The Acting Gymnasium’s slick modern production of Othello looks at Shakespeare’s tragedy through the lens of PTSD and domestic violence. Adapted and directed by Gavin McAlinden, racial discrimination still simmers but this production is about damaged men and their inability to distinguish between love and control of “their” women.
The international cast work well as an ensemble on Esme Solomon’s stark stage and effectively convey the dry humour in many scenes. Catalin Panaite is wonderfully passionate as Brabantio, raging at the dishonour he perceives on hearing of Desdemona’s wedding. Krista Larsen plays Desdemona as a canny negotiator, practised in soothing the egos of men, and her growing confusion and despair as she realises Othello will never hear her is played beautifully. Having lived among soldiers returning from deployment, I was impressed with the choices made in this production. Aryan Chavda’s Othello is quietly powerful, showing his trauma subtly, while Lavan Jeyarupalingam shows Cassio’s PTSD clearly through his charming but mercurial temperament. Michael Claff steals the show as Iago – smoothly scheming and manipulating with silver-tongued ease and only showing his true brutal nature with those he thinks he owns and considers less than him – Roderigo (Wing-Ho Lin) and Emilia (Mia Black).
Portentous music is used sparingly and effectively and the production moves swiftly towards the tragic finale without losing the audience’s focus under Gavin McAlinden’s assured direction.
An impressive, thoughtful and entertaining adaptation of Shakespeare. Well worth a look.
Shellshocked is Philip Stokes’ new drama set after the Second World War but told to a 21st Century audience. Produced collaboratively by Richard Jordan, 412, Harrogate Theatre, Lawrence Batley Theatre, King Brilliant and Pleasance Theatre. It tells the story of Wesley (Jack Stokes), a young war veteran who has recently returned home, and Mr Lupine (Lee Bainbridge), an eccentric but troubled artist.
Wesley responds to an artistic apprentice with Mr Lupine and only to relive the horror and trauma of the war and how his shellshocked state of mind have an impact on himself and his surrounding environment. The impact unravels throughout and feeds into Mr Lupine’s delusional mind, Mr Lupine feels hurt, jealous and resentful because his health didn’t permit him to play an active part in the war and he feels he has missed out on the heroic and victorious experiences. Mr Lupine feels the exclusion has affected his artistic ability to authentically create and experiences feelings of emptiness. Wesley’s plight and heroism fuels further his jealously and manipulation with the young man’s vulnerability and obviously is unsympathetic to his trauma.
The play has its many unpredictable twists and turns, and nobody can exactly anticipate what happens next and its eventual outcomes that the characters face in the story. Dark driven themes and deep emotions run very deep throughout, and this builds up to an explosive crescendo where both characters reach their breaking points where there is no return.
The play explores the themes of post traumatic stress, wartime experiences, psychological disorders, vulnerability, loneliness and other similarities. It does remind one how much stigma there was to those attributes at that time, especially with men, and still this is experienced today worldwide.
Craig Lomas intimate staging is perfectly staged in the Playhouse’s Bramall Rock Void for its 2-man 70-minute play. Both Stokes and Bainbridge deliver excellent portrayals of both the troubled characters, Wesley and Mr Lupine respectively, living in a somewhat complex Post War World. Shellshocked offers plenty to evaluate and reflect on.
His Majesty’s Theatre, Aberdeen – until Saturday 8th February
Reviewed by Fiona Leyman
4****
Shakespeare’s tragic tale of Romeo and Juliet is well known to all of us. How, one could not survive without the other, and how their forbidden love led to their premature deaths. One of Shakespeare’s most well-known works, this tale of true love has stood the test of time. But Anne Hathaway, his wife, wasn’t quite in agreement with the conclusion of her husband’s newest play. Anne pleads with her husband William, to allow her to change the tragic story’s conclusion. Suppose Juliet survived?
