SOHO THEATRE ANNOUNCE CO-COMMISSIONS OF SIX “BOLD AND VISIONARY” PLAYWRIGHTS WITH LEADING UK PRODUCERS OF NEW WORK
INTRODUCING SOHO THEATRE’S SOHO SIX 2023/24
Miriam Battye, Safaa Benson-Effiom, Rhianna Ilube, Will Jackson, Karim Khan, and Sam Ward
Focusing on the best and brightest in emerging playwrighting talent, Soho Theatre’s Soho Six attachment programme develops and nurtures playwrights’ artistic practice as they write a new play for Soho’s stages. With alumni including Charlie Josephine, Theresa Ikoko, Rita Kalnejais, Arinzé Kene, Bryony Kimmings, Samson Kayo and Duncan Macmillan, Soho Theatre are delighted to be working with and introducing the 2023/24 Soho Six artists and co-commissioners:
MIRIAM BATTYE (Scenes with Girls), co-commissioned with PAINES PLOUGH
SAFAA BENSON-EFFIOM (Til Death Do Us Part), co-commissioned with CARDBOARD CITIZENS
RHIANNA ILUBE (Samuel Takes a Break in Male Dungeon N°5 After a Long but Generally Successful Day of Tours), co-commissioned with BROCCOLI ARTS
WILL JACKSON (Confetti), co-commissioned with HOMOTOPIA
KARIM KHAN (Brown Boys Swim), co-commissioned with TARA THEATRE
SAM WARD (We Were Promised Honey!), co-commissioned with GRACE DICKSON PRODUCTIONS
Soho Theatre’s Literary Manager Gillian Greer said: “Our writers represent the very best of British new writing talent – bold and visionary artists who carry warmth, wit and passion at the heart of their work. Alongside our co-commissioners, we are delighted to welcome them to our Soho Six programme for 2023/24.
With recent alumni Iman Qureshi’s The Ministry of Lesbian Affairs, Danusia Samal’s Bangers, and Willy Hudson’s Welcome Home all storming Soho’s stages in the last year, we’re excited to see what this intake of Soho Sixer’s creates.”
The Soho Six programme plays a key role in Soho Theatre’s vision for developing and supporting writers. Supported by NBCUniversal International Studios, the 2023/24 Soho Six are in residence for 18 months receiving a full commission, dramaturgical support and masterclasses from Soho Theatre and their co-commissioner. The programme also immerses each writer in the life of Soho Theatre, with regular contact with staff, exposure to new work across our three stages, getting to know our audiences and building, and the positive impact of peer learning with five fellow artists.
A Sheffield Theatres and Evolution Pantomimes co-production
SHEFFIELD THEATRES ANNOUNCES CAST FOR
BEAUTY AND THE BEAST
Writer and Director Paul Hendy
Friday 8 December 2022 – Sunday 7 January 2024
Today, SheffieldTheatres and EvolutionPantomimes announce the principal cast for Beauty and the Beast at the Lyceum Theatre. Duncan James (Blue) will be playing Danton and JennieDale (CBeebie’s Swashbuckle) will be playing Fairy.
Both Duncan and Jennie join legendary Dame Damian Williams who will be playing Madame Bellie Fillop, with further principal cast and ensemble to be announced.
Once again, the show will be written and directed by Paul Hendy (Sleeping Beauty, Cinderella) and produced by the award winning, Evolution, the same team behind last year’s fabulous panto, Jack and the Beanstalk.
This fairy-tale extravaganza promises to be full of hilarious comedy, lavish sets, fantastic music, beautiful costumes, magic and mayhem. It’s never too early to book your favourite seats!
Damian Williams is celebrating his sixteenth year as Sheffield Theatres’ Dame. Duncan James and Jennie Dale both make their Sheffield Pantomime debuts.
Beauty and the Beast runs from Friday 8 December 2022 – Sunday 7 January 2024 at the Lyceum theatre, Sheffield. Tickets are on sale now and can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.
Duncan James will not be performing on Sat 16th Dec – 10.15am and Sat 6th Jan – 10.15am.
