Richmond brings you Quality Street written by J M Barrie, the same author who wrote Peter Pan.
The play tells the story of Phoebe Throssel (Paula Lane) and her sister Susan Throssel (Louisa-May Parker) as young women, Phoebe being the chirpy, happy and excitable one along with her many curls giving her the name Miss Phoebe of the ringlets. She casts her eye on Captain Valentine Brown (Aron Julius) who plays a charming, dashing and enthusiastic young man. When she gets her wires crossed with a secret he wants to disclose to her, she believes he is going to show much courage and propose to her. With excitement arising between the two sisters and expectations at a high, Valentine Brown’s secret is not the one she seeks but instead he tells her he’s enlisted during the Napoleonic Wars and will be leaving for London in the morning. Now that he is gone, the sisters decide to set up a school that only leads to unruly children to teach as well as many headaches and much tiredness. When 10 years pass by and the army wins the Battle of Waterloo, with soldiers returning including her long ago love interest. However, during this time life has not been easy on her, and tiredness has set in, with her looks not quite what they use to be. When they see each other, Phoebe is upset by the way she looks and wonders where her youthfulness has gone. Distressed by what’s occurred she decides to awaken her old self and bring those ringlets back to life. Her alter ego being her niece instead. With a ball being thrown for the victory of Waterloo and many invites being thrown at her feet as well as every solider wanting to get close to her. Will she fool Captain Brown into thinking it’s all he wants or will things backfire and go too far, where so many wrongs can no longer make a right.
I found this production a romantic comedy which was easy and enjoyable to watch, it offered many laughs throughout. I love how they gave a modern twist to the Napoleonic era, especially a few scenes at the ball when Phoebe turned into a wild creature of dance, rushing back to the dance floor when her favourite song came on. Throw in some robot moves and you have yourself a very comedy based play. The costumes were bright and energetic with simple yet effective staging and the soundscapes were done incredibly well for this show.
A great show and evening out, definitely one to watch.
Sadler’s Wells and Wayne McGregor announce exciting new collaboration between Grace Wales Bonner and The National Youth Dance Company
image credit: Jack Thomson
Sadler’s Wells and NYDC Guest Artistic Director and Sadler’s Wells Associate Artist Wayne McGregor CBE today announce that The National Youth Dance Company (NYDC) are collaborating with renowned fashion designer Grace Wales Bonner for new work celebrating the company’s 10th anniversary.
Wales Bonner designs the costumes for McGregor’s Novacene, which receives its world premiere this week at The Lowry, Salford on Saturday 15 April. The National Youth Dance Company, which this year is made up of 34 young dancers from 19 towns and cities across the country, will then perform at Sadler’s Wells Theatre on Saturday 3 June followed by a UK tour. This year marks the 10th anniversary of the company and to celebrate Sadler’s Wells will host a series of birthday parties linked to the tour dates bringing young people together to celebrate and dance. Sadler’s Wells Learning & Engagement department will lead activity around the country, including 100 free school workshops and five regional commissions celebrating the success of the company.
McGregor has always been fascinated by the world of augmented humans, robots, hyperintelligence and how, more recently, AI has the capability to supplement and evolve our physical and mental experience.
Wayne McGregor CBE said,‘The brilliant scientist and inventor James Lovelock has written a very provocative book on this subject: Novacene. Our period of evolution today where cyborgs think 10,000 times quicker than we do and have the capability of programming themselves and their descendants in ways that will be beyond all human understanding. What is the future human? A Novacene CYBORG 2023.’
‘NYDC is delighted to be collaborating with Grace Wales Bonner and her team for Novacene – a new dance work that celebrates the dynamic and breathtakingly individual talents of the company. As Guest Artistic Director this year, I wanted these young artists to experience the full range of creative power that converges to create work. Grace’s imagination, style and contemporary vision speaks to us all and having her and the team work hands on with our young artists is nothing short of inspirational.
New voices, new dance, NYDC artists are leading the way to an evolving and inspirational fresh dance scene. The passion and optimism these dancers emit is infectious. If we ever need reminding why humans dance – you can feel it with them every day in the studio. It’s totally exhilarating. We are all extremely excited to see where these artists decide to take their own work and hope to be a continual part of that journey for them in whatever way we can nurture and support. New voices, new dance, NYDC artists are leading the way to an evolving and inspirational fresh dance scene.’
