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Liza McLean, Andrew Kay

And Jonathan Church Theatre Productions present

DAVID SUCHET

POIROT AND MORE, A RETROSPECTIVE

Following its hugely successful UK tour and West End run, Sir David Suchet returns to stages across the UK in POIROT AND MORE, A RETROSPECTIVE, retracing his steps as a young actor. With a first stop at Cheltenham Everyman Theatre in January 2024, David will visit theatres across the country until March 2024. Further venues to be announced in due course.

Join us in conversation with the man, the actor and his many roles in an unmistakably unique event. A retrospective look at David’s career will have you witness some of his most beloved performances in a new and intimate light. Geoffrey Wansell, journalist, broadcaster, biographer and co-author of Poirot and Me, will be joining David as interviewer.

David Suchet said:

“I am utterly delighted to be taking this show back on the road after such a warm and wonderful reception to its first UK outing and West End run. Regional theatre is where my career began and was nurtured so I’m very much looking forward to sharing my stories, memories and favourite moments across the country again and visiting a number of new towns and cities that we couldn’t reach post-lockdown when theatres were still closed, particularly in Scotland and Ireland.”

For over 25 years he captivated millions worldwide as Agatha Christie’s elegant Belgian detective. Beyond Poirot, this Emmy award-winning actor has been celebrated for his portrayal of iconic roles such as Lady Bracknell, Cardinal Benelli and Freud. David has also graced the world’s stages bringing literary greats to life, including Shakespeare, Wilde and Albee.

Meet the actor behind the detective and the many faces he’s portrayed on stage and screen over a career spanning five decades. Discover why David Suchet is renowned for not only becoming the role, but also taking on the personalities of some of television, film and theatre’s most fascinating characters.

POIROT AND MORE, A RETROSPECTIVE is co-created by David Suchet and Liza McLean. The show was originally produced in Australia and New Zealand by Liza McLean and Andrew Kay and is presented in the UK by Liza McLean, Andrew Kay and Jonathan Church Theatre Productions.

UK TOUR DATES AND BOX OFFICE INFORMATION

Cheltenham Everyman Theatre

Thur 18 – Sat 20 January 2024

Website: www.everymantheatre.org.uk

[On sale now]

Churchill Theatre, Bromley

Sun 21 January 2024

Website: www.churchilltheatre.co.uk

[On sale now]

Festival Theatre, Edinburgh

Fri 26 January 2024

Website: www.capitaltheatres.com/festival-theatre

[On sale soon]

Bord Gais Energy Theatre,Dublin

Sun 28 January 2024

Website: www.bordgaisenergytheatre.ie

[On sale soon]

Hall for Cornwall, Truro

Thur 08 February 2024

Website: www.hallforcornwall.co.uk

[On sale soon]

Palace Theatre, Southend

Sat 17 February 2024

Website: www.southendtheatres.org.uk

[On sale now]

Theatre Royal, Newcastle

Sun 18 February 2024

Website: www.theatreroyal.co.uk

[On sale soon]

Pavilion Theatre, Glasgow

Mon 19 February 2024

Website: www.paviliontheatre.co.uk

[On sale now]

Rose Theatre, Kingston

Fri 26 – Sat 27 February 2024

Website: www.rosetheatre.org

[On sale soon]

Eden Court,Inverness

Wed 28 February 2024

Website: www.eden-court.co.uk

[On sale soon]

Wales Millenium Centre, Cardiff

Sun 10 March 2024

Website: www.wmc.org.uk

[On sale soon]

Additional venues to be announced.

JOCELYN BIOH’S TRAIL-BLAZING COMEDY SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY EXTENDS ITS RUN AT THE LYRIC HAMMERSMITH THEATRE

• AWARD-WINNING WRITER JOCELYN BIOH’S HIT COMEDY SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY EXTENDS ITS RUN DUE TO INCREDIBLE DEMAND. THE SHOW WILL NOW PLAY UNTIL SATURDAY 22 JULY. TICKETS ON SALE NOW WWW.LYRIC.CO.UK
  
• HAILED BY CRITICS AND AUDIENCES ALIKE AS ‘ONE OF THE FUNNIEST SHOWS IN LONDON’, THE PRODUCTION CELEBRATED ITS UK PREMIERE AT THE LYRIC ON 14 JUNE AND OPENED TO RAVE REVIEWS

