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Storyhouse Chester – until 15th April 2023

Reviewed by Jennifer Daley

5*****

I love Jane Austen’s work. I love the history, the costumes, the language and the literary masterpieces. I love the TV and cinema adaptations and their accuracy. I had no idea what this  ‘sort of’ was all about. But did I love seeing Austen’s literary classic characters swigging Moët  straight from the bottle, face planting a tin of quality streets, vomiting into a vase and enunciating  some of the most wonderfully, colourful  expletive language ever? Yes I did! So much so I’ve booked to see it again. 

A small set of five powerful  female actors  play every  character in this dynamite performance. Stunning  set changes and outstanding choreography support  the sorcery like changes on stage. 

Instantly the audience are  engaged  and drawn into the  performance of the actresses  playing  the roles of servants, cleverly setting the scene and later telling us to all go and get a gin and tonic in the interval. 

Soon after, the characters launch into the themes of love, marriage, class and prejudice and despite  this very different version of the classic, the themes and plot remain unbelievably faithful to Austen. The proposal scene between Elizabeth and Mr Darcey was powerfully emotive and phenomenally acted. If you had never read this novel before, you would still come away knowing the story. To achieve that in such a compact way, with such few actors is simply staggering. 

 The musical accompaniment of Lady in Red and You’re So Vain amongst others,  were  superbly well received . Every song chosen to accompany scenes was a comedy genius moment and at times, I have to be honest, I couldn’t breathe for laughing. The horse scene was a particular favourite, I shan’t offer any spoilers but be prepared to be completely and utterly indulged and entertained. 

Evoking echoes of Catherine Tate, Barry Island’s Nessa and the musical smash Six …. This raucous version of very English novel was simply superb . The most hilarious on stage performance I’ve ever seen . Never before have I bought tickets for the same show 2 days later. It really was that good !   Isobel McArthur, you are a genius and I think Jane Austen would thoroughly approve! 

CHRISTINA BIANCO BRINGS HER ONE-WOMAN SHOW IN DIVINE COMPANY

TO THE MENIER CHOCOLATE FACTORY FOR 11 PERFORMANCES ONLY

The Menier Chocolate Factory today announces that Christina Bianco returns to the Menier Chocolate Factory stage with her acclaimed one-woman show In Divine Company for eleven performances only from 11 to 20 May. Priority booking opens today, with public booking opening on 18 April.

Witness all your favourite divas on stage together, in the singular form of internationally acclaimed performer, Christina Bianco.

Inspired by the divine divas of our day, Bianco honours their talents as only she can – by channelling their voices through uncanny and hilarious impressions – while also illuminating the path that led her to find her own voice and brought her from New York City to London. 

From stage to screen, Bianco’s singular voice and comedic charm have brought audiences around the world to their feet. Part Barbra Streisand, part Bette Midler, part Tracey Ullman, her award-winning concerts are filled with soaring vocals and celebrity impressions that the whole family can enjoy. With music spanning a wide range of styles and eras, Bianco and music director Ryan MacKenzie will present dynamic arrangements of classic standards, show-tunes, and beloved pop songs. Don’t miss the chance to be In Divine Company, with Christina Bianco!

Christina Bianco made her West End debut starring in the Menier Chocolate Factory’s production of Forbidden Broadway at the Vaudeville Theatre.

Bianco’s New York credits include Forbidden Broadway (Drama Desk Award nomination) the one-woman, multi-character comedy Application Pending (Drama Desk Award nomination), The Marvellous Wonderettes, It Must Be Him and Newsical the Musical. Other credits include Hello Dolly (Indianapolis Symphony), Rent (Weston Playhouse), Beehive (Riverside Theatre) and Joseph and The Amazing Technicolor Dreamcoat (Theatre Royal Drury Lane) and Fanny Brice in Funny Girl (Theatre Marigny – Paris, Winner Trophees De Le Comedie Musicale). Most recently, she played LV in the 30th Anniversary UK tour of The Rise and Fall Of Little Voice and Glinda in The Wizard Of Oz at Curve Leicester.

Television credits include ITV’s The Imitation Game, POP TV’s sitcom Impress Me, Hallmark’s Signed, Sealed, Delivered, and frequent voice work for RuPaul’s Drag Race.

