.uk
Tue 8 – Sat 12 Aug 2023                                 01492 872000

Chelmsford Civic Theatre                               chelmsfordtheatre.co.uk
Tue 15 – Sat 19 Aug 2023                               01245 606 505

Canterbury Marlowe Theatre                        marlowetheatre.com
Tue 22 – Sat 26 Aug 2023                               01227 78778

Bristol Hippodrome                                        atgtickets.com/bristol-hippodrome
Tue 29 Aug – Sat 2 Sept 2023                         0844 871 7627

Litchfield Garrick                                           litchfieldgarrick.com
Tue 5 – Sat 9 Sept 2023                                  01543 412121

Oxford Playhouse                                           oxfordplayhouse.com
Tue 12 – Sat 16 Sept 2023                              01865305305

Ipswich Regent Theatres                               ipswichtheatres.co.uk
Tue 19 – Sat 23 Sept 2023                              01473 433100

Guildford Yvonne Arnaud                              yvonne-arnaud.co.uk
Tue 26 – Sat 30 Sept 2023                              01483 44 00 00

Brighton Theatre Royal                                  atgtickets.com/brighton

Tue 3 – Sat 7 Oct 2023                                    0844 871 7615

Bradford The Alhambra                                 bradford-theatres.co.uk                   
Tue 31 Oct – Sat 4 Nov 2023                          01274 432000   

NEW SURVEY OF THEATRE FREELANCERS PAINTS STARK PICTURE OF A WORKFORCE UNDER SIEGE

Third report in a series of surveys from Freelancers Make Theatre Work examines the ongoing impact of COVID

and intersectional inequalities

A new report released today by Freelancers Make Theatre Work (FMTW) highlights key issues facing the freelance theatre workforce. Conducted in March-April 2023, this year’s survey highlights a pay-gap between the male and female workforce of 37.4%, and reports of an industry rife with ageism and sexism are further corroborated by data which reveals that the pay-gap widens to 47.7% for freelancers with 21-30 years’ experience in the industry. Third in a series of surveys by FMTW, the 2023 findings indicated that overall, average earnings for freelancers in the industry are 17.5% below the UK national average salary, and that many are leaving – or being forced out of – the industry resulting in skills shortages across the sector.

At the height of the COVID pandemic, Freelancers Make Theatre Work, conducted a survey of the UK’s freelance theatre workforce entitled The Big Freelancer Survey (BFS) 2020. Planning to conduct five annual surveys from 2020 to 2025, FMTW, in collaboration with the University of Essex, aims to capture a detailed picture of the ongoing impact of COVID, and to understand how the pandemic intersects with other issues such as Brexit, pre-existing precarity and intersectional inequalities, the climate crisis, and the growing cost of living in the UK. Designed to provide evidence-based insight, this third Big Freelancer Survey examines the effects of the pandemic over time and explores longer-term issues such as chronic insecurity and precarity.

Paul Carey Jones, Data and Communications Managerfrom Freelancers Make Theatre Work said, “The 2023 Big Freelancer Survey survey paints a stark picture of a freelance workforce ‘under siege’, facing the perfect storm of a cost-of-living crisis, and the ongoing impact of Covid and Brexit; combined with deeply embedded structural inequalities. The clear message from this year’s survey is that the freelance theatre workforce feels ‘undervalued, underpaid and underappreciated’, a feeling that has been amplified by significant funding cuts in the last year. Although many find the work fulfilling, unsustainably low pay is leading to skills shortages across the arts industry, coupled with the devastating impact of the fallout from Brexit. The industry needs to take a long hard look at itself and call upon the government to assist in a much-needed shake up.”

The report highlights:

·       A striking imbalance between the income of male and female theatre freelancers, alongside the fact that more male respondents earned 100% of their income from freelance work;

·       Financial uncertainty and underpayment across all career stages, regions, and sectors – resulting in a chronic scenario in which many freelancers are living hand-to-mouth due to the constant expectation to work for below minimum wage or for free;

·       Work intensification (doing more work for the same, or less pay), and work extension (being required to take on more roles and/or responsibilities for the same, or less pay) with 64.6% of respondents doing more work for the same or less pay in the last year. The situation has worsened since Covid, due to high numbers of freelancers leaving the industry, leading to the hiring of low-paid, inexperienced freelancers;

·       A skills shortage among producers, stage mangers and those in technical roles is having an impact on workplace fairness, safety, and workloads;

·       The ongoing effects of the pandemic and the overwork-underpayment bind have contributed to a sense that lessons learned during the pandemic have been abandoned, and that the last few years have been a missed opportunity for industry reform;

·       Concerns about persistent exclusivity, inequality and inaccessibility, with many participants feeling discouraged about working in an industry in which inclusivity is believed to be ‘just a word and not reality’, with a lack of meaningful progression in terms of equality;

·       Nearly 80% of respondents believe that Brexit has been a source of uncertainty for their work in the industry, with those working in opera, classical music and live events being hit particularly hard – difficulties in obtaining visas are causing employers to discriminate against those without EU passports, and there is also evidence that UK makers and suppliers are losing contracts to their EU counterparts due to high import costs and slow delivery times

Key recommendations and actions in the report include a call for a thorough review of government funding policy; the introduction and enforcement of fair rates of pay that tackle the disparity between freelance wages and salaried staff in organisations; a drive to tackle London-centrism in funding policy and provision and an increase in the touring allowance to match inflation; the introduction of a general EU/UK work passport or permit to allow short term and short notice work; and improved accessibility for under-represented groups across the industry and the elimination of pay gaps.

LEAD CAST ANNOUNCED FOR THE AWARD-WINNING PRODUCTION
OF THE GLOBAL PHENOMENON
JESUS CHRIST SUPERSTAR UK TOUR

Initial casting is today announced for the UK tour of the Olivier Award-winning reimagined production of and Tim Rice and Andrew Lloyd Webber’s celebrated musical JESUS CHRIST SUPERSTAR. Ian McIntosh (We Will Rock You, Follies, Beautiful: The Carole King Musical – Olivier nominated for ‘Best Supporting Actor in a Musical) will play Jesus, Shem Omari James (Dreamgirls UK Tour) will play Judas and Hannah Richardson (Sting’s The Last Ship) plays Mary. Further casting to be announced.

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, Bristol, Crawley, Southampton, Norwich, Eastbourne, Birmingham, Oxford, Wimbledon, Woking, Sunderland, Canterbury, Sheffield, Llandudno, Torquay, Dartford, Cheltenham, Blackpool, Bromley, Inverness and Truro. Further tour dates are to be announced.

“A gorgeous, thrilling, heavenly musical.”

– The Guardian

“Hallelujah! An almighty revelation.”

– The Daily Telegraph

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