Theatre Royal, Brighton – until Saturday 4 March 2023
Reviewed by Sue Bradley
4****
Steel Magnolias was written by Robert Harling, influenced by the loss of his sister in 1985. It isn’t a true story, but it might as well be – all the characters were drawn from people that Harling and his family knew, and the crackling dialogue has the spark of authenticity that keeps us involved, right from the start.
The story is set entirely in a small-town Louisiana beauty parlour presided over by the smart and sassy Truvy, played convincingly, in fine Dolly Parton style, by Lucy Speed. Here we also meet Clairee (a rich widow), the mother and daughter tag-team M’Lynn and Shelby, the determinedly single Ouiser, and Annelle, the new girl in town.
Together they gossip and discuss the business of living and loving, with much of their ‘material’ being provided by the men in their lives. We never meet these husbands and partners but, instead, are given broad-brush pictures which tell you more or less everything you need to know. Never cruel but often wickedly on-point, these are the kinds of conversations that usually only women seem to be able to have. Men could learn so much…
A poster of Dolly Parton on one of the walls of the set proudly proclaims ‘The higher the hair, the nearer to God’, and this sort of humour encapsulates the smart one-liners that underpin the whole show. Another favourite of mine was ‘”an ounce of pretension is worth a pound of manure”. I’m glad to say this play has no pretensions (beyond British people maintaining Louisiana accents, which, for the most part, they do very well)
It took a little while for the cast to find their rhythm and for us to get used to the strong accented quick-fire dialogue but by the time the interval came, we were fully engaged and eager for Part Two.
The second act takes a darker turn, as was really inevitable, and it is here that the close bonds between the characters really come into play as the women come together to form a much-needed support group. Laura Main’s portrayal of M’Lynn’s grief was genuinely moving and this was then set off by a beautifully timed moment of comic relief by Clairee (Caroline Harker) and Ouiser (Harriet Thorpe) bringing a welcome gale of laughter across the theatre.
The closeness of the characters is enhanced by the clever set which manages to let us see everything and yet confines the players in quite a tight space. Sound design worked well too, with an Eighties music soundtrack providing an appropriately tinny background, apparently issuing from a little pink radio.
We laughed and we cried and we left the theatre feeling we had seen something of how warmth, love and humour can help you get through the hard times and make the most of the good times.
A timeless, classic ‘whodunnit’ mystery, set within a gorgeous country house has hit Mayflower-and it is up to you to solve the murder!!
Agatha Christie’s ‘Mousetrap’ has come to Southampton, to give you a chance to be your own detective, with this sterling cast leading your imagination! From the over the top Mr Paravinci, to the subdued Miss Casswell, you will not find a moment that strays your mind away. This entire cast was great-with Elliot Clay, as ‘Christopher Wren’ being cheesy and playful, to Joseph Reed as ‘Detective Sgt.Trotter’ steering the show in and out of the whys and wherefores, until the murderer is revealed! This was a seamless, clear and riveting production right until the very end!
TheMousetrap has a lot to live up to, being the worlds longest running production, but with this cast and brilliant production team, the reputation of the show does not waver. Directed by Ian Talbot OBE and Denise Silvey they have done a perfect job of creating the perfect mystery on stage.
With lots of twists and turns, from tugging of hair to looking into cellars – could these all be clues that will lead you to the murderer? Why did Mollie and Giles go to London? Why did the playful Mr Paravinci arrive unexpectedly after turning his car over in the snow?
These are all questions you need to find the answer to, when you enter ‘The Mousetrap’!
The much anticipated Nation Theatre production of Neil Gaiman’s The Ocean at the End of the Lane arrives at the Sunderland Empire on its UK tour.
Katy Rudd’s outstanding direction, Fly Davis’ ethereal set and Jherek Bischoff’s musical composition are the firm foundations from which the powerful production builds.
Visiting Hempstock farm to reminisce after his fathers funeral, middle aged Boy manages to open repressed and forgotten memories of his 12th birthday and his first visit to the Farm…
When the police find the family car, stolen by their lodger (now dead in the car), by Hempstock farm. Boy (Keir Ogilvy) meets Lettie (Millie Hikasa) for the first time, taking him to the farm while his dad deals with the police. His mum has been dead for less than a year and his dad is struggling to raise boy and his sister. The family are in need of money, hence the lodger and they are grieving for their loss.
The Hempstock women, Letty, Mum Ginnie (Kemi-Bo Jacobs) and Old Mrs Hempstock (Flinty Williams) are representative of the three ages of women – child, mother and cone. And whilst they might not recognise themselves as witches, they are certainly magical.
At the edge of the farm, Letty and Boy discover a monster trying to find its way onto the world. Whilst Letty performs magic and incantations to send the creature back to its own world, it attacks Boy and gains a way into his.
And so appears Ursula, the new lodger, pure evil and dark magic. Charlie Brooks excels in the role and appears to be fully enjoying the malevolence, totally commanding the stage with her interpretation of something demonic and manipulative
I’m not going to give away the plot except to say that good does triumph over evil.
Trevor Fox as Dad is another standout, totally broken but trying to raise the children with love he no longer feels and trying to make up for a mother who is no longer there. His demonic possession when he falls under Ursula’s spell and redemption when she is gone gives him a chance to shine.
The ensemble players are a joy to watch, balletic and fluid; their movements are as spellbinding as Old Mrs Hempstock and her snip and stitch. Steven Hoggett’s movement direction is cleverly conceived and utilised.