Given that she was not Romeo’s first and only love interest, Juliet can survive without him. Together with her best friend May, Nurse Angelique, and a new friend named April (Hathaway decides to write herself into her ending), Juliet flees to France to avoid being sent to a convent.
& Juliet is a coming-of-age twist on this classic tale. A jukebox musical that showcases Swedish composer Max Martin’s most popular songs. You will want to jump up and join the party after listening to the Backstreet Boys, Britney Spears, Kelly Clarkson, and Katy Perry, among other fan favourites.
Having seen this production during its West End residency at the Shaftesbury Theatre in London, I was interested in whether a touring company could deliver the same effect as its predecessor. It’s safe to say that the outstanding production crew of this award-winning musical met the highest expectations. With its rustic architecture, graffitied walls, and colourful props, set designer Soutra Gilmore (Guys & Dolls, Evita) creates a sense of modern Paris and Verona.
Paloma Young, a Tony Award-winning costume designer, creates flawless outfits. Her work is brought to life by fusing traditional 17th-century styles and hues with contemporary ones. Every costume is specially made to make each figure easily identifiable.
The character of William Shakespeare is played by The Wanted singer Jay McGuinness, who adds charm and comedy to the part. His relationship with Anne Hathaway, his on-stage wife, was outstanding, and their personas truly complemented one another.
Lee Latchford-Evans, best known for being in pop group Steps, played Frenchman Lance, and his performance was surprisingly good. To be honest, I hadn’t anticipated much because he has never had a powerful voice. However, he surprised me with an emotive vocal performance during his piece, Shape of My Heart, with his onstage son Francois. I must also add, I was very impressed he managed to walk and dance in those heels!
The most notable performance of the day was Lara Denning’s (Sunset Boulevard and Everybody’s Talking About Jamie) portrayal of Anne Hathaway. Her vocals, particularly during her solo of Céline Dion’s song That’s The Way It Is, blew the roof off His Majesty’s Theatre. It is admirable how much range she has in that powerful voice of hers.
Unfortunately, not every vocalist was as strong as the others in the cast. As their love grew during the show, Jordan Broatch (42 Balloons, You’re a Good Man Charlie Brown) as May and Kyle Cox (Treason, Crazy for You) as Francois lacked passion in their portrayals. Compared to the other performers on stage, their solo performances fell short of expectations. However, it was nice to see representations of modern relationships depicted on the stage.
The audience is sure to enjoy &Juliet‘s amazing score, lively humour, and fun-loving characters. It was very hard not to compare the quality of the cast to that of its West End predecessors because we were truly spoilt with that cast. Despite this, the production was outstanding for a touring group, as was the calibre of some of its performers.
Making its world premiere at Sadler’s Wells Theatre on 9th November 1995, Matthew Bourne’s Swan Lake is celebrating 30 years of entertaining audiences worldwide. Based on Pyotr Ilyich Tchaikovsky’s 1877 ballet, this production is best known for having the female parts of the swan danced by men. Sir Matthew Bourne updated the original ballet’s narrative to focus on a young Prince (Stephen Murray) and his repressed sexuality and disillusionment with his privileged life.
In the first act, we meet the Prince who awakens from nightmares of swans and tries to get comfort from his cold and emotionally distant Mother, the Queen (Ashley Shaw) who rebuffs him and leaves him to be looked after by the maids in the palace. His life revolves around doing his Princely duties alongside the Queen. Clever use of ropes and other props were used to depict ribbon cutting and boat christening. The Prince meets the Girlfriend (Bryony Wood), a ditzy lady who infiltrates the royal family much to the Queen’s annoyance. Watching over the proceedings is the Private Secretary (James Lovell) who tries to control the behaviour of the Prince and the Girlfriend even if that involves paying people off.