★★★★★ ‘THE FUNNIEST THING ON STAGE THIS SUMMER’ The Independent
★★★★ ‘A SMASHING 80 MINUTES IN THE THEATRE’ WhatsOnStage
★★★★ ‘A TONIC AND JOY INJECTION’ Evening Standard
★★★★ ‘BITINGLY FUNNY’ Guardian
★★★★ ‘COMPLETELY INFECTIOUS’ Time Out
★★★★ ‘BRIMMING WITH HILARITY’ The Stage
★★★★ ‘A FANTASTIC ENSEMBLE’ Broadway World

• THIS EXTENSION BUILDS ON THE LYRIC’S RECENT SELL OUT SUCCESSES (IPHIGENIA IN SPLOTT AND ACCIDENTAL DEATH OF AN ANARCHIST – OPENING IN THE WEST END THIS WEEK) WITH ARTISTIC DIRECTOR RACHEL O’RIORDAN’S EXHILARATING PROGRAMMING SET TO CONTINUE WITH A MAJOR REVIVAL OF THE MULTI-AWARD WINNING GOD OF CARNAGE THIS AUTUMN.

Lyric Hammersmith Theatre are pleased to announce that the smash hit School Girls; Or, The African Mean Girls Play by Jocelyn Bioh will extend its run until Saturday 22 July.

The UK premiere of the production, directed by Stage Award winner, Monique Touko, opened at the Lyric Hammersmith Theatre on 14 June to critical acclaim. Earlier this year, Idris Elba joined the project as an Associate Producer and together with Jocelyn Bioh continue their ambition to further shine a light on Ghanaian stories and West African representation in the UK.

School Girls; Or, The African Mean Girls Play brings together an 8-strong cast including Alison A Addo (The Lion King – Disney), Heather Agyepong (The Power – Amazon Prime), Bola Akeju (Ted Lasso – Apple TV), Deborah Alli (Undercover – BBC), Francesca Amewudah-Rivers (Bad Education – BBC), Jadesola Odunjo (You – Netflix), Anna Shaffer (The Witcher – Netflix), and Tara Tijani (Death in Paradise – BBC).

The Set Design is by Paul Wills, Costume Design by Kinnetia Isidore, Wigs, Hair and Make-up Design by Cynthia De La Rosa, Lighting Design by Matt Haskins, Sound Design by Tony Gayle; Movement and Choreography by Aline David, and Casting by Julia Horan CDG.

This production is produced in association with Mark Gordon Pictures and Francesca Moody Productions.

1986. Ghana’s prestigious Aburi Girls Boarding School. Queen Bee Paulina and her crew excitedly await the arrival of the Miss Ghana pageant recruiter. It’s clear that Paulina is in top position to take the title until her place is threatened by Ericka – a beautiful and talented new transfer student. As the friendship group’s status quo is upended, who will be chosen for Miss Ghana and at what cost?

Bursting with hilarity and joy, this award-winning comedy explores the universal similarities (and glaring differences) facing teenage girls around the world.

Biography

Jocelyn Bioh (Writer) is an award-winning Ghanaian-American writer/performer from New York City. Her written works for theatre include Merry Wives (Public Theater/Shakespeare in the Park, PBS Great Performances), Nollywood (MCC Theater), Goddess The Musical (Berkeley Rep) and the multi-award-winning School Girls; Or, the African Mean Girls Play which was originally produced at MCC Theater in 2017/2018 and has gone on to have nearly 60 regional productions in the USA. She will make her Broadway debut as a playwright with the world première of Jaja’s African Hair Braiding at Manhattan Theatre Club in the fall of 2023. She is a former TOW playwriting fellow (2017) and has been commissioned by MTC, Atlantic Theater Co., Williamstown Theatre Festival and Second Stage. Jocelyn has also written for TV on Russian Doll, Spike Lee’s She’s Gotta Have It, the new Hulu series Tiny Beautiful Things, the upcoming new Star Wars series The Acolyte and is also writing the live screen adaptation of the hit Broadway musical Once On This Island for Disney+. She was the 2022 recipient of the Outstanding Adaptation Drama Desk Award.