This is a beautiful production of play. Not just a children’s story but one for all the family. The poignancy and joy, the light and shade and the eternal triumph of good over evil make this an unforgettable experience.
I wasn’t prepared for my first experience of Rocky Horror. I realised this when walking through the renowned cobbled historical steps of Chester, feared by all in stilettos, ….. all except the group of 12 men and women dressed in basques, stockings, maid outfits and sparkles galore, sashaying their 6 inch heels through those same cobbles at 6pm on a Monday night. These 12 were met by more than half of the faithful audience dressed in similar spectacular costumes …. and so the outrageous fun commenced!
From the mid 1970’s , Richard O’Brien’s raucous, sci-fi musical has graced the international stage and director Christopher Luscome delighted the Chester audience with a jaw dropping, hilarious, explosion of all things glitter, satin, fishnet, leather and feather. This really was a hilarious performance and outstanding musical masterpiece accompanied by a superb live band.
Nerdy Brad (Richard Meek) and innocent Janet (Haley Flaherty) delivered superb vocals and authentic chemistry as the American sweethearts travelling on that fateful journey to visit their science teacher. Innocence and ‘neediness’ is soon spectacularly whipped away by a chance visit to Stephen Webb’s outstanding Frank n Furter, the very eccentric self proclaimed sweet transvestite villain, which erupts the eager audience into the classic Time Warp with tremendous audience participation delivering waves of gyrating underwear clad hips, belonging to that of of ages.
This performance was full of fun, phenomenal vocals, spectacular costumes and impressive set changes. The bedroom scene in particular had the audience in fits of hysterics and those faithful followers in the crowd hustled and jeered in true Rocky Horror style. This is a cult classic, it has an audience as well rehearsed in the script as the cast and the call backs were delivered and responded to hilariously, particularly by RSC and BBC radio voice Philip Franks as Narrator. His one liners, brow raising jokes and come backs were nothing short of genius.
This is a must see. It’s a thoroughly entertaining, raucous performance, like nothing I’ve ever seen before and I can’t wait to go again!
Theatr Clwyd, Yr Wyddgrug – until Saturday March 4th 2023
Reviewed by Julie Noller
5*****
The Shawshank Redemption is well known firstly as the book written in 1982 by Stephen King and then as the 1994 film topping IMBDs all time list. The fact that I had neither read the book or watched the film did not detract from the buzz of attending an opening night. I read a synopsis before attending; I knew it had a cult following. It’s a gritty life tale of a man wrongly convicted for his wifes and her lovers murders. It smacks of desperation, injustice, friendship and more importantly of hope. It is dark and sadistic in it’s approach to human nature in Americas deep south chain gang jails.
It has been adapted for the stage by Owen O’Neil and Dave Johns. Sound by Andy Graham, Lighting Designed by Chris Davey and Design by Gary McCann all deserve a round of applause; the lighting is dark at times with bulbs and slight flashes of light (remember we’re starting life in 1950’s America) set design is basic and grey as drab and lifeless as the jail comes to life in your mind. The sounds however are so clever, snippets of songs break down the fact that years have passed in seconds, words from songs saying what we are all thinking whilst hinting at a wittyness that brings a snigger from the audience.
Ben Onwukwe is brilliant as Ellis ‘Red’ Redding with flashes of Morgan Freeman, he narrates setting the scene, highlighting the story just so we the audience know where we are. He is the go to man, the black marketer, desperatly trying to keep his head above the water. Doing just enough to stay off the Wardens radar. Add the innocent accountant Andy Dufresne the perfectly cast Joe Absolom it’s an intriguing mix of personalities. Joe brings optimism to the stage as Andy encourages others to believe as he has to believe in his innocence. Andy is quietly intelligent using his skills of reading his fellow inmates and guards to boost the confidence of those work colleagues as he sees his life behind bars The warden belives he has manipulated Andy but the strength in intelligence is to let him think that. For the people watchers out there for me The Shawshank Redemption was less about story and more about people. Watching the characters develop was the highlight for me, like a Big Brother within Jail. Andy is intelligent and wise refusing to let the system win, not giving in to the sisters who constantly abuse and beat him. It fascinated me how similar the characters could be yet worlds apart. The repeat offenders, the lifetimers, the abusers, Prison Guards. Stephen King deserves the accolades for such characters full of depth, woe and bitterness but amongst them all he drives home the message that we should never give up hope.
Mark Heenehan is hated as Warden Stammas the man who uses many a cliché to line his own pokets, his prison from the top the bottom is corrupt and is everything we have seen across the movie world of the mid 20th century jail system. A man so cowardly he commits suicide rather than face the consequences for his actions. We all know the ending however as always you want the happy ending long for Andy’s innocence to be proved. This production however much you wish for doesn’t deliver on that wish, it does however deliver the hero not quite driving but looking at the sunset soaking in the warm sun rays by the sea, a fugitive wanted still but its cheery to see and we can ultimately forgive that injustice. There are many messages within The Shawshank Redemption each and every one of us I believe would draw something entirely different. It is a story of greed and abuse, of hope and fear but it teaches us to never given up on all our dreams for what is life without dreams.
