The smash hit show 2:22 A Ghost Story is currently in its fifth run in the West End, at its 4th, and biggest, theatre yet. Fans and newcomers alike have just 6 weeks to see Cheryl (Jenny), Jake Wood (Ben), Louise Ford (Lauren) and Scott Karim (Sam) in the critically acclaimed show at its current location. A UK tour was announced earlier this year which will begin in September at Bath Theatre Royal running through until May 2024 in venues all over the UK with cast to be announced.
www.helenmurrayphotos.com
The production began its life in the summer of 2021 with a record-breaking run at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there, starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher, completed its run on 12 February 2022. The first cast at the Criterion Theatre featured Tom Felton, Mandip Gill, Beatriz Romilly and Sam Swainsbury and the second Criterion Theatre cast including Tamsin Carroll as Lauren; Felix Scott as Sam, Matt Willis as Ben and Laura Whitmore as Jenny, ended its run on 8 January 2023. The US premiere of 2:22 A Ghost Story at the Ahmanson Theatre, Los Angeles opened on 29 October and ended its run on 4 December 2022. The current cast have been in the show since 21 January 2023 and the Lyric run ends on 23 April.
Helen Murray www.helenmurrayphotos.com
2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline-fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?
“There’s something in our house. I hear it every night, at the same time.”
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.
Helen Murray www.helenmurrayphotos.com
2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Matilda James, CDG, illusions by Chris Fisher, and associate direction by Matt Hassall.
Helen Murray www.helenmurrayphotos.com
2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon.
Society of London Theatre seeks to support future industry leaders with ‘Associate membership’ pilot programme
Society of London Theatre have announced their plans to launch a new category of membership. The ‘Associate Membership’ will be designed to identify producers and future theatre industry leaders in London who would not be eligible for other categories of SOLT membership.
The aim of the new membership is to reflect a broader group of future theatre industry leaders in the early-mid-stages of their careers. SOLT are encouraging applications from groups who have historically been under-represented within their membership over the last 114 years, to ensure that the membership becomes more inclusive and representative of society in its broadest sense and reflects the people of London.
SOLT are looking to identify 6 individuals to become Associate Members for a period of 2 consecutive years. After the first cohort have completed their first 12 months, they will recruit a further 6 individuals. Associate Membership, which will be free of charge, is designed to support career progression for aspiring theatre leaders and to provide experience and access to best working practices. All Associate Producers will be offered a mentor from the wider SOLT membership.
Eleanor Lloyd, independent producer and President of SOLT, commented:
“I hope this pilot programme will give upcoming producers, venue operators and programmers who we hope will become future industry leaders, earlier access to the benefits of SOLT membership such as networking, training and advice.
“With particular focus on those who will diversify our industry, we hope this programme will allow Associate Members to build relationships, develop their knowledge and understanding of how the industry works, and be a steppingstone towards future full membership of SOLT, which will in turn strengthen the theatre community.”
From 11am today, tickets will be released for the extra week of performances for Streetcar, alongside an online lottery for tickets, drawn every Wednesday for the following week, and day seats which are won via a game of chance, in person, on the day of the performance. All details are listed below:
ENTER THE ONLINE LOTTERY A limited number of £25 tickets are reserved for lottery winners at each performance. The lottery will be drawn every Wednesday for all performances in the following week. Winners will be sent a unique link and have 24 hours to pay for their tickets. To maximise your chances, you will be automatically entered into the draw every week once you sign up but can unsubscribe at any time. To enter the lottery sign up HERE.
DAY SEATS Day seats are located in the front rows of the stalls and cost just £10 each. Day Seats are sold in person from the box office at 4.30pm (evenings) or 11.30am (matinees). The opportunity to buy these seats is allocated via a game of chance that takes place in-person outside the Phoenix Theatre. There are 10 Day Seats in total and 5 winners will have the opportunity to buy a pair. For safety and security, the ticket draw is limited to no more than 30 people.
The full cast for Streetcar is Eduardo Ackerman (Pablo), Alexander Eliot (Steve), Patsy Ferran (Blanche), Gabriela García (Mexican Woman),Cash Holland (Eunice), Paul Mescal (Stanley), Tom Penn (Doctor/Drummer), Jabez Sykes (Young Collector), Anjana Vasan (Stella)Dwane Walcott (Mitch)alongside understudies Rob Dempsey, Francesca Knight, Zach Parkin and Constanza Ruff.
A Streetcar Named Desire runs at The Phoenix Theatre from 20 March to 06 May 2023.
The smash-hit production has received six Olivier nominations including:
Sir Peter Hall award for Best Director – Rebecca Frecknall Best Actress in a play – Patsy Ferran Best Actor in a play – Paul Mescal
Best Supporting Actress in a play – Anjana Vasan Best Lighting Design – Lee Curran Best Revival – A Streetcar Named Desire
★★★★★
The Times, The Sunday Times, The Observer, The i
“How pretty the sky is! I ought to go there on a rocket that never comes down.”
On a street in New Orleans, in the blistering summer heat, a sister spirals.
When Blanche unexpectedly visits her estranged sister Stella, she brings with her a past that will threaten their future. As Stella’s husband Stanley stalks closer to the truth, Blanche’s fragile world begins to fracture. Reality and illusion collide and a violent conflict changes their lives forever.
Almeida Associate Director Rebecca Frecknall’s “heart-stopping” (The Telegraph)revival of Tennessee Williams’ masterpiece runs in the West End from 20 March 2023.
Paul Mescal (“tremendous” The Times)stars as Stanley alongside Patsy Ferran (“astonishingly good” Time Out) as Blanche DuBois and Anjana Vasan (“outstanding” New York Times) as Stella in this “mesmerising” (The i) production.
A Streetcar Named Desire is presented by special arrangement with The University of the South, Sewanee, Tennessee.