After being caught in a drunken state by the paparazzi, the Prince goes to the park intent on ending his life. Instead, he encounters the Swan (Jackson Fisch) that haunts his dreams and after an initial distrust, they dance together and fall in love. The choreography throughout the show is breathtaking, but for me, Act 2 set in the city park stayed with me. The swans are all barefooted, bare-chested and often aggressively hissing. They manage to be sensual and powerful at the same time. As with other Bourne/New Adventure productions, Lez Brotherton’s set and costume design is outstanding. The dimly lit park and lake set the scene perfectly for the pas de deux between the Prince and the Swan, and the group dance between the Prince and the other swans which leads him to rethink his desire to end his life.
The Stranger (Jackson Fisch, in a dual role) is a dark and mysterious character who dominates the second half of the show. Both characters he plays in the show captivate the audience and I honestly couldn’t take my eyes off him. The chemistry between Jackson Fisch and Stephen Murray as the Swan and the Prince was electric throughout. The Prince’s descent into apparent madness before the devastating finale is emotional, and the prolonged standing ovation that followed was definitely deserved.
The show is told entirely through dance (albeit the occasional silently mouthed word from the Girlfriend), so it is left to the audience to decide if the Swan is all in the Prince’s imagination or actually there. This adds to the mystery of the production. Whether you are a seasoned fan of Ballet or a relative newcomer (like myself, having only previously seen Matthew Bourne’s Edward Scissorhands), Matthew Bourne and New Adventures continue to create shows that offer something for everyone. Thirty years and still going strong, this majestic and mesmerising show will definitely keep audiences enthralled for many more years to come.
ADAMA® Entertainment are delighted to announce that West End star Hadley Fraser will perform his first ever solo concert at Cadogan Hall on Sunday 15 June at 6.30pm. The event marks the launch of his upcoming album, Things That Come and Go, produced by Fraser and Donald L Anderson for Palm Haven Studios, with arrangements and co-production by Sam Young.
The concert is presented in association with ADAMA® Entertainment and WestWay Music – the producers of Jamie Muscato and Lucie Jones’ solo concerts. This special evening will feature songs from the new album alongside other musical theatre favourites. Tickets go on sale at 10am on Tuesday 11 February at www.cadoganhall.com.
Hadley Fraser is a leading West End actor with numerous credits in major productions to his name. Some of his more recent theatre credits include Opening Night (Gielgud Theatre), The Lehman Trilogy (Gillian Lynne Theatre) 2:22 A Ghost Story (Noel Coward Theatre), City Of Angels (Garrick Theatre), The Antipodes (National Theatre), The Deep Blue Sea (Chichester Festival Theatre), Young Frankenstein (Garrick Theatre), Saint Joan, City Of Angels, Coriolanus, The Vote (all Donmar Warehouse), Long Day’s Journey Into Night (Bristol Old Vic), The Winter’s Tale & Harlequinade (Kenneth Branagh Theatre Company at the Garrick Theatre), The Machine (Manchester International Festival & Park Avenue Armoury, NYC), The Pajama Game (Chichester Festival Theatre) and Les Miserables (Queens & Palace Theatres). He has workshopped extensively for the National Theatre, Donmar Warehouse, Almeida Theatre, Old Vic and many others. His concert work includes Dirty Rotten Scoundrels, The Secret Garden (both London Palladium), Chess (Theatre Royal, Drury Lane), South Pacific (National Concert Hall, Dublin), Carousel and The Light Princess (Cadogan Hall).
His film & television include The Gold, Gentleman Jack, All Is True, Murder On The Orient Express, The Legend Of Tarzan, Les Miserables, Decline & Fall, The Wrong Mans, Endeavour, Holby City, Doctor Who, Pompidou, Him and Sons Of Liberty.