Nominations announced for Olivier Awards 2023 with Mastercard
– “My Neighbour Totoro” leads the way with 9 nominations making it the most nominated play
– “Standing At The Sky’s Edge” is most nominated musical with 8 nominations
– Six National Theatre productions nominated, totalling 16 nominations
– Nominees for acting in a play include Paul Mescal, Jodie Comer, Tom Hollander, David Tennant, Rafe Spall, Janet McTeer, Ajana Vasan, Nicola Walker, Giles Terera and Caroline Quentin
– Beverley Knight, Clive Rowe, Marisha Wallace and Andrew Rannells are all nominated for acting in a musical
– Mastercard Best New Musical nominees are “Sylvia”, “Standing AtThe Sky’s Edge”, “Tammy Faye” and “The Band’s Visit”
– “For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy”, “Patriots”, “Prima Facie” and “To Kill A Mockingbird” are the nominees for Delta Air Lines Best New Play
Nominations have been announced for the Olivier Awards 2023 with Mastercard, British theatre’s most prestigious honours, which will take place on Sunday 2 April at the Royal Albert Hall.
This year’s most nominated production is “My Neighbour Totoro”, the new stage adaptation of Studio Ghibli’s beloved 1988 animated film. Brought to the stage by the Royal Shakespeare Company and legendary Studio Ghibli composer Joe Hisaishi, the production received a total of nine nominations, including Best Entertainment or Comedy Play, Best Director, Best Theatre Choreographer, Best Original Score and a Best Actress nod for Mei Mac.
“Standing At The Sky’s Edge” at the National Theatre received eight nominations, the most for a musical. The production, which is set in Sheffield and premiered in the city in 2019, has earned Richard Hawley his first Olivier Award nomination for Best Original Score or New Orchestrations. Other nominations include Best New Musical, Best Director, Best Actress and Best Supporting Actress.
Garnering seven nominations – including Best Musical Revival – was Rodgers and Hammerstein’s “Oklahoma!” Newly transferred to the West End following sell-out runs on Broadway and at the Young Vic, the production has also gained acting nominations for Arthur Darvill, Anoushka Lucas, Liza Sadovy and Marisha Wallace.
With six nominations apiece are “A Streetcar Named Desire”, with nods for actors Paul Mescal, Anjana Vasan and Patsy Ferran; “The Band’s Visit”, the musical adapted from the eponymous Israeli film; and “To Kill A Mockingbird”, Bartlett Sher’s staging of Harper Lee’s classic novel which has earnt Rafe Spall, Pamela Nomvete and David Moorst acting nominations.
Jodie Comer is nominated for Best Actress for her West End debut in “Prima Facie”, which received five nominations overall, including Best New Play and Best Director. Among the Best Actor nominees are David Tennant, for a new production of C.P. Taylor’s 1989 play “Good”- which is up for four awards including Best Revival – and Tom Hollander for “Patriots”, a new play by Peter Morgan set during the fall of the Soviet Union, which is nominated in three categories.
In the musical acting categories, Katie Brayben and Andrew Rannells are both in contention for their roles in new musical “Tammy Faye”, which boasts a score by Elton John and the Scissor Sisters’ Jake Shears and tells the story of legendary televangelist Tammy Faye Messner. Beverley Knight is nominated for her role in The Old Vic’s new suffragette musical “Sylvia”, and Clive Rowe for his performance in “Sister Act”.
Photograph by David Levene.
The National Theatre has had a strong year, boasting a total of 16 nominations across six of its productions; “Standing AtThe Sky’s Edge”, “Blues ForAn Alabama Sky”, “The Crucible”, “Phaedra”, “The Corn Is Green” and “Jack Absolute Flies Again”.
Some nominees are no stranger to the Olivier Awards. Actress Janet McTeer returns for her 6th nomination, having first been nominated in 1986 as Most Promising Newcomer in a Play. Costume designer Hugh Durrant, sound designers Max & Ben Ringham, and choreographer Crystal Pite all receive their 5th nominations this year, and actor Clive Rowe receives his 4th nomination.
This is also a big year for first-time actor nominations, with 27 people receiving their first nod – including Rose Ayling-Ellis, Jodie Comer, Paul Mescal, Caroline Quentin, Sharon Small and Anjana Vasan. Notable creative first-time nominees include fashion designer Jean Paul Gaultier for his self-titled “Fashion Freak Show” at the Roundhouse.
“For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy” saw 6 actors gain nominations in a single category – the original cast, Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh and Kaine Lawrence, are all nominated for their West-End debut.
Commenting on the nominations, Claire Walker and Hannah Essex, co-CEOs of the Society of London Theatre and Executive Producers of the Olivier Awards, said:
‘We would like to congratulate all the nominees for the Olivier Awards with Mastercard 2023. It is incredible to see such a diverse range of people honoured for their outstanding contributions to the industry.
‘We have no doubt this year’s event will be the ultimate celebration of theatre and are anticipating showstopping performances and an electric atmosphere in the Royal Albert Hall come Sunday 2 April.’
Photograph by David Levene
The Olivier Awards will be hosted by Hannah Waddingham and broadcast via ITV and Magic Radio. Further details of the ceremony will be announced soon.