Bianco captured international acclaim as a YouTube sensation with her ‘diva’ impression videos, gainingover 25 million views. She has performed on television programs such as The Ellen DeGeneres Show, The Today Show, The Paul O’Grady Show, Steph’s Packed Lunch, and This Morning.

She has performed her critically acclaimed concerts to sold out crowds across the USA and the UK. She’s also performed her solo shows in Switzerland, Spain, South Africa and Australia, including at The Sydney Opera House. She frequently tours with major US and Canadian symphonies and performs her solo symphony show under the direction of renowned Maestro Jack Everly. Her debut live album, Life Of The Party, is available on iTunes and other major streaming platforms.

LISTINGS INFORMATION

MENIER CHOCOLATE FACTORY

53 Southwark Street, London, SE1 1RU

PERFORMANCE SCHEDULE:

Thursday 11 May             7:30pm

Friday 12 May                   7:30pm

Saturday 13 May              3pm/7:30pm

Sunday 14 May                 3pm

Tuesday 16 May               7:30pm

Wednesday 17 May         7:30pm

Thursday 18 May             7:30pm

Friday 19 May                   7:30pm

Saturday 20 May              3pm/7:30pm

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                             www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

Please note at this time the restaurant is unable to open due to circumstances beyond the company’s control.

www.menierchocolatefactory.com

Twitter: @MenChocFactory

Instagram: @menierchocolatefactory

Festival Theatre, Malvern – until 15th April 2023

Reviewed by Courie Amado Juneau

4.5*****

Mrs Warren’s Profession by George Bernard Shaw tells the story, principally, of a daughter battling to come to terms with the discovery that her mother has earned her living (and funded said daughter’s education) from the world’s oldest profession.

Vivie, a thoroughly modern young women, ploughs her own furrow being eminently practical and focused on her career! Rose Quentin plays our heroin with a believable air of realism through her commanding presence combined with a charm and wit which shows she has an impressive acting range and likable stage persona. She was a revelation in this demanding lead role.

Caroline Quentin is wonderful as the Mrs Warren of the title. She can emotionally pivot on a sixpence, from sense to insensibility. I loved her changes of accent to accentuate the more earthy practicality and justification of her life choices. A magnificent performance, as you would expect, considering her considerable body of exceptional work.

Naturally, this real life mother and daughter duo had an easy chemistry together and their two extended duets (at the end of each act) were particularly spellbinding.

The male ensemble were superb too. In order of appearance, Praed was amusing and a nice foil to the other men around him, played by Stephen Rahman-Hughes with an infectiously naive air and sunny disposition. Sir George Crofts, the hard nosed business man of the piece, was wrought with grit, steel and determination by Simon Shepherd. Our romantic lead Frank Gardner, was given all the contradiction of youth by Peter Losasso in a charmingly nuanced performance with hilarious timing – especially that shocked first kiss! And lastly, certainly not least, was Matthew Cottle playing Reverend Sam Gardner; the socially conscious clergyman with an embarrassingly colourful past. Another actor whose work I have enjoyed over the years, it was a thrill to see Mr Cottle in action, close up.

Credit must go to Director Anthony Banks for a perfectly paced production which whizzed by rapidly, the actors never dropping a beat. The set was employed to wonderful effect with a magnificently off kilter church conveying a sense of claustrophobia and inhibition and Vivie’s house seemed to be a metaphor for her small world straining at the seams with each new visitor’s revelations. The scene where the company took tea in the house was comedy gold. The transition between locations was also worthy of special mention, especially the one from Church to office being particularly epic.

The second act was even more amusing than the first, finishing on a high (dramatically speaking). It was full of revelation and emotion unleashed and, fittingly, all the actors final scenes were their best.

Shaw’s play is very much of its time and in many ways well ahead of it, still seeming surprisingly modern (given that it was first performed in 1902). A thoroughly enjoyable and thought provoking romp through the social mores which question attitudes we still struggle with. Above all though it’s highly entertaining and enormous fun, with an exceptional cast of fine actors! Another unmissable production at the wonderful Malvern Theatres.