Hadley wrote the book and lyrics for the musical Committee at the Donmar Warehouse. As a recording artist and musician he has appeared on numerous albums including his own Lights Around The Shore with jazz pianist Will Butterworth, and EP Just Let Go. Cast recordings include Opening Night, Young Frankenstein, The Pirate Queen, Before/After, The Phantom Of The Opera 25th Anniversary and Les Miserables 25th Anniversary. He has provided music for theatre productions including Measure For Measure (Donmar Warehouse) and Hobson’s Choice (Regent’s Park Open Air Theatre), and on radio for Ross Noble: Britain In Bits. He has collaborated with artists and composers including Pete Townsend, Claude-Michel Schonberg, Adam Cork, Grant Olding, Joby Talbot, Joe Stilgoe, Jeremy Holland-Smith, Michael Bruce, Tom Deering, Laura Tisdall, Scott Alan, Ramin Karimloo & Stuart Matthew Price. Hadley co-presents the podcast Poddin’ On The Ritz with Ross Noble. He is a regular guest on BBC Radio 2’s Friday Night Is Music Night. Hadley is a Fellow of the Royal Academy of Music and Patron of PPA Guildford and Debut Performing Arts College, Manchester.
Theatre Royal, Nottingham – until Saturday 15th February 2025
Reviewed by Chris Jarvis
5*****
This production brings “a rainbow of joy to the audience!”
Originally commissioned in 1968 to write a bible story set to pop music for a school production, Andrew Lloyd Webber and Tim Rice, chose the character of Joseph from the Children’s Wonder Book of Bible Stories as a story of jealousy, revenge and forgiveness with a happy ending. The 22-minute musical was performed to an audience of only 200 parents. Five years later Joseph and his Amazing Technicolor Dreamcoat – fondly becoming known as simply “Joseph” – reached the West End. Now, almost 60 years later hundreds of amateur and professional versions are performed across the world every year and it has become a musical phenomenon that is loved by audiences of every generation.
For those like me who have never seen this musical, it is based on the life of the biblical character Joseph (Adam Filipe), the second youngest of twelve brothers. He is a handsome young man, known for his ability to interpret dreams and was the favoured son of his father Jacob who gave him an “amazing coat of many colours.” He is sold into slavery by his jealous brothers who convince Jacob that a wild animal killed Joseph.
Joseph becomes a servant in Egypt and ends up imprisoned after advances from his master’s wife. While in prison his ability to interpret dreams makes him extremely popular. The Egyptian Pharaoh (Joe McElderry) has troubling dreams and, hearing of Joseph’s talent summons him to interpret them.
Joseph correctly interprets these dreams, and this leads to his rise to a prominent position in Egypt where he predicts and helps prepare for a famine. During this famine, Joseph’s starving brothers come to Egypt seeking food, unaware that the powerful official they are dealing with is their long-lost brother. After giving his brothers a scare as payback for their treatment of him in the past, he reveals his identity, grants them all they desire, and reunites the family.
You’d be forgiven for thinking that’s not a particularly exciting story! However, it is told through incredible narration, humour, dance and songs that you will immediately recognise. Although set in Ancient Egypt the musical opens in current times with children dressed in jeans and tee shirts and Christina Bianco explaining the story to the children. Her casting in the programme as “Narrator” is an understatement – she is sensational!! She sings and dances ‘her’ audience through the story, taking on numerous characters including Joseph’s father Jacob, clearly having a great time and ensuring we did too! She is the ‘star of the show’!
Every song is performed to a different theme with Pharaoh’s ‘Song of the King’ performed by Joe McElderry as pure Elvis including the hip action, in a brilliant gold set of ancient Egypt. The most hilarious set for me was the performance of ‘Those Canaan Days’ with Joseph’s 11 brothers in a French café mourning the loss of their brother as they face the famine. Adam Filipe gives his all as Joseph with an incredible voice and brings his beautiful ‘coat of many colours’ to life with his energetic and powerful dancing. The children throughout are incredible – both those playing children and those fitting in so well as adults.
All in all, a hugely entertaining performance that deserved the standing ovation and then continued with the audience joining in with a fantastic finale – a medley of joyful and colourful song and dance.
John Ransom-Phillips’ passionately well-meaning mission to tell the full and fair story of Mary Lincoln’s life has some interesting ideas and themes.