The Jamie Lloyd Company, the successful partnership between Ambassador Theatre Group and Artistic Director Jamie Lloyd, alongside Michael Harrison for Lloyd Webber Harrison Musicals, today announce that Nicole Scherzinger will star as Norma Desmond in a new production of Andrew Lloyd Webber’s Sunset Boulevard. With book and lyrics by Don Black and Christopher Hampton, based on the Billy Wilder film, this bold new vision of the musical, directed by Jamie Lloyd, will play for a strictly limited 16 week run at the Savoy Theatre in the West End. The production marks the first production presented by Lloyd Webber Harrison Musicals, the new joint venture by Andrew Lloyd Webber and Michael Harrison.
Opening 30 years after the original West End production, The JamieLloyd Company’s production of Sunset Boulevard runs from September 2023. Dates to be announced.
Tickets go on sale in June 2023 – for further details of on sale dates and to sign up for priority booking visit: sunsetboulevardwestend.com
Jamie Lloyd said today, “After our reappraisal of Evita at the Open Air Theatre, Regent’s Park, I’m very excited to rediscover another iconic Lloyd Webber musical — and Sunset Boulevard is one of his most thrilling, complex and atmospheric scores. We are so fortunate to have the opportunity to create a new production of this fascinating piece with the extraordinary Nicole Scherzinger.”
Andrew Lloyd Webber also commented, “Nicole is one of the finest singers I have worked with, and I can’t wait to get started on this exciting show with her and the rest of this brilliant team.”
This year marks The Jamie Lloyd Company’s 10th anniversary – Sunset Boulevard follows the company’s Tony Award nominated production of A Doll’s House starring Jessica Chastain and Arian Moayed, running at the Hudson Theatre, Broadway until 10 June; and the forthcoming National Theatre production of Lucy Prebble’s The Effect starring Paapa Essiedu and Taylor Russell running in the Lyttleton theatre from 1 August, in association with The Jamie Lloyd Company.
SUNSET BOULEVARD
Music by Andrew Lloyd Webber
Book and Lyrics by Don Black and Christopher Hampton
Based on the Billy Wilder film
Director: Jamie Lloyd
Savoy Theatre
From September 2023
Nicole Scherzinger stars as the immortal Norma Desmond in Andrew Lloyd Webber’s legendary Sunset Boulevard. This thrillingly atmospheric musical, which features an iconic score including the songs With One Look, The Perfect Year and As If We Never Said Goodbye, is reimagined by visionary director Jamie Lloyd for a new generation.
Haunted by her memories and dreams, movie star Norma Desmond (Scherzinger) yearns to return to the big screen. A struggling screenwriter who can’t sell his scripts to the Hollywood studios may be her only hope, until their dangerous and compelling relationship leads to disastrous circumstances.
Drenched in champagne and cynicism, Sunset Boulevard scrutinizes the ambitions and frustrations of its characters and their intoxicating need for fame and adoration.
The Jamie Lloyd Company production of Sunset Boulevard is produced byAmbassador Theatre Group Productions, Michael Harrison for Lloyd Webber Harrison Musicals, Gavin Kalin Productions and Wessex Grove.
Sunset Boulevard is produced by arrangement with The Really Useful Group Ltd and is based on the original Paramount film by Billy Wilder.
Instagram: @sunsetblvdmusical
Twitter: @sunsetblvd
Facebook: @SunsetBoulevardTheMusical
Nicole Scherzinger plays Norma Desmond. Sheis a multiple award-winning, multi-platinum selling performer, singer, actress, dancer and television personality, selling over 37 million singles worldwide and 16 million records as a solo artist. Formerly a member of one of the world’s best-selling music groups of all time, selling over 55 million record worldwide, she has graced the stages of London’s West End, performed at Madison Square Garden, voiced the character Sina in Disney’s animated blockbuster ‘Moana,’ starred in ABC’s remake of ‘Dirty Dancing,’ and most recently was the resident panellist on the runaway TV phenomenon, The Masked Singer on FOX. On May 7, 2023 Nicole Scherzinger performed at Windsor Castle for the official concert for the Coronation of Charles III and Camilla. Accompanied on stage by esteemed pianist Lang Lang, the pair performed the Disney Mulan classic “Reflection.”