A Streetcar Named Desire’s creative team is as follows: Director: Rebecca Frecknall; Set Designer: Madeleine Girling; Costume Designer: Merle Hensel; Lighting Designer: Lee Curran; Sound Designer: Peter Rice: Composer: Angus MacRae and Casting Director: Julia Horan CDG.
A Streetcar Named Desire is produced by Ambassador Theatre Group Productions the Almeida Theatre, Gavin Kalin productions, Wessex Grove, GGRS and Los Angeles Media Fund.
Performance schedule: Monday – Saturday at 7.30pm, matinees on Thursday and Saturdays at 2.30pm (N.B no matinee on 23 March)
Ticket Prices: From£15
Running Time: Approx. 2 hours 45 minutes including a 20-minute interval
Age Recommendation: Recommended for ages 14+. This production contains xenophobic language, domestic violence, alcoholism, mental health difficulties including anxiety and depression as well as references to suicide and sexual assault. It also includes sudden loud noises, haze and the smoking of herbal cigarettes.
with tickets now on sale for the West End awards ceremony
on Tuesday 11 April 2023
The UK Pantomime Association has announced the nominations for The Pantomime Awards 2023 in association with Butlin’s, ahead of the awards ceremony at the Trafalgar Theatre, in London’s West End, on Tuesday 11 April 2023 at 7pm, hosted by Christopher Biggins.
During the 2022/23 pantomime season, the second year in which the Awards have taken place, the UK Pantomime Association’s 64 judges attended over 240 venues to see over 700 performances, far and wide across the United Kingdom.
Founded in 2021, the UK Pantomime Association is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. The Special Awards, which celebrate productions representing the values that the Association seeks to promote, as well as the Outstanding Achievement Awards, are to be announced at the ceremony on 11 April.
This year, for the first time, there are no gendered categories as Principal Boy and Principal Girl become Principal Lead, such as Cinderella and Dick Whittington, and Secondary Lead, such as Prince Charming and Alice Fitzwarren.
The full list of nominations for the 2022/2023 Pantomime Awards in association with Butlin’s are:
Best Choreography
Eddie Slattery – Beauty and the Beast, Swansea Grand Theatre, Swansea (Imagine Theatre)
Josie Lee – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Karen Bruce – Jack and the Beanstalk, London Palladium, London (Crossroads Pantomimes)
Kerry Blaskett-Weatherall – Peter Pan, Regent Theatre, Ipswich (Enchanted Entertainment)
Stillie Dee – Jack and the Beanstalk, Alhambra Theatre, Bradford (Crossroads Pantomimes)
Best Comic sponsored by Santa Himself
Adam C Booth – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Adam Colbeck-Dunn – Cinderella, Palace Theatre, Newark (Jordan Productions)
Gavin Jon Wright – Sleeping Beauty, The Gaiety, Ayr (In-House)
Matt Slack – Dick Whittington, Birmingham Hippodrome, Birmingham (Crossroads Pantomimes)
Ruby Ablett – Dick Whittington, Cambridge Arts Theatre, Cambridge (In-House)
Best Costume Design
Adrian Gee – Robin Hood, Theatr Clwyd, Mold (In-House)
Becky Minto – Jack and the Beanstalk, Perth Theatre, Perth (In-House)
Dawn Allsopp – The Legend of Robin Hood, Theatre Royal Bury St Edmunds, Bury St Edmunds (In-House)
James Button – Cinderella, Salisbury Playhouse, Salisbury (In-House)
Jasmine Swan – Beauty and the Beast, Mercury Theatre, Colchester (In-House)
Best Dame sponsored by Trafalgar Entertainment
Ben Roddy – Sleeping Beauty, Marlowe Theatre, Canterbury (Evolution Productions)
Brian James O’Sullivan – Maw Goose, Macrobert Arts Centre, Stirling (In-House)
Clive Rowe – Mother Goose, Hackney Empire, London (In-House)
JP McCue – Cinderella, Royal Spa Centre, Leamington Spa (Imagine Theatre)
Phylip Harries – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Director
Darren O’Sullivan – Cinderella, South Holland Centre, Spalding (Polka Dot Pantomimes)
Estelle van Warmelo – Beauty and the Beast, The Courtyard, Hereford (In-House)
Kathryn Rooney – Beauty and the Beast, King’s Theatre, Glasgow (Crossroads Pantomimes)
Paul Hendy – Sleeping Beauty, Marlowe Theatre, Canterbury (Evolution Productions)
Tamara Harvey – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Ensemble sponsored by Stagecoach
Briana Craig, Ediz Ibrahim, Grant Thresh, Demi Leigh Foster, Megan Louch, Maxwell Trengove, Belle Kizzy Green, Ciro Lourencio Meulens, Zinzile Tschuma, Sally Jayne Hind, Alexandra O’Reilly, Jaydon Vijn, Emma Hunter, Andrew Lyle-Pinnock, Luke Woollaston and Lauren Stroud – Jack and the Beanstalk, London Palladium, London (Crossroads Pantomimes)
Grace Faulkner, Jack Trafford, Lucy Stewart, Molly Thorpe Franklin, Callum Fairfield, Lucy Deakin and Georgia Murray – Goldilocks and the Three Bears, Epstein Theatre, Liverpool (Regal Entertainments)
Kieran Lynch, Caitlin Mae and Charlotte Jean Moore – Snow White, Palace Theatre, Kilmarnock (Imagine Theatre)
Leo Burke, Nick Pack, Sophie Spencer, Daisy Ewing and Adam Russell-Owen – Cinderella, The Arts Centre, Hounslow (The Arts Centre Hounslow with Ashby Pantomimes)
Mairi Barclay, Adam Brown, Gabriel Fleary, Becca Francis, Shailan Gohil, Richard Leeming, Genevieve Nicole and Laura Tyrer – Mother Goose, Duke of York’s Theatre (Ambassador Theatre Group)
Best Lighting Design sponsored by Production, Light & Sound
Ben Cracknell – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Bev Paskell – Cinderella, South Holland Centre, Spalding (Polka Dot Pantomimes)
Jamie Corbidge – Beauty and the Beast, Swansea Grand Theatre, Swansea (Imagine Theatre)
Kathryn Monkton – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Sally Ferguson – Dick Whittington, Nottingham Playhouse, Nottingham (In-House)
Carmen Silvera Award for Best Magical Being