Mayflower Theatre, Southampton – until 15 April 2023

Reviewed by Alexandra Browning

4****

Titanic the Musical starts quietly in the riff raff of the audience arriving with the Titanic’s designer Thomas Andrews (Ian McLarnon) finalising the blueprints and plans for the feat defying ship. The show starts subtly with the introduction to the Titanic, the crew and the captain. Following the introductions, the passengers of the Titanic were greeted to come onboard, starting from First Class passengers, Second Class and ending with Third Class Passengers. Once the ship was fully loaded and the final inspections checked the whole cast sang the wonderful “Godspeed Titanic”. “Godspeed Titanic” immediately sets the scene for the immensely talented cast, featuring a magnitude of talented voices and beautiful harmonies.

The show included a fantastic array of costumes including a creative use of the main cast to ensure scenes featuring: First, Second- and Third-class passengers were jam packed, over multiple points in the show it is near impossible to comprehend the speed of the costume changes and character changes the cast make. The stage features a simplistic yet obvious nod towards the bow of the Titanic and with some careful choreography involving moving scenery make you feel like you are onlooking the bow of the ship itself. This simplistic stage design finds a clever way to emulate each section of the boat from the busy engine rooms to the luxurious private dining suite.

Two stand out performers are hidden amongst the cast as Charles Clarke (Mathew McDonald) performs impressive male vocals in the song ‘We’ll Meet Tomorrow” showcasing a wide range of emotions and vocal range, in an emotional tribute to his bride-to-be. Kate McGowan (Lucie-Mae Summer) performs “Lady’s Maid” with clear lead vocals with an operatic talent.

The most tear-jerking scene of them all was between Ida Straus (Played by Valda Aviks) and Isidor Straus (Played by David Delve) in the musical number “Still” of the second act. The song highlights Ida as the last remaining female passenger in first class sharing in a romantic and tender last night together before their demise onboard The Titanic. The couple shared a romantic ballroom dance and a last drink of champagne together provided by the butler. The couple tenderly adorned their prized positions before dancing their last dance together.

Overall, I would give this performance four stars for its story and performance, although the show has to end on a sad note due to the nature of events the cast manage to pull together for one final performance of “Godspeed Titanic Reprise” for the curtain call. This performance will pull on the heartstrings but is definitely one to watch.

IMAGINE THEATRE WINS THREE

UK PANTOMIME ASSOCIATION AWARDS

Best pantomime (over 900 seats) & Best Set Design – Mark Walters/Nina Dunn/ Matt Brown

Beauty and the Beast, Swansea Grand

Best Newcomer to Pantomime

Vernon Kay -Cinderella, Wycombe Swan

Following 12 nominations pantomime producer Imagine Theatre are delighted to announce a win in three categories at the UK Pantomime Association’s annual pantomime awards last night.

Beauty and the Beast at Swansea Grand which last year broke box office records, won two awards including the coveted award for Best Pantomime (over 900 seats). 

Swansea Grand Theatre manager, Grant McFarlane commented;  “We couldn’t be more delighted, what a great night for Swansea Grand and Imagine Pantomimes! Audience feedback last year was exceptional, and it’s great to see that reflected in this award.  Panto is alive and well in Swansea and we look forward to seeing many more people return to visit us this year”

Kev Johns, Swansea’s favourite Dame who will return again this year said;  “We were up against some hefty competition and it’s wonderful for Swansea Grand to take home these wins!  Swansea is a real panto town, who love the tradition and this is a lovely acknowledgement for all of us and those who support us year on year” 

The pantomime also won Best Set Design for Mark Walters, Nina Dunn and Matt Brown. Their ground-breaking digital set combines state of the art technology with all the elements you’d expect to find in a traditional pantomime brought to life with LED animated scenes to create a magical and enchanting theatrical experience. 

Vernon Kay who made his debut in High Wycombe’s Cinderella this year was crowned Best Pantomime Newcomer said “I’m so delighted to have been recognised as best Newcomer to pantomime in the UK Pantomime association awards.  As a panto lover this is a real honour. Performing in Cinderella at High Wycombe was my stage debut. I had a fantastic time playing Dandini with a great bunch of people and I’m hugely proud to have won this award for my local venue and the team behind the show.  Perhaps I am, as I’ve always suspected, the true king of the Dad joke!’