Full list of nominations for Olivier Awards 2023 with Mastercard:
Noël Coward Award for Best Entertainment or Comedy Play
Jack And The Beanstalk at The London Palladium
My Neighbour Totoro at Barbican Theatre
My Son’s A Queer, (But What Can You Do?) at Garrick Theatre & Ambassadors Theatre
One Woman Show at Ambassadors Theatre
Best Family Show
Blippi The Musical at Apollo Theatre
Hey Duggee The Live Theatre Show at Royal Festival Hall at Southbank Centre
Midsummer Mechanicals at Sam Wanamaker Playhouse at Shakespeare’s Globe
The Smartest Giant In Town at St Martin’s Theatre
Gillian Lynne Award for Best Theatre Choreographer
Matt Cole for Newsies at Troubadour Wembley Park Theatre
Lynne Page for Standing At The Sky’s Edge at National Theatre – Olivier
Kate Prince for Sylvia at The Old Vic
Basil Twist for Puppetry Direction for My Neighbour Totoro at Barbican Theatre
Best Costume Design
Frankie Bradshaw for Blues For An Alabama Sky at National Theatre – Lyttelton
Hugh Durrant for Jack And The Beanstalk at The London Palladium
Jean Paul Gaultier for Jean Paul Gaultier Fashion Freak Show at Roundhouse
Kimie Nakano for My Neighbour Totoro at Barbican Theatre
Cunard Best Revival
The Crucible at National Theatre – Olivier
Good at Harold Pinter Theatre
Jerusalem at Apollo Theatre
A Streetcar Named Desire at Almeida Theatre
Magic Radio Best Musical Revival
My Fair Lady at London Coliseum
Rodgers & Hammerstein’s Oklahoma! at Young Vic
Sister Act at Eventim Apollo
South Pacific at Sadler’s Wells
d&b audiotechnik Award for Best Sound Design
Bobby Aitken for Standing At The Sky’s Edge at National Theatre – Olivier
Tony Gayle for My Neighbour Totoro at Barbican Theatre
Drew Levy for Rodgers & Hammerstein’s Oklahoma! at Young Vic
Ben & Max Ringham for Prima Facie at Harold Pinter Theatre
Best Original Score or New Orchestrations
David Yazbek, Jamshied Sharifi & Andrea Grody – Music and Lyrics by David Yazbek, Orchestrations by Jamshied Sharifi & Additional Arrangements by Andrea Grody – The Band’s Visit at Donmar Warehouse
Joe Hisaishi & Will Stuart – Music by Joe Hisaishi & Orchestrations and Arrangements by Will Stuart – My Neighbour Totoro for Barbican Theatre
Daniel Kluger & Nathan Koci – Orchestrations and Arrangements by Daniel Kluger & Additional Vocal Arrangements by Nathan Koci – Rodgers & Hammerstein’s Oklahoma! Young Vic
Richard Hawley & Tom Deering – Music and Lyrics by Richard Hawley & Orchestrations by Tom Deering – Standing At The Sky’s Edge at National Theatre – Olivier
Best Actor in a Supporting Role
Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh & Kaine Lawrence for For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy at Jerwood Theatre Downstairs at The Royal Court Theatre
Will Keen for Patriots at Almeida Theatre
Elliot Levey for Good at Harold Pinter Theatre
David Moorst for To Kill A Mockingbird at Gielgud Theatre
Sule Rimi for Blues For An Alabama Sky at National Theatre – Lyttelton
Best Actress in a Supporting Role
Rose Ayling-Ellis for As You Like It at @sohoplace
Pamela Nomvete for To Kill A Mockingbird at Gielgud Theatre
Caroline Quentin for Jack Absolute Flies Again at National Theatre – Olivier
Sharon Small for Good at Harold Pinter Theatre
Anjana Vasan for A Streetcar Named Desire at Almeida Theatre
Blue-i Theatre Technology Award for Best Set Design
Miriam Buether for To Kill A Mockingbird at Gielgud Theatre
Tom Pye for My Neighbour Totoro at Barbican Theatre
Ben Stones for Standing At The Sky’s Edge at National Theatre – Olivier
Mark Walters for Jack And The Beanstalk at The London Palladium
White Light Award for Best Lighting Design
Natasha Chivers for Prima Facie at Harold Pinter Theatre
Lee Curran for A Streetcar Named Desire at Almeida Theatre
Jessica Hung Han Yun for My Neighbour Totoro at Barbican Theatre
Tim Lutkin for The Crucible at National Theatre – Olivier
Best Actress in a Supporting Role in a Musical
Beverley Knight for Sylvia The Old Vic
Maimuna Memon for Standing At The Sky’s Edge National Theatre – Olivier
Liza Sadovy for Rodgers & Hammerstein’s Oklahoma! at Young Vic
Marisha Wallace for Rodgers & Hammerstein’s Oklahoma! at Young Vic
Best Actor in a Supporting Role in a Musical
Sharif Afifi for The Band’s Visit at Donmar Warehouse
Peter Polycarpou for The Band’s Visit at Donmar Warehouse
Clive Rowe for Sister Act at Eventim Apollo
Zubin Varla for Tammy Faye at Almeida Theatre
TAIT Award for Best New Opera Production
Alcina by Royal Opera at Royal Opera House
Least Like The Other by Irish National Opera and Royal Opera at Royal Opera House – Linbury Theatre
Peter Grimes by Royal Opera at Royal Opera House
Sibyl at Barbican Theatre
Outstanding Achievement in Opera
Sinéad Campbell-Wallace for her performance in Tosca by English National Opera at London Coliseum
William Kentridge for his conception and direction of Sibyl at Barbican Theatre
Antony McDonald for his design of Alcina at Royal Opera House
Best Actor in a Musical
Alon Moni Aboutboul for The Band’s Visit at Donmar Warehouse
Arthur Darvill for Rodgers & Hammerstein’s Oklahoma! at Young Vic
Julian Ovenden for South Pacific at Sadler’s Wells
Andrew Rannells for Tammy Faye at Almeida Theatre
Best Actress in a Musical
Katie Brayben for Tammy Faye at Almeida Theatre
Anoushka Lucas for Rodgers & Hammerstein’s Oklahoma! at Young Vic