Grace Wales Bonner said, ‘I have always been inspired by the rich and expressive gestures of dance in designing silhouettes, so it has been a great pleasure to collaborate with NYDC and Wayne McGregor. I hope these custom Wales Bonner pieces allow the young artists to shine with their full individuality and energy.’
Grace Wales Bonner launched her established label Wales Bonner in 2014, the label is informed by broad cultural research and embraces a multiplicity of perspectives. Wales Bonner has received numerous awards including Emerging Menswear Designer at the British Fashion Awards (2015), the LVMH Young Designer Prize (2016), Winner of the British Fashion Council/ Vogue Designer Fashion Fund (2019), CFDA International Men’s Designer of the Year (2021) and Independent British Brand at the Fashion Awards (2022). Wales Bonner has collaborated with Dior and Adidas.
NYDC is the country’s flagship company for young dancers run by Sadler’s Wells. During the dancers’ time with NYDC, they are offered a unique insight into the dance profession, living and working closely together as a company, alongside NYDC staff and the artistic team. The year-long experience within the company provides members with the necessary skills and techniques to find career opportunities and raise aspirations, self-esteem and confidence.
Over the last 10 years NYDC has worked with over 7000 young people through workshops and projects across the country. 313 young people have joined the company, creating 10 full length dance productions by internationally renowned choreographers including Alesandra Seutin, Russell Maliphant, Botis Seva, Sharon Eyal, Damien Jalet, Michael Keegan Dolan, Sidi Larbi Cherkaoui, Akram Khan & Jasmin Vardimon.
Wayne McGregor CBE is a Sadler’s Wells Associate Artist
NYDC is jointly funded by Arts Council England from Lottery and Grant in Aid Resources, and the Department for Education
Barclays is the Associate Partner of National Youth Dance Company
Barclays is the headline sponsor of the 10th Anniversary Celebrations of NYDC
Theatre Royal Windsor – until Saturday 15th April 2023
Reviewed by Carly Burlinge
5*****
Windsor introduces Legally Blonde the Musical Jr, a movie which we all know and love based on the novel written by Amanda Brown. The show tells us about the life of Elle Woods (Anna Wold) and her boyfriend Warner (Carter Catterall). Warner is off to Harvard and decides that Elle is not serious enough for him, even though in her eyes she is seriously in love with him. This causing a breakup and a broken heart on her part. When Elle discovers what he means by serious, she hatches a plan to get back her man. This consisting of enrolling into Harvard and studying law beside him, maybe she can impress him with her big IQ. Although, as time passes, she discovers she’s not that bad at law and sees a career path before her, realising she doesn’t need Warner to be happy but instead finding Emmett (Benjamin Molalign) who notices and understands her full potential. Along her journey she meets Paulette (Shannon Jones) who offers her friendship, advice alongside makeup and hair producing a firm bond of friendship.
Anna Wold who plays Elle Woods, plays a strong role with much confidence and sharpness. She was a joy to watch and has an outstanding voice to match her acting skills.
Shannon Jones also offered an outstanding role for all to see, she presented great vocals on stage with much expression and was fascinating to watch.
I could continue to talk about the exceptional talent from all performers as they were all exquisite, they offered amazing enthusiasm and showed a high level of ability and skill, alongside their confidence which still blows me away, considering their age. I will certainly be looking out for their names in the future.
I also feel that Daisy the dog needs a mention as she managed to get the attention of the whole audience while she stood on her back legs with the response of aww.
The set was simple but affective, with lovely drawn backdrops emphasising the stage, giving further detail to each scene. As for costumes, so much pink, exactly how it’s meant to be.
I really enjoyed this production as they all looked so happy to be performing offering a lovely glow from all across the stage. Well done all, what a fabulous show.
FOURTH WALL LIVE is delighted to announce Tony Award winning Broadway sensation STEPHANIE J. BLOCK live at Cadogan Hall on Sunday 29 October 2023 at 2.30pm and 6.30pm. Tickets are on sale now at www.fwlive.com and www.cadoganhall.com
One of the most relevant and versatile voices in musical theatre, Stephanie J. Block will present a concert full of iconic moments from her career, filled with emotion, honesty and humour.