Danielle Jam – The Pantomime Adventures of Peter Pan, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)
Jo Osmond – Beauty and the Beast, Theatre Severn, Shrewsbury (Evolution Productions)
Joe McElderry – Cinderella, Newcastle Theatre Royal, Newcastle upon Tyne (Crossroads Pantomimes)
Lauren Azania – Cinderella, Lighthouse, Poole (In-House)
Leonardo Vieira – Aladdin, Devonshire Park Theatre, Eastbourne (Jordan Productions)
Best Contribution to Music sponsored by Howden Insurance Brokers
Emma Fraser – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Miles Russell – Jack and the Beanstalk, The Hexagon, Reading (Imagine Theatre)
Philip Shute – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Rob Green – Red Riding Hood, Everyman Theatre, Liverpool (In-House)
Tayo Akinbode – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Early Career Newcomer sponsored by Staffordshire University
Eliza Walker – Peter Pan, Regent Theatre, Ipswich (Enchanted Entertainment)
Ewan Grant – The Legend of Robin Hood, Theatre Royal Bury St Edmunds, Bury St Edmunds (In-House)
Katsie Fong Frydenberg – Jack and the Beanstalk, The Hexagon, Reading (Imagine Theatre)
Nay-Nay – Snow White and the Seven Dwarfs, New Theatre, Cardiff (Crossroads Pantomimes)
Simon Sladen, Chair, of the UK Pantomime Association said: “After what for many venues was a record breaking pantomime season in 2022/2023, we can’t wait to celebrate the wide array of excellence in the genre at The Pantomime Awards this April. Pantomime is one of the most exciting, vibrant forms of theatre, entertaining millions of people each festive season. Thank you to everyone who brings the pantomime magic to the stage and good luck to all of this year’s nominees!”
Butlin’s is the principal sponsor for the UK Pantomime Awards 2023. Entertainment Director Mike Godolphin said “Congratulations to everyone that’s been shortlisted for an award. Panto is a huge part of our entertainment offering at all three Butlin’s resorts and we’re very happy to be sponsoring the awards again this year. We’re looking forward to seeing who the winners will be next month.”
Mari Lloyd’s poignantly funny play about two teenagers trying to find their way in an unforgiving and uncertain world is a real treat. The arrival of Yasmin, who would rather live with her Nan in this small Valleys town than with her parents in Cardiff (not far geographically, but worlds apart for the older generation), has dramatic consequences for Rhys, an aspiring boxer.
Rhys’ mum has gone, but his father cannot stop living in the same routine, buying fish every Friday until the freezer is full, and communicating mostly through Post-It notes with his son. After sitting his A levels, Rhys gets a job in the big Aldi to earn some money while he trains and prepares for his big chance to impress a boxing trainer from Cardiff.
Yasmin, expelled from a private girls’ school in Cardiff, knows she has aced her exams and follows her Nan’s advice to get some volunteering on her CV for university admissions. She begins working in the care home and finds out that Rhys’s mum is one of the patients, and Rhys has never visited her. She also becomes fascinated with boxing, and begins to campaign for women to join the boxing gym, seeing a little too much of Rhys’s best mate Chris for his liking. Rhys sees all of this as a huge intrusion on his life, especially his one safe place of escape – the gym – and becomes increasingly suspicious and belligerent towards her.
Emma Kaler is beautifully nuanced as Yasmin, strong and sharp on the surface but always on the move, trying to find the way to escape her feelings and very funny as she quotes the mantras of Enzo Calzaghe as if he was a prophet. Phillip John Jones is wonderful as Rhys – sardonic and naïve at the same time, and keeping the audiences’ sympathy even when he is being a prat as his layered performance never leaves you in doubt that Rhys is holding something back and has no healthy release.
Director Julia Stubbs skilfully takes Lloyd’s smart script and interweaves the stories of the two damaged teenagers seamlessly, eventually explaining where all of the anger, defensiveness and fear is coming from as the narratives shadowbox with each other – both actors only talking directly to the audience until their accounts collide in a moving and cathartic encounter where they finally face their past and stalled futures. The characters are brilliantly authentic in their speech, attitudes and humour – before it got a bit dark, it was like being back home listening to my young cousins. The dialogue is insightful and touches on many social and mental health issues without being issue-led and the sense of place is evident even on Rachel Rooney’s minimalist set resembling a ropeless boxing ring. Warm and funny, with two excellent performances, Still Here is hugely enjoyable.
Live Theatre Newcastle – until Saturday 11th March
Reviewed by Sandra Little
4****
This one hour performance presented on a simple stage set by two women actors is a powerful piece of theatre! Lasagna is a play written by Catrina McHugh MBE and based on the true life experiences of women who have lost multiple children to the care system. It is co-created with women from Pause North East, a charity working with women who have had children taken into care. The accompanying pamphlet also gives special thanks to several social workers for their contribution for this piece of work.
The two characters in the play are Sally (Beth Crame ) and Jane ( Zoe Lambert). Sally is a mum who has had three children taken into care and Jane is a neighbour who develops a friendship with Sally during the first national lockdown. It transpires that the two women are from very different backgrounds but are still able to forge a very meaningful friendship with the help of lasagna and cake.