Listings

Lyric Hammersmith Theatre

Lyric Square, King Street, London, W6 0QL

Box office: 020 8741 6850

www.lyric.co.uk

Tickets from £10

Twitter: @LyricHammer

Instagram: /LyricHammersmith

Facebook: /LyricHammersmith

LISTINGS

A Lyric Hammersmith Theatre production

School Girls; Or, the African Mean Girls Play

By Jocelyn Bioh

Directed by Monique Touko

Dates: Thursday 08 June – Saturday 22 July 2023

Open Captioned Performance: Friday 7 July, 7.30pm

Chilled Environment Performance: Wednesday 28 June, 2.30pm

BSL Performance: Tuesday 4 July, 7.30pm

Audio Described Performance: Tuesday 27 June, 7.30pm

York Theatre Royal – 23 June 2023

Reviewed by Sal Marino

5*****

On the bare stage, apart from some wooden, white chairs, eight dancers take their positions. Dressed in simple garments of grey and shades of black: Jose Alves, Isabela Coracy, Alexander Fadayiro, Taraja Hudson, Sayaka Ichikawa, Rosanna Lindsey, Helga Paris – Morales and Ebony Thomas perform to the beautiful poetry recordings by: Hafsah Bashir, Natasha Gordon and Michael Shaeffer. Alongside these profound words, Daniel Pioro’s fabulous ‘Then and Now – variations on a theme by Heinrich Ignaz Franz vob Biber is played. It really was poetry in motion, such a rich tapestry of the arts – movement reacting to the sound and flow of ancient music and profound text.

Ballet Black’s programme is bold and innovative; and the work of choreographers William Tuckett and Mthuthuzeli November encapsulates the wide range of emotions that we, as humans, experience within our complex daily lives. My interpretation of ‘Then and Now’ was that this piece reflected on the relationship we have with nature and the sadness that will befall us unless we change and renew our love and vows to it. Since its formation in 2001, Ballet Black, a company for international dancers of black and Asian descent, always brings outstanding dance and we get the chance to see what makes them such a brilliant and necessary part of the British dance landscape.

Both pieces explore the complexities and vicissitudes of life and they do so in different modes. The result was an evening of stunning contrasts. ‘Then or Now’ and ‘Nina: By Whatever Means’ both celebrate and champion the diverse and daring ballet and both pieces give hope to what can feel like a turbulent and tempestuous world in their own and very unique and different styles. Intricate and precise movements, the dancers’ interlinking bodies conveyed so many messages and emotions.

‘Nina: By Whatever Means’ was simply stunning and the music and words were electrifying and as Mthuthuzeli November says, “Thank you, thank you Nina for everything” really says it all for what she gave us and the legacy she has left. It was a truly moving and inspiring performance and thank you Mthuthuzeli for bringing it to us but of course to the phenomenal dancers who were outstanding in every single moment.

A wonderful evening of trail-blazing ballet!

The Other Palace – until 9 July 2023

Reviewed by Claire Roderick

5*****

Be Prepared for a show full of silly musical fun and games – Scouts! The Musical is a treat for all the family.

In partnership with The Scout Association, Gigglemug Theatre have created a wonderfully witty show that laughs along with, but never at, the characters in the show and their mission for badges.

At the annual scout games, the competition is heating up to win the fabled golden badge, and Ayesha (Sydney Spencer) is willing to do whatever it takes to achieve her goals. She just doesn’t understand fellow scout Joe’s (Joel Nash) approach to scouting – and life – enjoying new experiences and making friends as he learns new skills for life. When a sore loser with a grudge turns up and subverts the games in a bonkers bid to destroy scouting, Ayesha and Joe must work together to save the day.

With themes of friendship, co-operation, making a difference and being true to yourself, this could have been a sickly saccharine show, but writers Sam Cochrane and David Fallon have captured the gleeful anarchy of childhood and give Ayesha a heroic redemptive arc that rings true without overplaying the moral issues. The talented cast of multi-instrumentalist actors work together with a slickness and humour that is riotously infectious. Musical director Rob Gathercole is a hoot as cheerful but useless Luke and heroic ex-champion Linus Lionheart – riffing on the excesses of a multitude of wildlife and survival TV personalities, Emily Kitchingham is hilariously OTT as the evil Charlotte and Kemi Clarke is a joy as scout leader Dylan, falling to pieces as his big moment becomes a disaster. Katie Pritchard has enough energy to run the national grid as Rosie, with effortless comic timing. Joel Nash and Sydney Spencer are a fantastic duo, with Nash’s sweet, honest and slightly baffled Joe the perfect foil for Spencer’s target-obsessed Ayesha.