With 18 pantomimes on sale across the UK for 2023 Sarah Boden Business and Marketing Director for Imagine Theatres said “We are over the moon to have won these three awards and are so proud of all of our winners and nominees and the teams working behind them to bring magic to the stage in panto every year.  Our congratulations go out to all of the winners who work tirelessly to ensure the tradition of pantomime continues to thrive”

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 Pantomime Awards 2023 were hosted Christopher Biggins London’s West End, on Tuesday 11 April.

To find out more about Imagine Theatre www.imaginetheatre.co.uk

PLAYWELL PRODUCTIONS & POSITIVE EAST LAUNCH POWERFUL EXHIBITION ON DIVERSE HIV EXPERIENCES ALONGSIDE

LIVE TO TELL: (A PROPOSAL FOR) THE MADONNA JUKEBOX MUSICAL

BY BRIAN MULLIN

CAMDEN PEOPLE’S THEATRE (UNTIL 15^TH APRIL)

PlayWell Productions and Brian Mullin officially launched the return of Brian’s Live To Tell: (A Proposal For) The Madonna Jukebox Musical to London alongside the exhibition “Expressing Ourselves” at Camden People’s Theatre with a special event on Wednesday 5th April.

Brian Mullin’s Live To Tell: (A Proposal For) The Madonna Jukebox Musical, which runs at the London venueuntil 15^th April, a “highly personal, impassioned stance on living with HIV” (Everything Theatre) that follows the quest of Brian, a Madonna superfan living with HIV, as he pitches himself to Madonna to create a musical based on her songs, whilst also facing what it means in his own life to survive with HIV.

Alongside the show, audiences can view “Expressing Ourselves” an exhibition in Camden People’s Theatre’s lobby curated by Brian from workshops he is currently co-leading with HIV charity Positive East. It features powerful, personal writing from a diverse range of men and women sharing often unheard experiences of life with HIV in their own words.

For the special event, performer and playwright Brian Mullin was joined by co-facilitator Mina Kakaiya from Positive East, Clinical Research Fellow at UCL’s Institute for Global Health Dr Shema Tariq and actor/HIV advocate Stephen Hart alongside participants in the exhibition who shared and discussed their experiences and writing.

Brian Mullin plays the self-inspired role of Brian with Dan de la Motte playing all other characters and Nadya Ginsburg (2 Broke Girls, RuPaul’s Drag Race) providing the voice of Madonna.

Alongside Mullin on the creative team are Deirdre McLaughlin as Director, Josh Anio Grigg as Digital & Sound Designer, Alex Thomas as Lighting Designer and Steph J Weller for PlayWell Productions as Producer.

Dr Shema Tariq said of the event, “Brian’s thought-provoking play captures the messy middle bit of living with HIV as a long-term condition.  The psychological toll, the side effects, and the difficulties of taking daily medication for the rest of your life are all examined unflinchingly. It is also a breath of fresh air to see the work of women and people of colour living with HIV be amplified in the accompanying exhibition.  When HIV has been represented in popular culture it has tended to focus on the experiences of white, cisgender gay men.  Whilst undoubtedly important, we must remember that over half the global population of people living with HIV are women.  Brian, Mina and the workshop participants’ commitment to diversifying the narratives of HIV should be applauded. Tremendously inspiring and moving.”

Mina Kakaiya, Peer Support Worker at Positive East: “I’ve been living with HIV for 20 years, and my work seeks to empower other people living with HIV and to challenge and overcome stigma. As a South Asian woman, there is a lack of visibility and experiences of people like me reflected in media about HIV. I’m thrilled that these workshops have attracted a good proportion of women, particularly African and Caribbean women. Combining my skills as a facilitator, coach and activist with Brian’s artistic ones, we’re proud to have created a safe space for participants to open up and unlock their hidden creative talents with a sense of playfulness and empathy. The room has been filled with laughs and some cathartic tears, but mostly a sense of pride as we shape writing that expresses a range of often unheard perspectives about living with HIV.”