Mrs President explores the struggles and losses Mary (Miriam Grace Edwards) encountered – the death of her children, the assassination of her husband, and her son sending her to an asylum looming large. Framed as a series of sittings with photographer Mathew Brady (Sam Jenkins-Shaw), momentous events in her life are introduced and the effect on her mental health made clear. The scenes jump around in time and Brady takes on the personas of men loudly espousing their misogynistic and blinkered beliefs to Mary before Brady tries another technique to capture his vision of her. The content warnings about attempted suicide, racism, slavery, child loss and mental illness aren’t really needed as each emotive subject is tackled at a brisk pace and with no real depth – just a catalogue of all Mary’s woes without really analysing how and why she was viewed and treated with such disdain.
Much time is spent debating whether the sitter has any agency at all when the photographer can manipulate their image. Brady’s arrogant claims about shaping the image of the men shaping America meaning that it is he who is actually shaping the country are batted back by Mary claiming her identity. Unfortunately, Mary in this play has no real idea of her identity, and her repeated mantra of being looked at but never seen becomes nothing more than a signal that the scene will soon end. The dynamic between sitter and photographer is further discussed by Brady’s camera and sitters’ chair when the actors are offstage. No new ideas are voiced in these bizarre scenes, instead pointlessly rehashing Lincoln and Brady’s arguments. The narrative becomes muddled and cyclical, with the final show of strength from Mary as she suddenly finds clarity not feeling earned or developed after going around in circles for so long.
Miriam Grace Edwards and Sam Jenkins-Shaw do great things with the script. Edwards’ emotional and fearless performance and Jenkins-Shaw’s nuanced portrayal of the driven and arrogant photographer are excellent.
Bronagh Lagan’s direction has some wonderful theatrical flair amongst the incoherent plot, and Ransom-Phillips script could be developed and become something intriguing with dramaturg intervention. Gregor Donnelly’s set allows for beautiful visual flourishes: Derek Anderson’s lighting and Sonum Batra’s sound design make Brady’s movement using his camera and his darkroom almost balletic (movement director Sam Rayner). Matt Powells’ video design also creates some startling moments that portray the pair’s emotional state much more immediately than the repetitive dialogue.
Much like Brady’s photographs, Mrs President is visually impressive but the production is unfocussed and needs further development.
With the adaptation of this Agatha Christie classic penned by the multi award-winning Ken Ludwig (Lend me A Tenor, Crazy For You), there was little doubt that this production was going to be well written, but the idea of setting a murder mystery on a train leaves one quite curious about how such a compact environment might be portrayed on stage. The standout element of this production is its ravishingly stylish beauty, from the promotional graphics to the on stage design the audience is effortlessly engaged from start to finish.
Mike Britton’s (Anthony and Cleopatra, Abigail’s Party) design perfectly captivates 1930’s elegance in every way; wood panelling and delicate lighting are further complimented by hair and costume design, which seemed quite reminiscent of the character palette from the classic game of Cluedo. These glamorous visual markers did much to build the atmosphere, but the addition of digital technology in the form of a huge screen worked wonders to add further depth and cinematic elements to the stage, enabling us all to “remember little Daisy Armstrong”. Don’t imagine, however, that this screen creates an easy option backdrop to provide the train layout, it is very much a support and not a centrepiece. The inclusion of digital tech in theatre is an inevitable evolution which will hopefully encourage an increasingly screen-addicted public to continue to embrace live productions too.
Design of the train itself is entirely in 3D and seamlessly manipulated by the ensemble to support various scenes, from corridor to cabin to restaurant and back again. With movement direction by Leah Hausman (Into The Woods, Benvenuto Cellini), the cast employs deft footwork to glide around the space brilliantly, despite there being many high steps and small spaces to traverse. The revolving centre stage is marvellously exploited to pan through scenes with multiple characters performing simultaneous conversations, and builds intrigue by allowing quiet details of the plot to emerge and fade. Add plumes of dry ice to all of this and the audience is whisked back to the time of steam powered transportation.