STEPHANIE J. BLOCK’s Broadway credits include Into The Woods, The Cher Show (Tony, Drama Desk, Outer Critics Circle Award winner), Falsettos (Tony, Drama Desk, Outer Critics Circle nominations), The Mystery of Edwin Drood (Tony, Drama Desk nominations), Anything Goes, 9 to 5: The Musical (Drama Desk nomination), The Pirate Queen, The Boy From Oz, Wicked. Off Broadway she has been seen in Brigadoon (Encores!); Little Miss Sunshine (Drama Desk nomination); By the Way, Meet Vera Stark (Drama Desk nomination). Her film and television credits include, “iMorcecai,” “Bluff City Law,” “Rise,” “Madam Secretary,” “Orange Is the New Black,” “Homeland,” “It Could Be Worse,” “Stephanie J. Block Live From Lincoln Center” for Great Performances on PBS. She currently co-hosts and co-produces “Stages Podcast” with Marylee Fairbanks.
Stephanie said today, “I am thrilled to finally be performing this concert in London. It’s been a long time in the making, and I can’t wait to share my favourite music with you all in a city I adore being in. The show will be an honest, candid and emotional ride. It will be as much about heart and humour as it will be about music.”
Stephanie will be joined by MD Ben Cohn. Ben is currently the music director for Once Upon A One More Time on Broadway. He recently music directed and conducted Sunset Boulevard at the Kennedy Center in Washington, DC. Since 2015, Ben has been the Music Director and Associate Supervisor for Dear Evan Hansen Broadway/Tour/London and music director on The Dear Evan Hansen movie. Ben also conducts currently at & Juliet. Ben was the pianist and assistant conductor for Wicked on Broadway.
FOURTH WALL LIVE is an entertainment company that produces events, concerts and on-stage shows. In January 2022 FWL presented Bonnie and Clyde The Musical In Concert for two nights to a sold-out audience at Theatre Royal Drury Lane, starring Broadway favourite Jeremy Jordan. The concert broke Drury Lane box office records selling out a two-night run in less than six minutes.
In recent months Fourth Wall Live has presented Audra McDonald at the London Palladium, Jeremy Jordan at Theatre Royal Drury Lane and most recently Ariana DeBose at the London Palladium. FWL regularly presents concerts featuring stars of the West End and Broadway including Keala Settle, Sierra Boggess, Matthew Morrison and Hannah Waddingham among others.
Fourth Wall Live is also a producer of the What’s On Stage Award winning Bonnie & Clyde The Musical which is currently running at the Garrick Theatre in London’s West End.
Bingley Arts Centre, a most welcoming and friendly venue filled with good Yorkshire cheer, was the perfect place to host the new Mikron Theatre Company play Twitchers, written by Poppy Hollman. I’d never been to the Bingley Arts centre before and never seen a Mikron production either and after last night’s experience, I am now an avid fan and champion of both!
Twitchers is a truly unique and engaging play, and I left Bingley with a head full of fascinating facts, lots of chuckles and an overwhelming feeling of joy! Joy because you just end up smiling throughout the performance and joy due to being part of our amazing earth, which Twitchers remind you of! If there’s one thing people will take away with them it’s not just that of being highly entertained but the message that nature is sacred, and we must start looking after it. That might sound like it’s a show that is ‘heavy’ and full of environmental issues but it’s the complete opposite – the production is light-hearted, very funny and very warm.
The cast: Eddie Ahrens, Hannah Baker, Harvey Badger and Rachel Hammond are all first-class actors, musicians and all-round multi-talented performers. Not only did they portray quirky people, but birds too and got it all spot-on! It’s hard to explain how one portrays a heron or a robin, but they just did it and brought the house down! I learnt so much and kudos must be given to the Mikron creative team, who along with Poppy, crafted and weaved the bird facts into the narrative through song, dance and amusing props. Did you know that the RSPB was created by women in a protest against the use of plumage in hat making? This and so much more information was seamlessly presented to the audience in a way whereby you didn’t even realise you were picking up facts but once heard, never forgotten.
There were things in the play that will stay with you, not only the jokes but the bigger message – the one that awakens your consciousness, especially towards looking after nature. The songs were chirpy (pardon the pun), cheerful and spoke to the heart just like our birds. Have you noticed they seem to be more abundant in number and louder in song this year – perhaps they’re trying to help us humans by waking us up? With Mikron’s play Twitchers, I think they’ll achieve this! In their 51st year of touring, Twitchers is an absolute gem of a play to celebrate with and achieves all that any feel-good production should aim for – fun, music and laughter. However, Twitchers also has a cherry on top of the cake too which is that if you’re not a bird lover already, then you will be by the end of the play or at least appreciate our beautiful, feathered friends more and want to protect them.