George Hodson, 74, artist and long-term HIV warrior queen, who attended the launch of the production and exhibition said, “Brian’s engaging play shows us just how AIDS/HIV meds don’t just help our friends the T-cell gang, but can and do percolate and penetrate our brains causing all sorts of tangential psychological problems. Sadly like so much of life there are no free lunches in the world of meds. They can and do stir up a hornet’s nest of anger and fear for Brian, seeping into his very self-confidence and being, interfering with his relationships with himself and those who love him. He turns for support and clarity to his idol the blessed Madge for some kind of clarity and relief. His end speech brought me, a 40-year hardened old HIV/AIDS queen, to tears! He is a fierce and natural actor who totally throws himself into this play. Go see!”

Tickets for CPT are on sale at https://cptheatre.co.uk/whatson/Live-to-Tell-A-Proposal-for-the-Madonna-Jukebox-Musical

Aboard ‘Silver Sockeye’ on the Thames – until 29 October 2023

Reviewed by Alec Legge

4****

To Tower Quay right by Tower Bridge and next to the Tower of London, there to board the good ship ‘Silver Sockeye’ for the Terrible Thames Tour.

Seated on the open top deck with a panoramic view all around. Hosted by two actors playing the parts of a Teacher and very naughty and unruly Pupil on a day trip. We then left Tower Quay sailing under Tower Bridge and along the Thames to Lambeth Bridge where the boat turned and we sailed back to Execution Dock and thence back to Tower Quay.

On the outward leg the teacher gave a running commentary of the sights on the northern bank and the sights on the southern bank on the return leg This included most of the major London sights such as the Tower of London, St Paul’s Cathedral, Houses of Parliament etc. The South bank sights included Lambeth Palace, County Hall, Tate Modern, Globe Theatre

The dialogue was entertaining and funny with the pupil constantly interrupting with comedic acts and typically juvenile comments. They involved the audience, particularly the children, the banter being typical of the Horrible Histories with lots of references to gruesome deaths, torture and of course ‘poo’ and ‘sick’, urgh! All in all very funny but also interspersed with real facts and history.

The actors were very good and well rehearsed. There were sufficient speakers so every word was audible. There was plenty of movement by the actors up and down the aisle between the seats so that they could be involved with the audience.

A good performance which lasted about 45 minutes which children enjoyed and was also amusing to adults who would appreciate juvenile humour.

The only thing I would perhaps criticise would be that the actors were dressed in normal clothes and that some form of costume would have accentuated their performance.

As to cost, adults £25, Seniors £20, children £15, family at £60 and £70 are typical for London attractions.

If you like the Horrible Histories genre then this is one to visit.

Kings Theatre, Southsea – until Sunday 16th April 2023

Reviewed by Sally Lumley

5*****

Chitty Chitty Bang Bang the musical is based on the beloved 1968 film version of Ian Fleming’s novel, with wonderfully recognisable songs by the incredible Sherman Brothers.

The show tells the story of inventor Caractacus Potts (Paul Clements) and his children Jeremy (Cohen Bates) and Jemima (Jemima May Rees). Together they restore an old racing car to her former glory, with a little extra magic thrown in. When the children’s grandfather is kidnapped by the Baron of Vulgaria (John Bettesworth), they join forces with Truly Scrumptious (Georgia Deloise) and go on an adventure in Chitty to rescue him.

This is a community production by the Kings, with a cast comprised of local non-professional actors who deliver top class performances. The lead roles are in very capable hands with Clements and Deloise, impressively supported by the children who would be at home on a west end stage. Chris Ballard and Callum Tickner as Boris and Goran the Vulgarian spies provide the classic comedy double act leaving the audience in stitches. Daniel Vaughan is also fabulous as the iconic Child Catcher, thoroughly deserving the appreciative boos they received for their performance; my nine year old son was just the right amount of terrified.

The real star of the show though is Chitty herself of course, and she doesn’t disappoint. When she flies at the end of the first half it was a proper “wow” moment, with lights, sounds and staging combining to have the audience believe that a car was flying around the theatre. It really was “more than spectacular (to use the vernacular)”, and we could feel the magic of the car in that special moment.

The flyer promised a show that has something for everybody and judging by the standing ovation in Southsea last night the Kings Theatre delivered on that promise. This is a truly fantasmagorical show – drive, sail or fly down to the Kings for a ticket before they sell out.