The whole cast have stunning vocals and make each of David Fallon’s songs memorable. It is amazing how the cast make the choreography look easy on such a tiny stage with their instruments. The comedy is fast and ranges from corny dad-jokes to scout in-jokes, hitting the mark with every age group at the press performance. Who would have thought that tying knots could be so entertaining? There is some audience participation in the competition, but it is all good fun and games and they seemed to be having a ball onstage.

Scouts! is a gem of a show, a high-spirited romp full of laughs and with a heartfelt message that is as inspiring as it is insane. This will go down a storm with audiences all around the UK – a new musical with a very bright future.

Just wondering if there’s a Reviewer badge?

Menier Chocolate Factory – until 9 September 2023

Reviewed by Claire Roderick

2**

Sometimes, there is no need to tamper with perfection – and this musical adaptation of The Third Man is a prime example. Carol Read brought Graham Greene’s story of the dark underside of post-war Vienna to the screen with a scintillating class and style that has proved impossible to channel into this production, even for such a stellar creative team.

It’s 1947, and writer Holly Martins (Sam Underwood) arrives in Vienna on the promise of an opportunity from his old pal Harry Lime, only to discover that his friend has been killed in a road accident. Suspicious about the circumstances of Harry’s seemingly simple death, Holly begins to make enquiries, even after being warned off by the British army and Harry’s dodgy associates. As the truth about Harry’s immoral dealings on the black market are revealed to him, Holly grapples with his feelings about Harry and becomes more desperate to get to the truth.

Plotwise, the show follows the film, with nods to pivotal images and scenes – the zither player, the vicious parrot, the balloon cellar, the Ferris wheel – but this does start to feel like we are working through a list after a while. Perhaps a straight play could have maintained the tension and pace of the search for Harry Lime and been the mean and moody drama this story deserves. Unfortunately, adding musical numbers into the mix just slows everything down. While George Fenton’s music is enjoyable, it isn’t memorable and the song styles appear to be from three distinct shows. This may be the intent – highlighting the chaotic mix of people and lifestyles in Vienna at the time – but it jars. The book and lyrics by Don Black and Christopher Hampton are clunky and occasionally laughable – a real shock considering the duo’s pedigree. The attempts at film noir dialogue do not have the same dramatic heft between songs which include many a crime against rhyme to fit in Harry Lime. (Honestly, that could be a direct quote.) Paul Farnsworth’s starkly grey set, with handy piles of rubble for beggars to lie on, and the mostly grey palette of the costumes create a wonderfully seedy and dark atmosphere alongside Emma Chapman’s evocative lighting. Trevor Nunn uses the adaptable space of the Menier ingeniously to allow chases through the streets and sewers of Vienna. This works brilliantly in some scenes but can mean that some of the most iconic lines, delivered from the shadows on screen, are played in a corner, or on an exit aisle.

The cast give their utmost, Edward Baker-Duly and Jonathan Andrew Hume impress as the upright British soldiers on Harry’s tail, and Derek Griffiths is wonderfully frustrated as the doomed porter. Gary Milner is suitably mysterious and suspicious as Baron Kurtz, while Natalie Dunne does wonders with the woefully underwritten part of Anna. Sam Underwood’s loyal but naïve Holly is full of twitches and tears – making it much more explicit that Harry would probably have used him with thoughtless cruelty in his future plans. Underwood shows the physical pain of every revelation about his friend and keeps this frustrating character sympathetic. When Simon Bailey appears, the energy and pace of the show perks up, with a fantastic opening to act two. The cast have impeccable vocal skills and give their all to add emotional weight to such banal lyrics.

In one song Anna sings about music giving her life happiness and meaning – unfortunately that wasn’t the case for me watching this show. I love musical theatre, but The Third Man just doesn’t work. A real shame, as the cast and creatives have such incredible potential, but this show never emerges from the Viennese shadows.

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: publicity@dgpr.co.uk / +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.