Miri Mesika for The Band’s Visit at Donmar Warehouse
Faith Omole for Standing At The Sky’s Edge at National Theatre – Olivier
Best New Dance Production
Light Of Passage by Crystal Pite at Royal Opera House
Pasionaria by La Veronal at Sadler’s Wells
Traplord by Ivan Michael Blackstock at 180 Studios (The Strand)
Triptych (The Missing Door, The Lost Room, And The Hidden Floor) by Peeping Tom at Barbican Theatre
Outstanding Achievement in Dance
Manuel Liñán for his choreography of ¡VIVA! at Sadler’s Wells
Dickson Mbi for his choreography of Enowate at Sadler’s Wells
Raquel Meseguer Zafe for her dramaturgy of Ruination by Lost Dog at Royal Opera House – Linbury Theatre
Catrina Nisbett for her performance in Family Honour by Spoken Movement at Sadler’s Wells
Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre
Age Is A Feeling at Soho Theatre
Blackout Songs at Hampstead Theatre Downstairs
The P Word at Bush Theatre
Paradise Now! at Bush Theatre
Two Palestinians Go Dogging at Jerwood Theatre Upstairs at The Royal Court Theatre
Sir Peter Hall Award for Best Director
Rebecca Frecknall for A Streetcar Named Desire at Almeida Theatre
Robert Hastie for Standing At The Sky’s Edge at National Theatre – Olivier
Justin Martin for Prima Facie at Harold Pinter Theatre
Phelim McDermott for My Neighbour Totoro at Barbican Theatre
Bartlett Sher for To Kill A Mockingbird at Gielgud Theatre
Best Actress
Jodie Comer for Prima Facie at Harold Pinter Theatre
Patsy Ferran for A Streetcar Named Desire at Almeida Theatre
Mei Mac for My Neighbour Totoro at Barbican Theatre
Janet McTeer for Phaedra at National Theatre – Lyttelton
Nicola Walker for The Corn Is Green at National Theatre – Lyttelton
Best Actor
Tom Hollander for Patriots at Almeida Theatre
Paul Mescal for A Streetcar Named Desire at Almeida Theatre
Rafe Spall for To Kill A Mockingbird at Gielgud Theatre
David Tennant for Good at Harold Pinter Theatre
Giles Terera for Blues For An Alabama Sky at National Theatre – Lyttelton
Delta Air Lines Best New Play
For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy at Jerwood Theatre Downstairs at The Royal Court Theatre
Patriots at Almeida Theatre
Prima Facie at Harold Pinter Theatre
To Kill A Mockingbird at Gielgud Theatre
Mastercard Best New Musical
The Band’s Visit at Donmar Warehouse
Standing At The Sky’s Edge at National Theatre – Olivier
Announcing the world première of a musical full of high stakes, high emotions… and even higher heels! HOME, Manchester
18 July – 13 August, 2023
Written by Matt Cain and David Andrew Wilson Concept development by Arlene Phillips
Directed by Jonathan O’Boyle
Choreography by Arlene Phillips
It’s summer in Manchester. It’s raining (obviously) and on Canal Street storm clouds of another sort are gathering. Club Fierce is under threat. But Dolly Ravage, who runs the club and is the unofficial godmother of the Gay Village, isn’t going down without a fight.
Dolly has a plan to to save it from property developers by recruiting six amazing queens to slay the runway and reinvent Club Fierce as the all-new House of Ferocity.
But will the arrival of the mysterious Bobby Carter from America – hiding a secret that could change everything – derail her battle to save the soul of the Manchester scene?
Boasting a handbag full of original high energy bangers, ballads and earworm songs, ‘Drag Addict’ is written by Matt Cain and David Andrew Wilson, with concept development and choreography by Arlene Phillips – who has just been announced as the recipient of this year’s Special Award Olivier “for her inspiring work in dance and choreography” – and is directed by Jonathan O’Boyle.
Matt Cain said: “In my novels and journalism I’ve always loved exploring themes of LGBTQ+ identity, culture and community, asking what it means to be gay or queer in our modern, digital world. So it’s a real thrill to be opening up this new channel for my creativity and exploring the same themes in musical theatre. I’m also overjoyed to be creating a show that pays tribute to my home city of Manchester, a city that saved my life as a teenager and helped shape both the person and the writer I’ve become today.”
David Andrew Wilson said: “I am so excited to be bringing ‘Drag Addict’ to HOME in Manchester. So much of this musical was written in lockdown when Matt, Arlene and I were just dreaming about what it would be like to be back on Canal Street. And now, here we are, about to open in Manchester! Writing pop music has always been my number one passion and I am so excited that I’ve had the opportunity to write a show that incorporates modern pop to 90s dance to Broadway big band in an entirely original score. It’s time to Slay the Runway!”
Arlene Phillips said: “When I moved from Manchester to London in the 1970’s, many people found an escape in my dance classes from a society that still frowned upon their sexuality. It became a place where they were free to express themselves through dance in any way they wanted. It has been my dream to create a musical that embraces my love of drag and the LGBTQ+ community. I was lucky enough to have two creative friends in my life, Matt Cain and David Wilson, that I could I bring together to make it a reality.”
Cast and full creative team to be announced.
Produced by JAS Theatricals, Aria Entertainment and HOME.