Playing to a packed house in Sheffield under Lucy Bailey’s (The Other Boleyn Girl, The Best Exotic Marigold Hotel) brilliant direction, the peculiar case unfolds in the hands of a stellar cast. A locked cabin, a dead body, and reports of a mysterious uniformed conductor nobody can trace. Blood curdling screams and shots ring out that will have you leaping out of your seat, as you try to figure out who the killer could be among the sophisticated blend of international characters, brought together on this fateful three-day journey aboard the world’s most luxurious train service.
Central to the action is, of course, the meticulous Hercule Poirot, excellently played here by Michael Malony (Belfast, All Creatures Great and Small), which is no mean feat given the familiarity of the character in performances by other actors; but Malony dons the famous moustache and leads us into and out of the production with monologues that seal his place in the role. Bob Barrett (And Then There Were None, Sister Boniface Mysteries) shines as Monsieur Bouc – Poirot’s Dr Watson in this case – who adds many of the comic quips that pepper the dialogue. The multi-talented Simon Cotton (Rise of the Krays, Outlander) appears as the boorish villain, Samuel Ratchett, a character who elicits little sympathy from the onlooker. Christine Kavanagh (An Inspector Calls, A Very British Coup) energetically plays a fabulously vivacious and flirtatious Helen Hubbard to perfection, and Paul Keating (The Who’s Tommy, Silent Witness) takes the part of Hector, Ratchett’s henpecked assistant, with all the studious attention required. The entire cast add layer upon layer of talent that draws you into the depths of the plot; if you don’t know the solution to this enduring whodunnit, I’m not going to spoil it for you. If any tickets are still available, grab one and go and see this outstanding production for yourself on its current UK tour.
WEST END STARS JOSEFINA GABRIELLE, DUJONNA GIFT AND SAM TUTTY
WITH
ALEXANDRA EMMERSON-KIRBY, MIA HARRISON, KAYNA MONTECILLO, CAMERON JOHNSON AND MADDISON TYSON AT THE LILIAN BAYLIS STUDIO, SADLER’S WELLS FROM 4 – 8 MARCH 2025 A STRICTLY LIMITED NUMBER OF TICKETS ON SALE NOW
Susan Edelstein Productions and ATG Productions are delighted to announce a public workshop presentation of brand-new musical, BLISS, from Tuesday 4 – Saturday 8 March 2025, at the Lilian Baylis Studio, Sadler’s Wells. A strictly limited number of tickets are now available to buy, all priced at £10.50, allowing audiences a chance to experience this new musical in its development.
The workshop cast stars Kayna Montecillo (Starlight Express) as Piper, Dujonna Gift (Two Strangers [Carry A Cake Across New York], Hamilton) as Faye, Alexandra Emmerson-Kirby (Hairspray) as Carmella, Mia Harrison (An Officer and a Gentleman The Musical) as Holly, Sam Tutty (Olivier Award winner – Dear Evan Hansen, Two Strangers [Carry A Cake Across New York])as Prince Devin, Maddison Tyson (Tina – The Tina Turner Musical, Hamilton)as Toby, Cameron Johnson (Guys and Dolls, Billy Elliot, Everybody’s Talking About Jamie)as The Kingand Josefina Gabrielle (triple Olivier Award nominee – Oklahoma!, Sweet Charity and Merrily We Roll Along) as Taffeta. Further casting to be announced.
The company also includes Alicia Belgarde, Tanisha-Mae Brown, Milan Cacacie, Maya De Faria, Millie Gubby,Ella Valentine, Sam Holden, Nathan Rigg and Toyan Thomas-Brown.
Blissfully, blindly unaware of the outside world, four sisters dream of a life beyond the castle walls. But breaking out of their tower brings a wake-up call more shocking than any kiss from a prince.