Festival Theatre, Edinburgh – until 15th April 2023

 Reviewed by Rachel Farrier

5*****

Matthew Bourne’s Sleeping Beauty completes a trio of interpretations of Tchaikovsky ballets, which began with his groundbreaking all-male Swan Lake. This production may not push boundaries to the same extent, but its freshness and imaginative reshaping of the familiar story as a century-spanning gothic fairy tale, complete with vampires, Edwardian garden parties, and a modern nightclub, makes this Sleeping Beauty utterly captivating.

In this re-imagining, ‘Prince Charming’ is Lep the young gardener, who is already beloved of Aurora before she goes into a deep sleep, and who has to become part of the troupe of mischievous fairies (reminiscent of A Midsummer Night’s Dream) in order to rescue her from the clutches of the curse of Carabosse, the dark fairy. For me, Paris Fitzpatrick as Count Lilac – leader of the vampire-fairy band – was the stand out performance of the night. The routines in which he and Leo (Rory MacLeod) danced together were particularly enthralling. 

Cordelia Braithwaite perfectly interpreted Aurora, investing what could be a passive role with life and wit. She was especially good in the scenes where, blindfolded, she depicted the sleeping Aurora with beautiful, drowsy elegance.

Two particular scenes stood out for me: the first was early in the second half and saw most of the company on stage, as sleeping mortals in the enchanted forest, dressed in white and all blindfolded. The choreography was spectacular in itself, but the ability of the ensemble to manage it without the benefit of sight was breathtaking. 

The second stand out scene was in the gothic-styled nightclub where the flamenco-inspired ensemble routine was both playful and menacing, with the red and black clad dancers circling the bewitched Aurora who is under the spell of Caradoc, son of Carabosse (who is fulfilling his mother’s curse). Ben Brown played both Carabosse and Caradoc and was particularly magnificent in the latter role, whose sinister intentions towards Aurora (it is suggested) extend to a kind of sexual enslavement.

Another standout feature was Lez Brotherston’s set and costume designs, which created a series of unique worlds, from the fin de siecle elegance of the king’s court and gardens, to the moonlit wood outside the castle where the enchanted Aurora sleeps.

It isn’t all velvet and vamping, however. Bourne mixes the sweeping romance and gothic styling with humour, especially a delightful puppet of baby Aurora in the opening scenes, and some Chaplinesque clowning from Rory MacLeod as Leo, as he fights his way towards the castle and his true love.

This is a stunning and spellbinding production, regardless of whether you have had any experience of ballet before, and it rightly deserved the rapturous reception it received last night. 

Trafalgar Theatre Productions, the National Theatre, Barbara Whitman and Wessex Grove

Alan Cumming, Ilana Glazer, Jennifer Hudson, Mindy Kaling & Billy Porter

in association with the Barbican

Present

A STRANGE LOOP

ALAN CUMMING, ILANA GLAZER

JENNIFER HUDSON, MINDY KALING & BILLY PORTER

ANNOUNCED AS PRODUCERS FOR THE LONDON SEASON

THE PULITZER PRIZE AND 2022 TONY AWARD-WINNING MUSICAL

BARBICAN THEATRE

17 JUNE – 9 SEPTEMBER 2023

“A dazzling ride. No measure of praise could be too much”

New York Times

“Explosively imaginative. Dazzlingly one-of-a-kind. Broadway’s best new musical”

Washington Post

TICKETS ON SALE FROM STRANGELOOPMUSICAL.COM

Having co-produced A Strange Loop on Broadway, some of the most influential names in entertainment – Alan Cumming, Ilana Glazer, Jennifer Hudson, Mindy Kaling and Billy Porter – will reunite to produce the smash-hit musical in London when it opens at the Barbican Theatre for a one-time-only 12 week limited season from 17 June.

The five high profile artists were co-producers of the Pulitzer Prize and Tony Award-winning musical sensation which took New York by storm in 2022/23. Now, they are coming together again to create a truly unforgettable experience for London audiences this summer.

Theatre, television and film actor Alan Cumming said: “I saw A Strange Loop off Broadway and was blown away by its brilliance and innovation. In 2021, I was a named producer and I was honoured to be part of this big, Black, queer-ass, musical. A Strange Loop is a ground-breaking and necessary work of art that challenges and transforms the traditional Broadway musical form, and I am delighted to bring its powerful and important message to even more audiences in London.”