Matt Cain – Writer Born in Bury and brought up in Bolton, Matt Cain is a writer, broadcaster, and a leading commentator on LGBTQ+ issues. He’s bestselling author of novels ‘Becoming Ted’, ‘The Secret Life of Albert Entwistle’ and ‘The Madonna of Bolton’. He’s written for all the major national newspapers and between 2016 and 2018 was Editor-in-Chief of Attitude magazine. He’s a regular presenter on Virgin Radio Pride and from 2010 to 2013 was Channel 4 News Culture Editor. He’s also an ambassador for Manchester Pride and the Albert Kennedy Trust, plus a patron of LGBT+ History Month. ‘Drag Addict’ is his first musical.
David Andrew Wilson – Writer David Andrew Wilson is a composer from Harrogate, North Yorkshire. He studied music and songwriting at the Liverpool Institute for Performing Arts. After graduating, he toured the UK’s club scene as part of dance/pop band ‘Untouched’. He moved into Musical Theatre in 2011 and has been Head Of Music at Andrew Lloyd Webber’s company The Really Useful Group since 2013. Credit highlights in this role include ‘School Of Rock’ and ‘Starlight Express’ (where he first met Arlene Philips). Most recently, he was the UK Musical Supervisor for ‘Bad Cinderella’ on Broadway. He was the Associate Music Producer of the ‘Cats’ movie and worked closely with international pop sensations Taylor Swift and Jenifer Hudson as well as theatre royalty Dame Judi Dench and Sir Ian McKellen. ‘Drag Addict’ is David’s third musical as a composer and he is excited to be combining three of his favourite things – musical theatre, pop music and drag – into one fierce, uplifting and heartwarming show!
Arlene Phillips – Concept Development / Choreography Arlene Phillips is a world-renowned choreographer and theatre director, honoured as a DBE for services to dance and charity. She is a lifelong ally of the LGBTQ+ community, and first came to prominence when she created the hugely popular dance group Hot Gossip. When Arlene moved from her hometown of Manchester to London in the early 1970’s, her dance classes became a go-to haven for the gay community when there was still a fear of being outed. Everyone from dancers, lawyers, market traders, pop stars and drag artists, went to Arlene’s classes and relayed their stories, which inspired her to one day create a musical about their world. ‘Drag Addict’ became a reality when she introduced two brilliantly creative friends, David Wilson and Matt Cain, with a dream to make this happen. Included in Arlene’s extensive choreographic credits are West End musicals such as ‘Starlight Express’, ‘Grease’, ‘We Will Rock You’, and Bridge Theatre’s immersive ‘Guys and Dolls’; Hollywood films like John Huston’s ‘Annie’, Allan Carr’s ‘Can’t Stop The Music’, ‘Monty Python’s Meaning of Life’; music videos for the likes of Elton John, Queen, Whitney Houston, Diana Ross and Tina Turner. As a director, Arlene’s credits include ‘The Cher Show’ and ‘Saturday Night Fever’, and as a dance judge, for hit TV shows including ‘So You Think You Can Dance’ and ‘Strictly Come Dancing’.
Jonathan O’Boyle – Director Jonathan trained as an actor at the Royal Central School of Speech and Drama and as a director at Birkbeck, University of London. Directing credits include ‘Wish You Were Dead’ (UK tour), ‘Looking Good Dead’ (UK tour), ‘The Last Five Years’ (Garrick Theatre, Off-West End Awards for Best Director and Best Production); ‘Top Hat’ (Mill at Sonning) ‘Hair’ (Hope Mill Theatre/The Vaults/UK & European Tours, WhatsOnStage Award for Best Off-West End Production); ‘A Guide for the Homesick’, ‘Rasheeda Speaking’, ‘Bash Latterday Plays’ (Trafalgar Studios); ‘Dear Brutus’ (Southwark Playhouse); ‘The View Upstairs’ (Soho Theatre); ‘Rain Man’ (Bill Kenwright/UK tour); ‘Aspects of Love’, ‘Pippin’ (Hope Mill Theatre/Southwark Playhouse); ‘Cruel Intentions’ (Palais du Variété/Bill Kenwright); ‘This House’ (Headlong/UK Tour, co-directed with Jeremy Herrin); ‘The Astonishing Times of Timothy Cratchit’ (Hope Mill Theatre); ‘Proud’ (Turbine Theatre); ‘Rogers and Hammerstein’s Cinderella’ (Cadogan Hall); ‘Peter Pan’ (Park Theatre); ‘Four Play, Sense of an Ending’ (Theatre503); ‘The Surplus’, A’ll The Ways To Say Goodbye’ (Young Vic); ‘Made In Britain’ (Old Red Lion); ‘The Wedding Singer’, ‘Nice Work If You Can Get It’, ‘Season’s Greetings’ (ArtsEd). Associate Director credits include: ‘An American In Paris’ (Dominion Theatre); ‘The Judas Kiss’ (Brooklyn Academy of Music/Ed Mirvish Theatre, Toronto); ‘The Scottsboro Boys’ (Young Vic). Jonathan is the Director of the School of Musical Theatre at ArtsEd.
JAS Theatricals – Producer JAS Theatricals (formally Kilimanjaro Theatricals) was established by Stuart Galbraith and theatre producer Joshua Andrews to produce, co produce and general manage stage productions around the world. Their first productions together saw them acting as co-producers on ‘9 to 5’ in the West End, ‘Hadestown’ on Broadway – which won the Tony Award for Best Musical, ‘Noises Off’ at The Garrick, ‘Muriel’s Wedding – The Musical’ in Australia, ‘On Your Feet’ at the London Coliseum and ‘The Last King of Scotland’ at Sheffield Theatres. Current projects they are involved in include ‘Pretty Woman’ (Savoy), ‘Hadestown’ and ‘Pretty Woman’ (US tours), the multi Olivier Award winning ‘Life of Pi’ (West End) and Agatha Christie’s ‘The Mirror Crack’d’ (UK tour).