Don Black received two Tony Awards for Best Book and Lyrics of a Musical for his work (with Christopher Hampton) on Sunset Boulevard, which marked his third collaboration with Andrew Lloyd Webber. They first joined forces to write the song cycle ‘Tell Me On A Sunday,’ which developed to form the basis of the stage show Song and Dance. They were reunited again for Aspects of Love. He also wrote the lyrics for the Andrew Lloyd Webber produced Bombay Dreams. Awards include an Oscar for his song ‘Born Free;’ five Academy Award nominations; two Tony Awards and three Tony nominations; six Ivor Novello Awards; a Golden Globe, and many platinum and gold discs. He has written a quintet of James Bond theme songs: ‘Thunderball,’ ‘Diamonds Are Forever,’ ‘The Man With The Golden Gun,’ ‘Surrender’ from Tomorrow Never Dies and ‘The World Is Not Enough’. Among his many popular songs are two U.S. number ones – ‘Ben’ for Michael Jackson and ‘To Sir With Love’ for Lulu. He was inducted into the Songwriters Hall of Fame in 2008. In The Queen’s Honours List he received the Order of the British Empire. Earlier this year he was awarded an Olivier award for his outstanding services to theatre. Most recently he wrote his critically acclaimed memoir ‘The Sanest Guy In The Room,’ which featured in the Sunday Times Bestsellers list. His musical of Bonnie and Clyde had a successful West End run at the Garrick Theatre and his next project which he wrote with Christopher Hampton and George Fenton is a musical version of the classic film The Third Man.
Christopher Hampton became involved in theatre while studying French and German at Oxford University, and wrote a play in his first year. The Royal Court’s subsequent production was so successful that it transferred to the Comedy Theatre while he was still a student, making him the youngest writer ever to have a play performed in the West End – a record which still stands. He said at the time that he also hoped to become the oldest writer to have a play in the West End, an ambition he has yet to achieve.
His plays, musicals and translations have so far garnered four Tony Awards, three Olivier Awards, four Evening Standard Awards and the New York Theatre Critics; Circle Award; prizes for his film and television work include two Oscars, three BAFTAs, a Writer’s Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and The Collateral Award at the Venice Film Festival for Best Literary Adaptation. His musicals include Sunset Boulevard, Dracula: The Musical, Stephen Ward and most recently, The Third Man, all with Don Black. Many translations include the German musical based on Daphne du Maurier’s Rebecca, opening September 2023. Hampton’s screenplays include The Son, The Father, Perfect Mothers, A Dangerous Method, Chéri, Atonement, Imagining Argentina (which he also directed), The QuietAmerican, The Secret Agent (which he also directed), Mary Reilly, Total Eclipse and Carrington (the first film he also directed).
Jamie Lloyd directs. His credits for the company include A Doll’s House (Hudson Theatre, New York – – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, Macbeth (Trafalgar Studios).
To mark the climax of Mental Health Awareness Week 2023, the company of the Olivier-nominated international stage sensation THE CHOIR OF MAN announces details of a year-long fundraising partnership with mental health and suicide prevention charity Campaign Against Living Miserably (CALM).
The aim of the partnership is to raise over £10,000 for the charity’s vital work – which is enough to fund over 1000 conversations via CALM’s life-saving helpline.
Every week in the UK, 125 people take their own lives. 75% of those people will be men, making suicide the biggest killer of men under 50. CALM exists to change this by offering life-saving services, provoking national conversation, and bringing people together to reject living miserably. The Choir of Man is an uplifting celebration of community and friendship, with one of the key messages being the vital importance of men coming together to open up and share their struggles, whilst enjoying a pint and a chat.
Audiences will have the chance to support the partnership in various ways – both whilst purchasing a ticket, with QR code donation points in the Arts Theatre, collections on select performances and a Text2Donate opportunity that will be highlighted during The Poet’s closing monologue.
The company of the show will also be offered support and advocacy opportunities by the charity, with a CALM Champion workshop.
Simon Gunning, CEO of Campaign Against Living Miserably said “We’re absolutely thrilled The Choir of Man are flying the CALM flag and raising money to fund our lifesaving services. Although the show is incredibly entertaining, it also contains a poignant message about the importance of men looking out for each other and how the pub provides a wonderful sense of community. It’s a message we’re passionate about because too many men are dying by suicide and this needs to change. Asking a mate out for a pint really can make all the difference.”