I felt that one of the most poignant parts of this play is the argument that develops between Sally and Jane. So many issues are raised in this argument and it lays bare difficulties facing both mothers and social workers when children are at risk. It also highlights the lack of support for vulnerable women and the cycle of failure from one generation to another. The anger and hurt felt by Sally, and to a certain extent Jane, was palpable throughout the play. It was a very emotional piece of theatre, especially when you know that the issues raised are based on fact and the experiences of real women, both social workers and mothers who have had children taken into care.
Open Clasp Theatre Company aim to, “Change the world one play at a time,” and in particular they hope to transform the lives of women and girls. With such powerful writing and very important subject matter we can only hope that the decision makers take note!
After the performances at Live Theatre Lasagna is playing in other parts of the country.
How does one translate a novel so heavily narrated and rich in language into a ballet? The key to this lies with David Nixon who has mastered the art of fictional story telling through dance in the form of The Great Gatsby. The production is breath-taking, and I mean that literally. My initial thoughts were that many scenes would be shrouded in glitz and excess due to a high razzamatazz feel of the popular film with Leonardo DiCaprio but what Northern Ballet have created is something far more meaningful: deeply moving, beautiful and elegant. The energetic glamorous numbers are there but the tone is classy, not overdone or crass. I loved it and didn’t expect to feel so filled with heart-felt emotion in several places. I would go further in saying that for me, F Scott Fitzgerald’s The Great Gatsby comes alive and communicates more meaning through the art form of dance (along with the music) as opposed to the fast-paced dialogue and over the top flamboyance that we often associate with it. Nixon’s version gives us the raw feelings of angst and yearning in a more reachable and visceral way as the choreography simply goes beyond words – you feel what the characters are feeling via the energy and frequency they emit. No words are needed.
The stage at The Grand Theatre was transformed into 1920s New York within various locations from a garage to bustling streets and lavish parties held by Gatsby. Despite being the host, Gatsby doesn’t really engage in the whole ‘partying’ activities; he’s only focused on one thing – a person – Daisy (Dominique Larose). Gatsby knew and fell in love with her years ago as a young soldier, but the war cut their love short and he never stopped thinking about her, ever. Unfortunately, all these years later, Daisy is in a toxic marriage with Tom Buchanan (Gavin McCaig), who is also having a torrid and abusive affair with Myrtle Wilson (Amber Lewis). Myrtle is also married to a long-suffering mechanic George (George Liang). Daisy’s cousin (Sean Bates) reunites Daisy and Gatsby and although we witness scenes from them of joy and serenity, their rekindled romance initiates a series of dramatic and tragic events.
Every performer, from Gatsby to the background characters are exquisite, pin-sharp – perfection. Liang exudes sheer frustration in his tortured portrayal of George Wilson – you know that he knows something is wrong and he’s being driven mad by it. The twists and turns of his body emanate such pain and longing and also radiating a lower vibrational frequency is Tom (George’s wife’s lover), who’s extremely aggressive and impatient. His body language is alarming at times as McCaig’s strong form moves so vigorously and precisely with each step and gesture. The young Gatsby and Daisy (Harris Beatie and Rachael Gillespie) melt hearts … Beatie alludes such passion and a sweet sadness that your own heart just breaks for him. And then, so cleverly and beautifully through magical synchronised choreography, Taylor as the older and mature Gatsby, becomes entwined in the young couple’s dance as his memories unfold when he looks out across the bay to where Daisy is. A green light in the skyline keeps flashing and rather like the recent green comet we have been experiencing here on earth in the last month or so, it could be a metaphor for being a harbinger of change. Gatsby has been locked in a mindset of endless longing, wanting and waiting as he looks out and reaches across to the mysterious illumination and appears trapped, so something has to give for him to resolve his issues. Indeed ‘change’ does come and if it wasn’t for the collective trauma and separation that the first world war caused perhaps all could have worked out well? But it’s never that simple and when humans don’t follow the sacred laws of love like Tom and Myrtle, discord is bound to ensue.
Every scene is outstanding, and my guest’s personal favourite was George and Myrtle’s provocative dance in the garage, mine is when Gatsby and Daisy (both the younger and older versions), connect and express their love for one another. You couldn’t have had more of a contrast from Gatsby and Daisy with regards to Myrtle and Tom – their dances being edgy and spiky (expertly done) and Daisy and Gatsby expressing a pure love bursting with passion but one that is in complete harmony – in balance and divine. Kudos must be shared with the wardrobe, technical, stage management, artistic staff, front of house staff and of course the phenomenal orchestra! The music was spectacular, and the timing of the dance and music together was just poetic! This remarkable ballet has everything – class, style, an engaging storyline and one that makes you feel and think – you couldn’t ask for more. Thank you!
Dare you spend Halloween in a haunted West End theatre?
Announcing the West End premiere of
DO YOU BELIEVE IN GHOSTS?
created by James Taylor and Julian Woolford directed by Julian Woolford
Adelphi Theatre Strand, London WC2R 0NS
Tuesday 31 October, 2023 at 7.30pm
Theatres are alive. They have a soul. And they all have supernatural stories to tell….
Every theatre has ghosts and sightings, spectral visions reported back stage by terrified actors, mysterious apparitions that walk the stage at night, coridors and stairwells that are avoided by staff who have experienced a sudden drop in temperature…
Do YOU believe in ghosts? And are YOU feeling brave?
The West End premiere of ‘Do You Believe in Ghosts?’ at London’s Adelphi Theatre on Halloween, October 31 (with more West End dates to be announced), has enough chills and shocks to convince even the most die hard sceptic!
Packed with stories of things that go bump in the night – or the day – and things that just don’t add up, ‘Do You Believe in Ghosts?’ is unlike any other ghost story you may have seen or experienced before in a theatre.
Producer James Taylor, who co-created ‘Do You Believe in Ghosts?’ with award-winning writer and director Julian Woolford, said: “Every theatre has at least one ghost – including the Adelphi. In ‘Do You Believe in Ghosts?’ we promise to raise the hairs on your arms and send chills down the back of your neck. . . Join us for a dark night… we dare you!”