In the summer of 2022, the nation was gripped by the trial of Vardy vs Rooney, or as it became known, the Wagatha Christie Trial. It all started in 2019, when Coleen Rooney accused Rebekah Vardy of leaking private instagram posts to a tabloid newspaper. Vardy would go on to sue Rooney in a multi million pound spectacle that would inspire columns, podcasts, books, and TV dramatisations. However, Liv Hennessy was one of the first out of the starting gates with this verbatim stage adaptation of what went down inside the English High Court last year. The main dialogue is taken directly from court transcripts, and boy was there content to be had.
Like all good sporting fixtures and courtroom dramas, this is a game of two halves.
Each half is approximately 45 mins long (plus stoppage time), and there are football pundits and supporting characters brilliantly played by Nathan McMullen and Halema Hussain, commentating on the action and helping explain the legalese. When one of the sides wins an argument, hilarious football themed tableaus are formed on stage to the sound of a stadium of cheers, motionless whilst a detail is explained.
The first half puts Lucy May Barker as Vardy on the stand being interrogated by glossy barrister David Sherborne (Tom Turner). Lucy May Barker is fantastic in this role, all straight face and petulant innocence on the stand, but changing like the flick of switch to hilariously reenact incriminating (or are they?) WhatsApp messages and Insta posts. Then, the second half brings Laura Dos Santos’ much quieter and more sympathetic Rooney to the centre of proceedings, as Rooney is questioned by the tenacious Hugh Tomlinson QC (Jonnie Broadbent). We hear about evidence lost at sea, flooded £2 million basements, arguing with FA reps, and the 2016 Euros. If we weren’t told it was word for word, I think we would all have a hard time believing that this was real.
Although there is an appearance of the courtroom, Lisa Spirling’s production is all set against a background of football. Polly Sullivan’s set has the high court benches sat on a green pitch with white lines, and fake grass bordering the edges of the stage. Sullivan’s costuming is genius too, with near exact replicas of the outfits worn in court right down to the air boot and one Gucci mule Coleen Rooney wore due to her broken foot.
The high court trial of Vardy vs Rooney was gripping and a much needed tonic to the state of things in 2022, and Vardy v Rooney: The Wagatha Christie Trial is equally gripping and a much needed tonic to the state of things in 2023. There are thoughts to be had on the concept of privacy and celebrity, and what those things mean, but truthfully, the acting is tremendous, there are a lot of out loud laughs, and the whole production is terrifically entertaining. If you need a break from reality but also want a dose of “reality”, I can highly recommend Vardy v Rooney: The Wagatha Christie Trial.
Buffy Revamped, written and performed by Brendan Murphy, is a one-man celebration and parody of the popular 1990’s show Buffy the Vampire Slayer. Directed by Hamish MacDougall, and at only 70 minutes, this show covers all 7 seasons, the entire 144 episodes, as told through the eyes of Spike, the iconic vampire from the series.
Though Murphy is predominantly Spike, who I must admit was my favourite, he also plays all the top characters, Buffy, her Scooby gang and the forces of darkness, from the entire series through different means. His depictions of the characters are quite hilarious and encapsulate each personality perfectly. For Buffy there’s a wig and a dress, Angel is just a long black leather coat on a hanger, Xander a shirt and later an eye patch, just examples of the many, all accompanied by different voices, mannerisms, and actions. The contempt Spike showed for Angel through that medium is inspired and gloriously funny.
Flying through each season, Murphy enacts a quick re-enactment of pivotal moments. This resonated with a lot of the packed-out theatre, who couldn’t help but laugh at Murphy’s interpretations. There is some audience participation, if you want a chance to be involved make sure you sit in the front row. These interactions only added to the enjoyment.
For the climax we are treated to a twist on REM’s “It’s The End Of The World As We Know It”. A perfect finale, where we all sang along.
This show is so fast paced, it has to be to cover everything, and it does cover everything. Murphy handles it so efficiently, frantically racing though the content with such energetic abandonment. It is a fun and hilarious take on Buffy, though I must say to follow and really enjoy the show for all its worth, it helps to be a huge Buffy fan. Whilst I have watched a fair bit of Buffy, mostly during the Riley and then Spike eras, there is a lot I have not watched, as a result, some of the story telling went over my head. I must say this has ignited my thirst for Buffy and I just might have to hunt out the old series and watch it from scratch.