An uplifting celebration of community and friendship with something for everyone… including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.
Brimming with hits from artists such as Queen, Luther Vandross,Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few. A wildly talented group of incredible instrumentalists, world-class wordsmiths, and sensational singers; this cast of nine (extra)ordinary guys serve it all…live!
THE CHOIR OF MAN has previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival.
Ben Norris – who wrote the monologues for The Choir of Man and originated the role of ‘The Poet’ said,
“The show is so unapologetically feel-good that whatever kind of mood you arrive in at the theatre, it’s impossible not to leave with a smile on your face and a spring in your step. And that goes for the cast as well as the audience!
Whether we’re conscious of it or not, when we meet a friend in the pub for a pint, it’s often simply the company we’re after. This is especially true, I think, for men. Although things are starting to shift, we still find it much harder to open up and to ask for help. We’re still taking our own lives at a far higher rate. The lockdowns and the helplessness of the pandemic hugely exacerbated this, and the imminent cost of living crisis will only worsen it further.
As a male voice choir, we wanted to make a show that brings joy to people – a show that is fun and frivolous and silly and a bloody good night out, but also one that speaks to some of those difficulties we face, and that gently questions what masculinity might look like in 2022.
Above all, we wanted to make a show that puts an arm around people, of all genders, and invites them to either forget their troubles for an evening or to share them. Sometimes it’s literally life-saving.”
THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Hollie Cassar serves as musical director and associate musical supervisor, and Rachel Chapman serves as associate choreographer.
The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.
Bleak Expectations started its life as a comedy series on BBC Radio 4 back in 2007. After a successful five series run the show was adapted into a stage play by original writer, Mark Evans – premiering at the Watermill Theatre last year; the play has finally arrived in London’s West End at the charming Criterion Theatre – a perfect fit for this period comedy play.
The performance commences with a brief monologue from our guest narrator, Sir Philip Bin playing an older version of our protagonist, Pip. Each week will see a different face play the part in a clever stunt casting device. Our narrator for this gala performance was actress and comedian Sally Philips who immediately had the audience in the palm of her hand and had inserted herself into the play as if it were part of her DNA. Please do more theatre, Sally!
When introducing us to this crazy farcical world, we really hit the ground running from the get go with punchline after punchline establishing each character with flair and energy. When the play hits its stride it really is a wonderful piece of comedic theatre, quintessentially British, smart and yet doesn’t take itself too seriously.
That being said, as we get into the action and journey of the play, the plot starts to wear thin and by Act 2 it feels as though we have been on a rollercoaster of ups and downs so many times we are happy enough to step off the ride. There are moments when the plot has meanders, the scenes have become too lengthy due to somewhat self-indulgent performances and hammering on with the same joke. This was the play at its worst, dragging through somewhat and staggering to the end.
A strong team of performers, each having their moment to shine, it is mostly an ensemble piece but I have to note the exceptional performance by Marc Pickering playing several members of the Hardthrasher dynasty. He is a truly wonderful character actor and comedian with impeccable timings and gives a performance detailed to the nth degree.
Deliciously stylised set design by Katie Lias, the little pockets and tricks hiding around the stage really help to elevate the comedy throughout.
I suppose that in order to appreciate the best of times, we must endure the worst of times. This play has a lot more going for it than against, and even at its worst – it’s still pretty darn good!
Book of Will brings to life the true story of how surviving members of William Shakespeare’s company of actors; angered by incorrect imitations of the bard’s work, strive to collate the pages of his original scripts to prevent his work being misquoted, or worse still, lost to history. You don’t have to be a fan of Shakespeare to enjoy this moving show, however if you are, then you’re in for a treat.
A collaboration between Queens Theatre, Hornchurch, the new Shakespeare North Playhouse and Octagon Theatre, Bolton sees Lauren Gunderson’s ‘nimble caper’ brought to life. Directed superbly by the Octagon’s Artistic Director, Lotte Wakeham.