‘Do You Believe in Ghosts?’ is part of a major West End season of 8 shows at the Adelphi produced by producers Entertainers, including the world premiere of The Makings of a Murderer on Tuesday 18 April, Sweet Caroline The Ultimate Tribute to Neil Diamond (Tuesday 6 June), Lost in Music (Tuesday 13 June), Fast Love – A Tribute to George Michael (Tuesday 20 June), 80s Live! (Tuesday 18 July), Legend – The Music of Bob Marley (Tuesday 19 September) and An Evening of Burlesque (Tuesday 10 October).
Entertainers (Producers) Entertainers have 20 years experience producing popular entertainment across the UK. Their new Canvey Island HQ, built since lockdown, houses all aspects of production from set building and maintenance to a recording studio and full-size rehearsal space and a fleet of 36 vehicles.
Entertainers stage more than 1,500 separate performances each year, selling over one million seats, with 25 lavish productions that include: ‘Lost in Music’, ‘Fastlove’, ‘The Magic of Motown’, ‘Cirque: The Greatest Show’, ‘Thank You for the Music’, ‘The Rocket Man’, ‘An Evening of Burlesque’, ‘Don’t Stop Believin’’, ‘80s Live!’, ‘90s Live!’, ‘Radio Gaga’, ‘Sweet Caroline’, and ‘Islands in the Stream’,
New shows ‘Do You Believe in Ghosts?’ and ‘The Makings of a Murderer’ mark a move away from music to scripted theatrical productions, and they will both make their West End debut at the Adelphi Theatre in 2023.
Julian Woolford (co-creator /director) Julian Woolford is an award-winning writer and director. His plays and musicals have been performed around the world. Among his works are ‘The Devil’s Advocate (Netherlands tour); ‘Liberace, Live From Heaven’, (Leicester Square Theatre, Edinburgh, New Zealand tour); ‘The Teddy Bear’s Picnic’ (National tour); ‘The Wind In The Willows’ (Sevenoaks Playhouse, Taunton Brewhouse); ‘The Railway Children’ (Sevenoaks Playhouse, Taunton Brewhouse and more than 50 productions worldwide). Julian provided the new book for Lionel Bart’s ‘Twang!!’(GSA and Union Theatre); ‘BlueBirds’ (Cochrane Theatre, Kenneth More Theatre and Above The Stag); ‘Beautiful Young Man’ (Pride Encore Benefit Season, New York);. His musical ‘Oh Carol!’ won the Covent Garden Festival Search for a New Musical and his first play ‘The Oedipus Complex’, premiered at Bristol New Vic.
He is the author of the book ‘How Musicals Work’ (Nick Hern Books), which is the standard text book for musical theatre creation and writing, and of Rodgers and Hammerstein’s ‘The Sound of Music’ (Routledge Fourth Wall) and is currently Head of Musical Theatre at GSA (University of Surrey). Previously he was Artistic Director of Sevenoaks Playhouse; Artistic Director of the Global Search for New Musicals at the International Festival of Musical Theatre Cardiff and Associate Director of the Queen’s Theatre Hornchurch.
His many directing credits in productions in the West End, any regional theatres, 7 national tours, and work in New York, Australia, Germany, Austria, Poland and the Lebanon. In 2015 he became the first person to direct a commercial musical in Egypt when he staged ‘The Sound of Music’ in Cairo.
James Taylor (co-creator/producer) James is a director of Essex-based producers Entertainers working alongside his father, Michael.
James began his career as the 16-year-old resident DJ at West Ham United Football Club’s functions and parties. He moved to the US to pursue a modelling and acting career, playing the inventor Nikola Tesla in an Off-Broadway production of ‘Tesla’, and appearing in the TV series ‘Being Mary Jane’, in which he played the boyfriend of the lead Gabrielle Union. Returning to Britain, James teamed up with his father to produce ‘Fastlove’, a tribute to the then recently deceased George Michael. It has since sold a million tickets, is touring to 25 countries and became the company’s first show to play the West End, at the Lyric Theatre.
Do You Believe in Ghosts? Tuesday, October 31 at 7.30pm
The Makings of a Murderer Tuesday 18 April A chilling, thrilling, night with Scottish Detective David Swindle.on what makes a serial killer tick, the warning signs and clues behind The Makings of a Murderer.
Sweet Caroline The Ultimate Tribute to Neil Diamond Tuesday 6 June The good times never seemed so good… introducing the ultimate tribute to Neil Diamond featuring Gary Ryan from TVs ‘Stars in Their Eyes’. This musical journey celebrates 50 years of a legend.
Lost in Music Tuesday 13 June We recreate the magical 70s taking you on a musical journey straight to the heart of Disco. Relive some of the greatest songs of all time from artists including Donna Summer, Gloria Gaynor, and Earth, Wind & Fire.
Fast Love A Tribute to George Michael Tuesday 20 June The world’s favourite George Michael celebration of one of the greatest musicians the world has seen.
80s Live! Tuesday 18 July Bring your jukebox money and get ready to Jitterbug as we spin you around and around for am 80s night to remember.
Legend – The Music of Bob Marley Tuesday 19 September The music of Bob Marley in an unforgettable evening celebrating this musical icon.
An Evening of Burlesque Tuesday 10 October The ultimate variety show, blending stylish cabaret, comedy, music, circus and burlesque to light up all your senses.