JAS Theatricals is currently the lead UK producer on the new hit comedy whodunnit ‘Cluedo’ and the new Tom Jones musical, ‘What’s New Pussycat?’, that received rave 5-star reviews on its premiere in Birmingham at the end of last year.
Stuart Galbraith is the CEO of Kilimanjaro Group whose ownership includes Kilimanjaro Live, Fane Productions, FORM, Singular Artists, Let’s Rock Festivals and Belladrum Festival (Scotland). The group of companies produces and promotes music concerts, musical theatre, comedy, spoken word, festivals, family events and social media events, working with shows and artistes as diverse as Ed Sheeran, Andrea Bocelli, Stereophonics, Kew the Music and The Illusionists. The group of companies sells over 1.5 million tickets per year.
Joshua Andrews produced for Bill Kenwright, before setting up his own venture to produce and general manage plays and musicals, via which he has produced the successful play franchise of Peter James novels, the Olivier Award winning ‘An American In Paris’ in the West End and Kay Mellor’s ‘Fat Friends – The Musical’ on a major UK tour. A Tony winning and two time Olivier Award nominated producer, he also co produced ‘A Streetcar Named Desire’, starring Gillian Anderson, with The Young Vic in London and at St. Ann’s Warehouse in New York. Other projects include stage adaptations the global best selling novel, ‘The Girl On The Train’ (Tour and West End), Kay Mellor’s iconic TV series, ‘Band of Gold’ and he is currently a co-producer on ‘Pretty Woman’ (West End and US tour).
Aria Entertainment – Producer Aria Entertainment was founded in 2012 by Producer Katy Lipson. In 10 years, she has produced over 80 productions in the West End, Off-West End and across the UK. Her most recent credits have included ‘Cruise’, which received an Olivier nomination for Best New Play and is now being developed as a film after two sell-out runs at the Duchess Theatre and Apollo Theatre, and the critically acclaimed transfer of ‘The Last Five Years’ to the West End. She is also a producer of several major UK tours including ‘The Osmonds’, ‘The Cher Show’, ‘Hair’, ‘The Rise and Fall of Little Voice’ and ‘The Addams Family’.
For several years, Katy was the Producing Artistic Director of the renowned Hope Mill Theatre in Manchester, creating and producing productions, many of which transferred to London. During her tenure she worked with Stephen Schwartz on creating a re-imagined version of ‘Rags’ and presented the first production of Jerry Herman’s ‘Mame’ in the UK for over 50 years. In 2017, Lipson was awarded the Best Producer award by the Off-West End Awards and in 2019 was nominated for International Producer of the Year by the League of Professional Theatre Women in New York. She is a recipient of the Stage One Bursary and Start Up Award and works as a mentor on their Bursary and Bridge the Gap programmes. In 2018 she was included in “The Stage 100” list and in 2019 and 2020 for her work at Hope Mill Theatre, Manchester and again in 2021 for her work as a solo producer. Lipson is at the forefront of new musical development in the UK, having set up the From Page to Stage festival to support new musicals at all difference stages of development. In six years, From Page to Stage has given a platform to over 100 new musicals; many of which have gone on to have full productions and be licensed worldwide. It is a keen passion of hers to cultivate new musicals that can have a long lasting legacy in the West End, on Broadway and all around the world.
HOME – Producer HOME is Manchester’s centre for international contemporary culture. Since opening in May 2015, HOME has welcomed over four million visitors to its two theatres, five cinemas, art gallery, book shop and restaurants. HOME works with international and UK artists to produce extraordinary theatrical experiences, producing an exciting mix of thought-provoking drama, dance, and festivals, with a strong focus on international work, new commissions and artist development. HOME’s ambition is to push the boundaries of form and technology, to experiment, have fun, take risks and share great new art with the widest possible audience. The patrons of HOME are Danny Boyle, actress Suranne Jones, playwright and poet Jackie Kay CBE, artists Rosa Barba and Phil Collins, filmmaker Asif Kapadia, and actress and author Meera Syal CBE. www.homemcr.org | @HOME_mcr | Facebook HOMEmcr
LISTINGS INFO
JAS THEATRICALS, ARIA ENTERTAINMENT and HOME present
DRAG ADDICT THE MUSICAL
Written by Matt Cain and David Andrew Wilson Concept development by Arlene Phillips
To celebrate his 75th birthday, and as a fun fundraiser for Great Ormond Street Hospital, Gyles Brandreth, with his friend Dame Judi Dench, has put together an event, with a potentially record-breaking number of theatrical Dames simultaneously on stage on Sunday 05 March.
This sold out, unmissable event at the London Palladium is now available to watch live (and on demand for one week after 05 March) for just £25, with all proceeds going to GOSH: the Great Ormond Street Children’s Charity.
To stream this special, once in a lifetime event – please click here.
This extraordinary party at the London Palladium on Sunday 5 March has Gyles telling hilarious and revealing stories of all the great Dames he has been lucky enough to know – from Dame Olivia de Havilland to Dame Barbara Windsor – and inviting the great theatrical Dames of our time on stage to share their favourite stories – and treat us to their best party pieces! Expect songs, sonnets and surprise star guests…
Proceeds from ticket sales will be donated to GOSH Charity, to support seriously ill children from across the UK who travel to Great Ormond Street Hospital (GOSH) for specialist care. GOSH Charity helps to fund pioneering medical research, state of the art equipment, support services for children and their families like parent accommodation and the hospital’s dedicated play team, and the vital rebuilding and refurbishment of the hospital.