This ensemble’s company of actors were brilliantly cast by Olivia Barr. Russell Richardson as John Heminges and Bill Ward as Henry Condell, excel as two of Shakespeare’s surviving stage players, sharing in their grief for friendships, loved ones lost and the power of the stage to exercise their emotions. With Russell Richardson giving a heart wrenching performance. Jessica Ellis as Heminges daughter held herself as a strong loving and devoted patron of the arts who served to encourage and support her father and the company in their endeavor. Helen Pearson as Rebecca Heminges, the lovingly devoted wife. I particularly enjoyed the performance of Andrew Whitehead as Ben Jonson and Sir Edward Dering. A fine character actor. Tarek Slater is hilarious as he struts and preens as Boy Hamlet. Zach Lee is a commanding Richard Burbridge. And Callum Sim a passionate Isaac Jaggard who without which the folio would never come to pass.
The entire cast including Tomi Ogbaro and Carrie Quinlan, playing between them 30 different characters were joyful, sincere and a pleasure to watch as they shared the toil, anguish, and pure tenacity it took following Will’s death to ensure that the original scripts could be found and collated into one complete folio of his works for future generations to admire.
At Birth, now playing at Barons Court Theatre is a succinct two-hander written, designed and performed by Ty Autry and Thalia Gonzalez Kane as they portray two best friends who are forced to go on a journey when a drunken night of passion changes the trajectory of their lives and relationship forever.
With humour, honesty and playfulness, this piece is an in-depth character study on how it is to be young, queer and living in the Southern states of the US. The play does exactly what it sets out to do, with just enough drama to keep the audience engaged for the duration; it is clear on its agenda with what the writers are trying to say regarding abortion laws in the US (and globally); they execute this wonderfully without preaching to the choir, we are merely reminded on a level of empathy the ongoing struggles and debates over a woman’s right to choose through the power of storytelling.
The chemistry between Autry and Gonzalez Kane is undeniable, the play opens with the two exchanging stories and tales from their childhoods over a bottle (or two) of wine. The physical and emotional ease they have with each other translates to the audience, and when the drama starts to take centre stage and the awkward arguments and raw emotions pour it has the same effect on us. The two artists are clearly passionate for the piece, exuberating confidence and clarity in their intentions. This play is helmed tastefully and tightly paced with direction by Melissa Foulger.
With so little to be sure of, this play reminds us that through the most turbulent and darkest of times, there is always room for humour, joy and friendship – and if we can allow these into our lives then hope remains unconquerable.
Cambridge Arts Theatre, Cambridge – until Saturday 20th May 2023
Reviewed by Steph Lott
5*****
Nuri is a beekeeper and his wife, Afra, is an artist. They live a simple but rich life in the beautiful Syrian city of Aleppo until all they care for is destroyed by war and they are forced to escape. This is the story of their journey through a broken world, through Turkey and Greece until they reach the UK.
ChristyLefteri ’s bestseller is a novel depicting a story of a terrible journey, love and loss. The novel has now been adapted for the stage by Nesrin Alrefaai and Matthew Spangler and is directed by Miranda Cromwell.
Due to illness the role of Nuri was played by Aram Mardourian, and he gave an astonishing performance. The dialogue is rapid and expressive; Aram did an excellent job in pacing and articulating it so well that the audience didn’t miss a word.
Afra, played by Roxy Faridany, has lost her sight. Roxy gives a powerful performance as the grieving mother, suffering from shock, and totally dependent on her husband as she learns to cope with her disability and their situation.
Mention must be made of some of the other standout performances. This talented cast have to perform multiple roles. Joseph Long gave an extraordinary performance as Mustafa and the Moroccan Man, and Elham Mahyoub as Mohamed/Sami was impressive.
Ruby Pugh’s set is striking. There are wide skies, broken walls and mounds of sand which engulf furniture. The play is set in many different locations and the design of the set enables the story to move between them seamlessly. I also loved the lighting by Ben Ormerod, and the use of images thrown up on the backdrop, designed by Ravi Deepres. There is also a breath-taking depiction of what it must be like to be in a dinghy during a storm at sea.
I couldn’t recommend this production more highly. It’s not only the harrowing story of the journey of two refugees escaping war-torn Syria and the people they meet along the way. It’s also the story of how they confront their unspeakable loss and lose and find each other again.