NEW CRUCIBLE AND PLAYHOUSE SHOWS AND TOURING PRODUCTIONS FOR 2023
ROGER MCGOUGH’S ACCLAIMED ADAPTATION OF MOLIÈRE’STHE HYPOCHONDRIAC TO BE STAGED IN THE CRUCIBLE THEATRE
CRUCIBLE FESTIVE MUSICAL THIS YEAR WILL BE A NEW PRODUCTION OF IRVING BERLIN’S
WHITE CHRISTMAS
THE INTIMATE AND FLEXIBLE TANYA MOISEIWITSCH PLAYHOUSE TO STAGE
TWO WORLD PREMIERES: ANNA HIBISCUS’ SONG AND WE COULD ALL BE PERFECT
2023
TANYA MOISEIWITSCH PLAYHOUSE
· Anna Hibiscus’ Song:Produced by resident company Utopia Theatre and Sheffield Theatres and staged in the intimate and flexible Playhouse. Thisnew play is adapted from the book by Atinuke and is directed and adapted by Utopia Theatre Founder, CEO and Artistic Director Mojisola Kareem-Elufowoju. Suitable for children aged 3+ and their families, this theatrical adaptation of the much-loved children’s book is told through music, dance, puppetry and traditional African storytelling.
Friday 7 – Saturday 15 July2023.
· We Could All Be Perfect: Commissioned, developed and produced by Sheffield Theatres, this debut play by Doncaster writer Hannah Morley is directed by Ruby Clarke. This new play is a furious and funny exploration of whether teenage girls will save the world and asks if they should have to.
Saturday 23 September – Saturday 14 October 2023 (Press performance: Wednesday 27 September 2023 at 7pm).
CRUCIBLE THEATRE
· The Hypochondriac: Produced by Sheffield Theatres and staged in the Crucible by director Sarah Tipple. Roger McGough’s celebrated adaptationof Molière’switty satire proves that laughter really is the best form of medicine.
Saturday 30 September – Saturday 21 October 2023 (Press performance: Thursday 5 October 2023 at 7pm).
· Irving Berlin’s White Christmas: A new production by Sheffield Theatres, staged on the iconic Crucible stage and directed by Paul Foster (Talent, Kiss Me Kate, Annie Get Your Gun). This classic feel-good musical for all the family features the songs Blue Skies, Sisters and the festive favourite White Christmas.
Saturday 9 December 2023 – Saturday 13 January 2024(Press performance: Thursday 14 December 2023 at 7pm).
“We look forward to a new season of shows that showcase what our theatres do best: offer audiences thrilling experiences with new and reimagined work on all our stages.
We begin with a co-production with our long-standing partners Utopia Theatre, in their new play Anna Hibiscus’ Song. Directed by Mojisola Kareem-Elofuwoju, this magical tale based on Atinuke’s book combines music, dance, puppetry and traditional African storytelling to delight young audiences.
Later in the year, we present Molière’s hilarious satire The Hypochondriac in the Crucible, with Sarah Tipple directing Roger McGough’s playful adaptation. Over in the Playhouse, Hannah Morley’s debut play We Could All Be Perfect, directed by Ruby Clarke, celebrates the power, experiences and potential of teenage girls throughout history.
To round off the year we bring the festive classic White Christmas to the Crucible stage this December. Directed by Paul Foster, it’s a musical that will delight all ages.”
Tom Bird, Chief Executive of Sheffield Theatres, said:
“It is an exciting time at Sheffield Theatres, having just transferred Standing at the Sky’s Edge to the National Theatre in London to great acclaim (including a phenomenal eight Olivier Award nominations),and we look forward to the opening of our production of Accidental Death of an Anarchist, which started life in our intimate Tanya Moiseiwitsch Playhouse, at the Lyric Hammersmith later this month. Here in Sheffield, we are producing hot new writing with Wildfire Road running now in the Playhouse, before the new season in the Crucible begins with The Good Person of Szechwan: our co-production with ETT and the Lyric Hammersmith. We also welcome an old friend back to the city with Life of Pi opening its UK and Ireland tour at the Lyceum Theatre this August, following its Broadway debut this spring.
All this, plus an exciting summer ahead with our newly reimagined production of Miss Saigon, which we are delighted to be extending by a week due to extraordinary demand, followed by the autumn and winter season of brand-new shows announced today. I’m thrilled to join these daring and beautiful theatres as we look ahead to an exceptional year!”
These new shows join other productions previously announced for 2023. In the Playhouse Wildfire Road is produced by Sheffield Theatres. Thisnew play by Eve Leigh and directed by Laura Keefe is an environmental thriller about a highjacked plane and a disparate group of passengers who try to make sense of their situation as the world burns below. Until Saturday 18 March 2023.
In the Crucible, a new production marking the 80th anniversary of Bertolt Brecht’s popular play The Good Person of Szechwan, is commissioned by ETT and co-produced by Sheffield Theatres, ETT and Lyric Hammersmith Theatre. This new version by writer Nina Segal is directed by Sheffield Theatres AssociateArtisticDirectorAnthony Lau (Anna Karenina).Saturday 11 March – Saturday 1 April 2023.
Also in the Crucible Theatre this summer is a new production of Miss Saigon which will mark the first regional non-replica production of Boublil and Schönberg’s hit musical retelling of Madame Butterfly set during the Vietnam war. Miss Saigon will be reimagined by Sheffield Theatres’ Artistic Director Robert Hastie and Associate Artistic Director Anthony Lau as co-directors, with design by Ben Stones and lighting design by Jessica Hung Han Yun. Joanna Ampil, who has previously played Kim in the London, Sydney, UK touring and 10th anniversary productions of Miss Saigon, is cast as The Engineer. Further casting and creative team to be announced. An extra week has been added to the run, now playing from Saturday 8 July 2023 – Saturday 19 August 2023.
Sheffield’s Lyceum Theatre continues to host some of the UK’s best touring plays, musicals and dance. In December, Sheffield Theatres and Evolution Pantomimes will stage the family pantomime Beauty and the Beast. Panto legend Damian Williams returns for his 16th year.Friday 8 December 2023 – Sunday 7 January 2024.