Where ‘perfect’ princesses and a pushy fairy godfather reign supreme, Piper, Faye, Carmella and Holly must decide what they’re truly willing to give up in order to ‘fit in’.
Featuring an electrifying new pop rock score, BLISS is a hilarious and heartwarming original musical for all ages proving that staying true to who you really are – and living happily ever after – is more complicated than it seems.
Showcasing elements of the staging as well as choreography, alongside a full band, this is a new kind of workshop, for a new kind of musical.
BLISS has book, music and lyrics by Emma Lively and Tyler Beattie. The workshop presentations are directed by Tony Award nominee Sheryl Kaller, with choreography by Olivier Award nominee Joshua Prince, set design by Emmy Award winner Jason Ardizzone-West, costume design by Tony Award winner Paloma Young, lighting design by Olivier Award nominee Howard Hudson, sound design by two time Tony Award winner Nevin Steinberg, video design by Nina Dunn, musical supervision by Kenny Seymour, music direction by Paul Herbert and casting by Heather Basten CDG.
Producer Chunsoo Shin is thrilled to announce Jamie Muscato will play Jay Gatsby and Frances Mayli McCann will play Daisy Buchanan when his smash hit new musical adaptation of F. Scott Fitzgerald’s landmark novel The Great Gatsbymakes its West End debut at The London Coliseum this spring. Preview performances of The Great Gatsby will begin on Friday 11 April with a press night on Thursday 24 April (7pm). The show will run until Sunday 7 September 2025. Further casting to be announced. Tickets are on sale via londongatsby.com.
Jamie Muscato’s theatre credits include: Anatole in Natasha, Pierre & the Great Comet of 1812 (Donmar); Christian in Moulin Rouge! (Piccadilly Theatre); Guy in Once (London Palladium); Enjolras in Les Misérables The Staged Concert (Sondheim Theatre); Tony in West Side Story (Leicester Curve); JD in Heathers (Theatre Royal Haymarket/ The Other Palace); Story Edward in Big Fish (The Other Palace); Ben in Lazarus (Kings Cross Theatre); George Jacob Holyoake in A Subject of Scandal and Concern (Finborough Theatre); Jake in Stay Awake Jake (The Vaults); Joe in Bend it Like Beckham (Phoenix Theatre); Anthony in Sweeney Todd (Welsh National Opera); Nathan in House of Mirrors and Hearts (Arcola Theatre); Eddie in Dogfight (Southwark Playhouse); The Light Princess (National Theatre); Rock of Ages (Shaftesbury Theatre); Love Story (Duchess Theatre); Jean Prouvaire in Les Misérables (25 Anniversary tour); Spring Awakening (Novello/ Lyric Hammersmith).
TV and Film: What We Wished We Could Be (Slick Films), Chemistry of Death (Paramount+); The Undeclared War (Channel 4/Peacock); Pistol (FX Network); The Colour Of Spring (Winterlight Productions); The Trial of Christine Keeler (BBC); The Nun (New Line Cinema/ Warner Bros); Cilla (ITV); Les Misérables (Working Title Films).
Frances Mayli McCann’s theatre credits include the titular role of Bonnie in Bonnie and Clyde in London’s West End (WhatsOnStage Nominee for Best Performer) following its sell out concert at the Theatre Royal Drury Lane, opposite Jeremy Jordan. Kylah in Our Ladies Of Perpetual Succour (Olivier Winner Best New Comedy and Olivier nominated Best Supporting Actress); Misa in Death Note (London Palladium); Wendy in Peter Pan (London Palladium); Svetlana in Chess (Theatre Royal Drury Lane); Heather McNamara in Heathers The Musical (Theatre Royal Haymarket); Eponine in Les Misérables (UK Tour); The Mistress in Evita (Regents Park), Macbeth, The Great Wave and Here Lies Love (National Theatre).