Poignant, powerful, and compassionate, it’s impossible not to be moved by this performance of a story of loss, love, resilience and hope.
Around the World in 80 Days comes to life on stage at Richmond Theatre. Based on the Novel by Jules Verne this amazing, fun, exciting, creative and full of laughter production has been adapted and directed by Juliet Forster.
The set opens up in a circus where the performers are discussing how they shall begin to tell the story and adventures of Phileas Fogg (Alex Phelph). A man who is very set in his ways. He comes across very reserved and likes to do the same things day in and day out. “He likes what he likes and likes what he knows”. He decides that he will travel around the world in 80 days, taking the audience through an adventurous whirlwind of a trip. He passes through many countries and experiences many cultures whilst also teaching us some history along the way. His Character is played tremendously well, very guarded and a little mysterious, making him great to watch. The show also becomes a tale of two entwined when the Acrobat (Katriona Brown) and the trick rider (Genevieve Sabherwal) decide that if the story of Phileas Fogg is going to be told then so should the story of Nellie Bly. A female reporter completing the same journey in only 72 days. They both strongly believe that a female role is important but the ringmaster just wants to get on with Phineas’ version, this all becoming very comical. He likes to think he’s in control but with an interrupting cast, especially the Acrobat who loves to take the stage whenever she gets the chance, continuing to get Nellie Bly’s story across to the audience. Making it all a battle on stage to get their stories out, while also ending up very humorous and amusing, also having the audience giggling away as well as smiling from ear to ear. She did an exceptional job and was spectacular to watch. I could go on all day about just how good this cast were, everyone had something fantastic to offer. Making it an outstanding show to watch.
As they continue through their travels, this consisting of all forms of transport. The cast show much creativity using small props that give such an impressive impact to the show. From riding the Train/Locomotive in India to using a ladder for the coaches. So much imagination and it was just splendid to watch alongside some exceptional fast changes of characters and movement on stage, from sailing ships in storms to riding an elephant. Such skill was shown throughout and the cast showed an amazing connection throughout the performance.
It was lovely to see so many children also enjoying the show, making it a perfect evening out for all. An all-round great performance offering much skill and knowledge that was just splendid to watch and take in with much laughter and delight. A spectacular production that shouldn’t be missed.
How to Succeed is crammed with dodgy stereotypes and attitudes, but this satire about the ethics of big business is a gem in the safe hands of the team behind last year’s wonderful production of Anyone Can Whistle. Director Georgie Rankcom lends their colourful and playful touch to another classic.
Everyman window cleaner J. Pierrepont Finch (Gabrielle Friedman) rises rapidly from a job in the mailroom to vice-president of the company with the help of a handy How to… book (voiced by Michelle Visage). As Finch climbs the corporate ladder through luck, subterfuge, quick thinking and being polite to secretaries, the nephew of the chairman vows vengeance as he finds that nepotism cannot stop Finch’s rise to the top.
Frank Loesser’s music and lyrics are catchy and memorable. Sophia Pardon’s set and costumes are bright and cartoonish, complementing the cartoonish buffoonery and outdated attitudes that were being lampooned back in 1961 when the musical premiered. The set also has a gameshowey vibe, with the relationships between the secretaries and the men feeling like The Dating Game at times. Rankcom has introduced gender fluidity in the cast, with Tracie Bennett’s hilariously physical performance as J.B. Biggley making the old guy even more ridiculous than he is written. Gabrielle Friedman plays Finch as a basically good soul, with flashes of ruthless ambition and an unwavering determination to succeed. The entire cast are at the top of their game, with exuberantly joyful and silly performances. Elliott Gooch is the perfect comic villain – with touches of the deviously inept Hooded Claw, Verity Power is brilliantly OTT as Smitty and Grace Kanyamibwa almost steals the show with her astounding vocals in the best number of the show Brotherhood of Man. The star of the show is the incredible Allie Daniels as lovelorn secretary Rosemary. With exquisite comic timing and able to make the audience howl with the raising of an eyebrow, Daniels is a joy.
How to Succeed in Business Without Really Trying is a blast – a wonderful cast and a show full of fun.