Beyond Sheffield, the Olivier Award nominated new musical which started life at the Crucible Theatre, Standing at the Sky’s Edge, continues at the National Theatre until Saturday 25 March 2023, written by Chris Bush with the music of Richard Hawley and directed by Robert Hastie, nationaltheatre.org.uk. Also in London, the Playhouse Theatre’s acclaimed comedy Accidental Death of an Anarchist by Dario Fo in a new version by comedian and writer Tom Basden runs at the Lyric Hammersmith from Monday 13 March – Saturday 8 April 2023, lyric.co.uk.
In addition to these Sheffield Theatres productions, a number of touring shows will visit the Crucible this year:
James Seabright presents Buffy Revamped on Thursday 1 June. Seventy minutes. Seven seasons. One Spike. All 144 episodes of cult 90s TV show Buffy the Vampire Slayer retold by the one person who knows it inside out: Spike. Funny, satirical and bursting with 90s pop-culture references, it’s the perfect parody for Buffy aficionados and those who never enrolled at Sunnydale High alike.
Bridget Christie is hot, but not in a good way. The 51-year-old critically-acclaimed stand-up leaks blood, sweats, and wonders why there are so many films, made by men, about young women discovering their sexuality, but none about middle-aged women forgetting theirs. It’s a menopause laugh-a-minute, Bridget Christie: Who Am I? plays on Thursday 2 November.
Join Danny Robins for the biggest ever investigation into the paranormal with Uncanny: I Know What I Saw on Friday 3 November. Is the impossible, possible? Become immersed in the sights, sounds and scares of brand new, real-life stories of the supernatural and share your own stories – if you dare.
The Lyceum will also host a number of touring productions, both new and returning:
Direct from London’s West End, Showstopper! The Musical returns from Friday 9 – Saturday 10 June. A brand new musical comedy is created from scratch at each performance of this award-winning show, as audience suggestions are transformed on the spot into all-singing, all dancing productions with hilarious results. So whether you fancy Hamilton in a hospital or Sondheim in the Sahara, you suggest it and The Showstoppers will sing it!
Matthew Bourne’s Romeo and Juliet gives Shakespeare’s timeless story of forbidden love a scintillating injection of raw passion and youthful vitality. Confined against their will by a society that seeks to divide, two young lovers must follow their hearts as they risk everything to be together. A masterful re-telling of an ageless tale, running from Tuesday 3 – Saturday 7 October.
The award-winning, smash-hit musical The Bodyguard is back from Tuesday 10 – Saturday 14 October! Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge – what they don’t expect is to fall in love.
The smash-hit production of Annie returns to Sheffield from Tuesday 17 – Saturday 21 October, direct from London’s West End. This ‘glorious revival’ (The Times) stars Strictly Come Dancing judge Craig Revel Horwood* as the tyrannical Miss Hannigan! Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery at Miss Hannigan’s orphanage. Her luck soon changes but spiteful Miss Hannigan has other ideas…
On Saturday 28 October, meet Andy and the Odd Socks. “We jam, we write, we rock… we’re the Odd Socks!” Andy Day, one of the most recognisable faces of CBeebies, leads his sock’n’roll band with fantastic, catchy songs and a true celebration of individuality. Appealing to kids and adults alike, join in with singalong songs that kids adore, with a dash of Mighty Boosh or Flight of the Conchords oddball humour that parents love.
Treason the Musical is the exciting new musical drama about the gunpowder plot, running from Tuesday 31 October – Saturday 4 November. Set to completely blow you away with a stunning new score and lyrics, the production features a fusion of original folk and pop songs that tell a crucial tale in England’s history.
Agatha Christie’s And Then There Were None comes to the Lyceum from Tuesday 7 – Saturday 11 November. Ten strangers are lured to a solitary mansion off the coast of Devon. When a storm cuts them off from the mainland, the true reason for their presence on the island becomes horribly clear. Directed by Lucy Bailey (Witness for the Prosecution, Love from a Stranger), this brand-new production of the bestselling crime novel of all time will keep you on the edge of your seat…
STOS theatre company present Barnum from Tuesday 14 – Saturday 18 November. This joyful and moving musical portrait of the 19th century’s greatest show-biz legend – Barnum. With music by Cy Coleman, lyrics by Michael Stewart and book by Mark Bramble, this amateur production is presented by arrangement with Concord Theatricals Ltd. on behalf of Tams-Witmark LLC.
Celebrating 40 years on the road in 2023, Dillie, Liza and Adèle, Britain’s raciest and sassiest musical cabaret trio, are bringing their brand-new Fascinating Aïda show to Sheffield on Wednesday 22 November. Uniquely charming, with diamond-sharp satire, filthy, hilarious, belligerent, political, poignant and outrageous, this indomitable trio are still the mistresses of their craft.
Freckle Productions present the touching, funny and utterly original adaptation of Julia Donaldson and Axel Scheffler’s delightful Stick Man, from Thursday 23 – Saturday 25 November. What starts off as a morning jog becomes quite the misadventure for Stick Man. How will he ever get back to the family tree? This award-winning production, from the team behind Zog and Zog and the Flying Doctors, features a trio of top actors and is packed full of puppetry, songs, live music and funky moves.
Noises Off, one of the greatest British comedies ever written, visits the Lyceum from Tuesday 28 November – Saturday 2 December, direct from a triumphant West End season. Michael Frayn’s celebrated play serves up a riotous double bill, a play within a play. Hurtling along at breakneck speed, Noises Off follows the on and off stage antics of a touring theatre company as they stumble their way through the fictional farce, Nothing On.
He’s back and as fabulous as ever – Jamie’s in the spotlight in Sheffield with the return of the much-loved hitmusical Everybody’s Talking About Jamie, running from Tuesday 9 – Saturday 20 April 2024. Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation. Funny, fabulous and feel good, this is the musical for all the family and not to be missed!