TV and Film: A Tale To Tell, Bonnie & Clyde Musical Film, Domestic. Code Of Silence, Department Q, Silverpoint, Sister Boniface, Shetland, River City and Lip Service.
Soundtracks include: Original West End cast recording of Bonnie and Clyde. Original English language cast recording of Death Note.
F. Scott Fitzgerald’s timeless, seminal novel comes to the West End stage in a dazzling new musical. The Great Gatsby opened at The Broadway Theatre in April 2024 direct from a record-breaking, sold-out world premiere at Paper Mill Playhouse in New Jersey in late 2023.
One of the most popular novels of all time, The Great Gatsby has sold over 30 million copies worldwide since its release in 1925 and continues to sell over 500,000 per year. The novel has been translated into over 42 different languages, and has been adapted for TV, radio plays, video games, and multiple films – including the acclaimed Baz Luhrmann feature film starring Leonardo DiCaprio.
Get ready to roar because the Tony Award®-winning new musical The Great Gatsby is coming to London and will be the party of the century. Fresh from its current smash-hit success on Broadway, this “shimmering, sparkling spectacle” (Variety) “explodes with life and energy” (Entertainment Weekly).
Meet mysterious millionaire, Jay Gatsby. He entertains the rich and famous with riotous parties at his Long Island mansion yet never joins in. Gatsby longs instead to reunite with his former flame Daisy Buchanan, but Daisy comes from another lifetime, long before the money…
Chunsoo Shin, the lead producer of The Great Gatsby musical, said: “We are absolutely delighted to announce our two lead actors for The Great Gatsby. Jamie and Frances’ extraordinary talent and undeniable chemistry are perfect for this iconic story, capturing all the glamour, passion, and intrigue of the Roaring Twenties. We cannot wait to welcome West End audiences to experience the dazzling spectacle, rich emotion, and timeless allure of this beloved classic like never before.”
Jamie Muscato commented: “I’m absolutely thrilled to be stepping into the shoes of Jay Gatsby—a character so full of mystery, passion, and longing. Bringing this iconic role to life on the West End is an incredible honour, and I can’t wait to share this production with audiences.”
Frances Mayli McCann added: “I’m beyond excited to bring Daisy Buchanan to life in this stunning production at the London Coliseum. She’s such a complex, captivating character, and I can’t wait to dive in to her world and share this timeless story with audiences in the heart of the West End.”
The show features book by Jonathan Larson Grant winner Kait Kerrigan (The Mad Ones), music and lyrics by Tony Award® nominees Jason Howland (Beautiful: The Carole King Musical, Little Women) and Nathan Tysen (Paradise Square) and is directed by award-winning Marc Bruni (Beautiful: The Carole King Musical) with choreography by Dominique Kelley (So You Think You Can Dance), Tony Award®-winning costume design by Linda Cho (Anastasia, A Gentleman’s Guide…) and Outer Critics Circle Award winning scenic and projection design by Paul Tate de Poo III (Spamalot, Tommy at The Kennedy Center).
The creative team is completed by lighting designer Cory Pattak (Spamalot), sound designer Tony Award® winner Brian Ronan (Beautiful, The Book of Mormon), hair and wig designers Drama Desk Award winner Charles G. LaPointe (The Cher Show, Spongebob Squarepants) & Rachael Geier. Arrangements are by Jason Howland, Orchestrations are by Jason Howland and Kim Scharnberg (Jekyll & Hyde), and the music producer is Grammy Award winner Billy Jay Stein for Strike Audio (Beautiful – cast album). Casting is by Jill Green Casting, CDG (TheDevil Wears Prada, Aladdin, Warhorse).
The Great Gatsby is produced by Chunsoo Shin, acclaimed Korean musical producer, 5-time winner of Korea’s most prestigious theatrical award and OD Company president. Mark Shacket serves as Executive Producer, with General Management by Short Street Productions Ltd. Worldwide management of The Great Gatsby is by Foresight Theatrical.