Buffy obviously has a huge pull, as the packed-out theatre showed, which is a glorious thing to see. Murphy is a great storyteller and wonderful to watch, full of gusto and enthusiasm, he is dedicated to the source material and to the performance. You could tell he has a lot of passion about Buffy and performing. A must see for any Buffy fan.
King Basilio has heard a prophecy that his infant son Segismundo will grow up to be a monster and tear the kingdom apart. So to prevent that, he locks the boy up in a lonely tower. When Segismundo is released years later, he has no idea how to behave, and kills someone on a whim. The king hastily locks him up again, but Segismundo is freed by rebels and leads a revolution. Thus the king has brought about the very things he wanted to prevent. But Segismundo has learnt wisdom through his ups and downs, and brings about a fair result for all. The message is that you can’t change destiny, but you can learn to handle your fate wisely.
That’s the bare bones of the story, and it’s not why this is considered one of the world’s greatest works of literature. The power of the play lies in the way it constantly throws big questions at you. What is consciousness? What is reality? Is each of us living in our own version of it? Is a dream a dream of dream? What is a good ruler? La Vida Es Sueño is the work of Pedro Calderón de la Barca, a playwright, soldier, priest and courtier in 17th century Spain. You could say that in this work he brings all his interests together. I’m embarrassed to confess I knew nothing about him, but he is evidently the Spanish equivalent of Shakespeare and the themes feel familiar from Shakespeare plays – the confusion of dreams and reality, use and abuse of power, concealed identities, fate. In a subplot, there’s a girl disguised as a boy, on a quest to find her faithless lover, and at one point the king calls out for a horse. The play is performed in Spanish. There are English surtitles, but non-Spanish speakers must be missing out on a lot of text, and also its poetry.
The focus is on the dreams and consciousness, inner-life themes of the play, rather than plot and subplot, which perhaps came across as extra clunky as a result. There is no scenery – the set is a row of doors, through which characters appear, sometimes in a random way as if in a dream. In the battle scene the doors are all thrown open to show smoky chaos. Sometimes the light is turned on the audience, so that we too are drawn into the question of what’s real or not.
That might sound very abstract, but it is full of life and action, with terrific, vigorous performances. Everyone is sharp and watchable. Alfredo Noval is a compelling Sigismundo, moving from desperate ‘monster’ in chains to soldier and statesman. Ernesto Arias is appealingly bumbling as the king, thinking he can control things but actually a helpless onlooker (is this all happening in his head?). Rebeca Matellán makes a bright, funny Rosaura (the girl-disguised-as-boy), who uses her implausible plotline to comic effect. She is accompanied by a wise-fool character, played by Goizalde Núñez, who reminded me of Victoria Wood and was somehow hilarious even if you couldn’t get all the jokes. The most touching moment in the play is when she too tries, and fails, to foil fate.
This is a joint production by Cheek by Jowl (artistic directors Declan Donnellan and Nick Ormerod) and Compañía Nacional de Teatro Clásico in Madrid (artistic director Lluís Homar).
Using the 1895 novel ‘The Time Machine’ by H.G.Wells as it’s inspiration this hilarious comedy had me belly laughing from start to finish.
Made up of a 4 strong cast including the talented Dave Hearn, Amy Revelle, Michael Dylan and Noah Marullo, we were transported into the world of ‘The Time Machine’ through an incredibly Brechtian and thrilling comedy.
There are so many incredible aspects of the show to comment on, to me the most impressive was the use of Brechtian techniques such as Placards, Audience Participation and Multi-role were the ultimate reason I fell in love with this comedy within the first act. I was especially impressed with the use of props and direct address to ensure the audience felt engaged and involved in the performance.
As well as asking the audience members questions related to the performance they also asked for volunteers to become members of the play and contribute to the performance. I was lucky enough (depending on your perspective) to be chosen to play the Morlock and interact with Dave Hearn in a short scene. I was invited from my seat onto the stage where I was directed backstage to put on a costume and wig, be handed my script and microphone before heading back on stage for the scene. This led to me leaving the theatre with the biggest smile with my best friend who had attended with me talking about how hilarious the show was and how it was the best night in a while.