Over in the Playhouse, touring productions include:
HeLa cervical cancer cells, stained with Coomassie blue, under microscope.
Actors Touring Company and Belgrade Theatre Coventry, in association with Brixton House present Family Tree, playing on Tuesday 23 and Wednesday 24 May. A beautifully poetic drama about race, health, the environment, and the incredible legacy of one of the most influential Black women of modern times, this award-winning play by Mojisola Adebayo is both a remembrance and a celebration.
Co-produced by Sheffield Theatres and Cambridge Junction, Sheffield’s Forced Entertainment presents If All Else Fails from Thursday 25 – Friday 26 May. A comical and complex two -hander featuring Cathy Naden and guest artist Seke Chimutengwende, two powerful forces in the contemporary theatre scene.
Beth is confident, clever and wants to become the world’s best leader. But people keep calling her bossy… Multi-award winning Zoo Co presents brand new show: Bossy, on Saturday 27 May. Celebrating Black culture and featuring a kick-ass Caribbean soundtrack, the show is performed in BSL and English and will leave you feeling pumped up and powerful!
The Fossil Kids, written by Simon Marshall with Sheffield People’s Theatre Young Company plays on Saturday 3 June. Four siblings raised by their Grandfather suddenly find themselves in charge of his legacy. No family’s perfect, but The Fossil Kids have history. A play about growing up, showing up and learning to be there for those who need you.
We Need New Names, a Fifth Word and New Perspectives co-production, runs from Monday 5 – Tuesday 6 June. Based on the novel by the first Black African woman and first Zimbabwean to be Booker Prize-shortlisted, this defiant coming-of-age story is full of exuberance, humour and humanity.
Middle Child present Modest from Friday 9 – Saturday 10 June. Rooted in music hall and inspired by drag king cabaret, Modest is a farcical play about Elizabeth Thompson, the artist who almost became the first woman elected to the Royal Academy in 1879. Written by Ellen Brammar with music by Rachel Barnes.
Godot Is A Woman plays on Tuesday 13 June. A whip-smart interrogation of gender, authorial copyright and the cultural significance of Madonna’s 1989 album, Like a Prayer. Silent Faces return with their trademark style of playful, political, physical theatre.
When her new community is rocked by tragedy, Liz rediscovers outdoor swimming and how it can keep both her and her new friends afloat. Filled with humour and heart, live music and projection, Swim is a tender tale based on a true story, playing on Saturday 24 June.
Celebrated poet and musician John Hegley brings his latest show Biscuit of Destiny to Sheffield on Thursday 20 July. Star of radio, T.V. and school assemblies, John returns with his Lustrum Award-winning show, which delves into the eccentric side of Romantic poet John Keats.
Watson: The Final Problem plays on Saturday 22 July. The year is 1894. Watson is alone. Sherlock Holmes and his beloved Mary are both gone. London seethes with false reports and rumour. It is time to set the record straight, so Watson tells his tale. Written by Bert Coules and Tim Marriott, and based on the stories by Sir Arthur Conan Doyle.
Alongside Sheffield Theatres’ own productions, dazzling tours and up-and-coming shows, you can develop creativity and learn more with a dynamic range of activities and events:
Teachers can take part in a wealth of education engagement opportunities. From young people working with industry professionals, to teachers joining the Sheffield Theatres Educators Party (STEP), Sheffield Theatres aims to support teachers in delivering the curriculum while developing creative opportunities for young people.
Sheffield Theatres’ SummerSchool takes place in August and offers expertise from theatre professionals for participants to try their hand at a number of creative skills.
For those looking to be involved in performance, Sheffield People’s Theatre (SPT) is Sheffield Theatres’ intergenerational company for anyone aged 12+ with a shared passion for being involved in great theatre, Launchpad is a group for adults aged 18 plus with learning disabilities and/or Autism, and the Young Company is for anyone aged 18–25 who is looking to develop a career in the creative industries. Following the success of 2021’s celebratory event Together in the City Festival, Together Too will take place from Friday 28 – Saturday 29 July, showcasing the incredible creativity of Sheffield’s community, within the theatres and across the city.
Tickets for new Sheffield Theatres productions: Anna Hibiscus’ Song, We Could All Be Perfect, The Hypochondriac and White Christmas,plus all new touring productions are on sale to Centre Stage Members at 10amSaturday 18 March 2023 and on general sale at 10am on Saturday 25 March 2023. Tickets for all other 2023 productions are on sale now.
Accessible performances are available on the majority of productions. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.
LES MISÉRABLES at the Sondheim Theatre announces today that booking is now extended until Saturday 2 March 2024.
LES MISÉRABLES currently stars Dean Chisnall as Jean Valjean, David Thaxton as Javert, Ava Brennan as Fantine Robert Tripolino as Marius, Nathania Ong as Éponine and Lulu-Mae Pears as Cosette, Gerard Carey as Thénardier, Josefina Gabrielle as Madame Thénardier and Jordan Shaw as Enjolras.
The company also includes Hazel Baldwin, Brad Barnley, Will Barratt, Cameron Burt, Natalie Chua, Matthew Dale, Matt Dempsey, Bryony Duncan, Louis Emmanuel, Sophie-May Feek, Melad Hamidi, Harry Jack, Christopher Jacobsen, Will Jennings, Benjamin Karran, Yazmin King, Bart Lambert, Sarah Lark, Adam Robert Lewis, Georgie Lovatt, Ellie Ann Lowe, Donald Craig Manuel, Jodie Nolan, Sam Peggs, Jo Stephenson, Phoebe Williams and Ollie Wray.
Cameron Mackintosh’s production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by James Powell and Laurence Connor, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, projections realised by Finn Ross & Fifty Nine Productions, musical staging by Geoffrey Garratt, and music supervision by Stephen Brooker and Alfonso Casado Trigo.