Comedian, director, writer and actress Ilana Glazer said: “I am thrilled to be producing A Strange Loop in London, a musical that celebrates the beauty and complexity of being human, regardless of our differences. It’s stunning. So honest, real and true.”

Actor and singer-songwriter Jennifer Hudson, who joined an illustrious group of just 18 artists to achieve EGOT status (Emmy, Grammy, Oscar and Tony Award wins) following A Strange Loop’s 2022 Tony Award win, said: “A Strange Loop is a masterpiece that deserves to be experienced by audiences everywhere. Michael R Jackson’s talent and dedication to his craft is truly inspiring, and I am honored to be a part of bringing this story to London”

Mindy Kaling, Emmy-nominated writer, producer, actor, and New York Times bestselling author said: “As a long-time fan of the show, I can confidently say that it is one of the most joyful funny, and relatable musicals I have ever seen. It is a breakthrough masterpiece that will leave you both laughing and crying. It’s an audacious, hilarious, profoundly moving, and wholly original approach to storytelling and I am honoured to be a part of bringing this transformative musical to even more audiences and can’t wait for everyone to experience it.”

Actor, singer, writer and director Billy Porter, the first gay Black man to win an Emmy Award, added: “To sit up there and see my life onstage, when everybody said that my story wasn’t valid – to see it so brave, so bold, so truthful, so complicated, so honest, and so unapologetic, was one of the most wonderful nights for me in the theatre. I am so happy to continue my association with this wonderful musical in London.”

Barbara Whitman, who originally brought these creative powerhouses together on Broadway said: “I am thrilled these incredibly talented and passionate individuals are coming together once again to bring A Strange Loop to London. Their continued commitment to the show is a testament to its enduring power and relevance. I am deeply honoured to have collaborated with such an extraordinary group of co-producers, and I have no doubt that their support will help make this London production an unforgettable success.”

Nominated for 11 Tony Awards and winner of every Best Musical award in New York, Michael R. Jackson’s critically acclaimed Pulitzer Prize-winning, blisteringly funny masterwork exposes the heart and soul of Usher – a young, gay, Black writer who hates his day job, so writes a musical about a young, gay, Black writer who’s writing a musical about a young, gay, Black writer…a strange loop. Usher grapples with desires, identity and instincts he both loves and loathes, all brought to life on stage by a hilarious, straight-talking ensemble.

A Strange Loop is only the 10th musical to win the Pulitzer Prize for Drama with the previous winner being Hamilton, with the committee citing the show as a “metafictional musical that tracks the creative process of an artist transforming issues of identity, race, and sexuality that once pushed him to the margins of the cultural mainstream into a meditation on universal human fears and insecurities”.

The New York critics heaped plaudits on this sensational production: The New York Times said the show was a “dazzling ride” and “no measure of praise could be too much”. The Wall Street Journal described the show as “hilarious, intimate and personal” adding that “A Strange Loop is extraordinary in just about every way. It represents theater at its most daring and unexpected”. And Variety summed it up, hailing A Strange Loop as “the most furiously entertaining show on Broadway”.

Michael R. Jackson is a playwright, composer, and lyricist who is a rising star in the world of contemporary writing and quickly gaining recognition as one of the most innovative voices in American theatre. Born and raised in Detroit, Michigan, Jackson moved to New York to attend NYU (New York University), where he began his career as a writer and performer. His writing is already drawing comparisons to other literary greats, and he is quickly becoming recognised as an inspiring and transformative writer in his own right. His next musical, White Girl in Danger, a co-production between the Vineyard and Second Stage, opens at New York’s Tony Kiser Theater on 10 April .

LISTINGS INFORMATION

BARBICAN THEATRE

Previews: From 17 June

Tickets: from £20

Performances: Monday – Saturday at 8pm, matinees on Thursday and Saturday at 2.30pm

Age guidance: 16+ (Contains explicit language, references to racism and scenes of an adult nature)

For access performances: please visit Strangeloopmusical.com

Running time: 1 hour 40 minutes with no interval

Website: Strangeloopmusical.com Trailer: A STRANGE LOOP is coming to London! – YouTube

Twitter: @StrangeLoopLDN

Instagram: @StrangeLoopLDN

Facebook: /StrangeLoopLDN