Comedy isn’t usually the type of theatre that I go to see, my favourite type of theatre being musicals, but this show was everything I did not expect and more – it was the play that goes wrong meets H.G.Wells meets conspiracy theory play in a beautiful mash up together. I also didn’t know that I needed to see a Cher tribute performance in the middle of The Time Machine but I loved it.
I cannot put into enough words how fabulous this play was and how grateful I am to have had the opportunity to not only review but also participate in it.
Directed by Matthew Dunster @222AGhostStory #222AGhostStory
2.22 – A GHOST STORY ANNOUNCES THE SIXTH CAST FOR ITS RUN AT THE APOLLO THEATRE
SOPHIA BUSH WILL PLAY LAUREN; RICKY CHAMP WILL PLAY BEN; CLIFFORD SAMUEL WILL PLAY SAM AND JAIME WINSTONE WILL PLAY JENNY
THE CURRENT CAST AT THE LYRIC THEATRE WILL PERFORM UNTIL 23 APRIL 2023 WITH THE NEW CAST PERFORMING AT THE APOLLO THEATRE FROM 14 MAY – 17 SEPTEMBER 2023
Producer Runaway Entertainment is delighted to announce casting news for the fifth West End transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 – A Ghost Story, which will move from the Lyric to the Apollo, just next door! No other play has ever transferred in the West End this many times within a two year period. During its run at the Lyric it broke the record for box office weekly takings for a play 5 times! For the Apollo run US actress Sophia Bush (One Tree HIll, Good Sam) will play Lauren; Ricky Champ (Him & Her, Eastenders) will play Ben; Clifford Samuel (McMafia; Sex and Drugs and Rock and Roll) will play Dan and Jaime Winstone (Kidulthood, Donkey Punch) will play Jenny.
Sophia Bush (who will play Lauren) said: ‘I am elated to be joining this wonderful cast in 2:22 – A Ghost Story! For this revered production to be my West End debut is a dream come true for me. One that I can’t wait to share with live audiences in the UK. We’re deep in rehearsals now and there is just nothing like the energy and comradery of the theatre community. Diving into this rich material is a thrill; exploring these complex relationships, and what makes each of our characters tick. The clear vision from our creative team led by Danny, Matthew, and Gabe serves as a bright North Star. I’m honoured to be welcomed into this family with open arms as I bring my version of ‘Lauren’ to life.’
Ricky Champ (who will play Ben) said: ‘I’m really excited about starting on 2:22 and carrying the banner on this particular version in this amazing new theatre. I can’t wait to show everyone ‘Ben’, see you there!’
Clifford Samuel (who will play Sam) said: ‘I’m hugely excited to be joining the new 2.22 company. It’s a brilliant play, and I’m really pleased to be surrounded by these fantastic actors, director, and team!’
Jaime Winstone (who will play Jenny) said: ‘I’m so excited to be joining the cast of 2:22, we’ve got such a buzz in the rehearsal room. Excitement, nerves, fear, which is all perfect for this amazing play. I’ve been so excited to work with Matthew, he’s such a good, hands on director. I can’t wait to bring a new energy to Jenny, I’m just throwing myself in the deep end and I can’t wait for everyone to see us perform at the Apollo, to be in the West End and to bring Jenny to life.’
2:22 A Ghost Story has its world premiere at the Noel Coward in summer 2021 where It received three Olivier Nominations including Best New Play and Best Actress, and where it won the Best New Play category in the Whatsonstage.
The production began its life in the summer of 2021 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, Sam Swainsbury; the second Criterion Theatre cast which ended its run on 8 January this year was Tamsin Carroll as Lauren; Felix Scott as Sam, Matt Willis as Ben and Laura Whitmore as Jenny. 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 box office record breaking run at the Lyric features Cheryl as Jenny, Jake Wood as Ben, Scot Karim and Sam and Louise Ford as Lauren who will perform until 23 April.
2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and Uncanny 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.
Danny Robins said ‘I am thrilled with this 6th cast for 2:22 A Ghost Story. Each set of actors we’ve had brings their own distinctive talents to the production and so I can’t wait to see my spooky play continue its amazing West End life with this very talented group, and it’s so overwhelming to think that we’re breaking records along the way. Although we’re only moving next door, it’s quite the journey we are on, and we look forward to spooking a whole new set of audiences over the next few months. Who cares if it’s meant to be Spring – 2:22 will chill you to the bone!”
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 Co-Director is Gabriel Vega Weissman.
2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon.