LISTINGS
LONDON PALLADIUM
SUNDAY 5 MARCH 2023 AT 3.00 PM
AVAILABLE TO STREAM FOR £25.00 ONLY.
Please click HEREto stream it live, or you can watch it for one week only after the event.
BRAND NEW MUSICAL COMEDY TWICE NIGHTLY PERFORMS AGAIN THIS SPRING
Award-winning musical follows double-act Don and Madge in the 1930’s golden age of variety theatre and features the voice of Joe Pasquale
Show visits venues in Liverpool, Prescot, Settle, Bridgnorth, Wirral, Middlesborough and Blackpool during April and May
A sparkling new stage musical about the golden age of variety theatre, set in the 1930’s is hitting the road again this spring with a tour visiting venues across the UK.
After premiering and captivating audiences at Liverpool Theatre Festival, winning best new production, Twice Nightly will open for three nights at Liverpool’s Royal Court from 27-29 April before heading to the new Shakespeare North Playhouse in Prescot, the historic Victoria Hall in Settle, Theatre On The Steps in Bridgnorth, Gladstone Theatre in Wirral, Middlesborough Theatre and finishing at Blackpool Grand.
Twice Nightly is a brand-new musical comedy brought to you by Bill Elms Productions (Something About George/Judy & Liza) and the newly formed Frame This Presents, written by, choreographed, and starring Maria Lovelady as Madge and Michael Alan-Bailey as Don, also featuring Roy Carruthers as The Great Wally and the voice ofJoe Pasquale as The Beak. The show is directed by Waleed Hammad and with original music and score by Jessica Dives.
It’s 1931 and variety is the spice of life. Liverpool’s theatres are sizzling with the hottest star turns of the day and there’s something for every taste! Don and Madge, a song and dance double act, are living the sweet life… until things turn sour. A night they can’t remember finds them in hot water and if they want to be back on stage for their second show, they must act fast! Tales of a bolshy parrot, a Strong Man and The Great Wally all add to the flavour, but the imposing pandemic of cinema makes the duo stew over what life in the theatre means to them. Featuring original songs and celebrating theatre’s golden years, this homemade comedy will leave you wanting second helpings!
A weekly podcast of the same name also accompanies the show which has regular interviews and chats about all things Variety theatre, from the beginnings of music hall to modern day cabaret. Guests have included Anne Reid, comedian Joe Pasquale and The Chase star Jenny Ryan. https://anchor.fm/twicenightlythepodcast
Liverpool-born actors Maria Lovelady and Michael Alan Bailey created the Twice Nightly in 2021 and also star in the show, Maria is best known for playing Helen Forrester in Twopence to Cross The Mersey and By The Waters Of Liverpool and Michael has recently performed in The Wizard Of Oz and Masquerade.
Maria and Michael said “It has been a real privilege, when writing a show about Variety Theatre, to have the support and contribution from one of the best and most loved variety performers in the country. Joe doesn’t only bring his voice and hilarious personality to the production, but everything that ‘Twice Nightly’ celebrates.”
Actor and comedian Joe Pasquale said“I loved the script as soon as I read it and it is an absolute pleasure to be part of this hilarious new musical, if only in voice. Maria and Michael are a talented pair, come along and see it, you are in for a treat, this is a show I believe will go far.”
Producer Bill Elms commented:“I loved this new musical from the very first time it performed at Liverpool Theatre Festival’s new works event and winning best production which secured a slot for a second showing at the main festival. Audiences love the show, it’s a great piece of writing and a wonderful score. I am really pleased to be co-producing the show and ensure it is seen across the UK, starting with a short tour in Spring and with further dates in the planning.”
A MAJOR NEW UK REVIVAL OF BARNEY NORRIS’ AWARD-WINNING PLAY
OPENING AT THE WATERMILL 31 MARCH – 22 APRIL
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Casting has been announced for VISITORS the major new UK revival of Barney Norris’ award-winning play that will run at The Watermill Theatre Friday 31 March until Saturday 22 April.
Edie’s mind is starting to falter and Arthur’s legs aren’t what they were but, from the comfort of their armchairs, they dive into a kaleidoscope of memories from their life together. In their sleepy farmhouse at the edge of Salisbury Plain, they await the arrival of a young visitor and a reunion that will expose a family whose closeness is fraying at the seams.
Nathalie Barclay, whose stage credits include Boeing Boeing (UK tour), Positive (Park Theatre) Antigone (The Lowry & UK tour), and whose screen credits include Killing Eve (BBC America/AMC) and Trigonometry (BBC), will play ‘Kate’.
Tessa Bell-Briggs, whose extensive stage credits include Steaming (Harold Pinter Theatre); Situation Comedy (The Ambassadors Theatre); The Daughter-in-Law (Arcola Theatre);; The Outsider and As Good a Time as Any (The Print Room at the Coronet), and whose screen credits include This Way Up and Skins (Channel 4); The Brittas Empire (BBC), Poirot: The Third Girl (Granada), will play ‘Edie’
Christopher Ravenscroft, best known for his role as Inspector Mike Burden in The Ruth Rendell Mysteries, and whose recent stage credits include Witness for the Prosecution (County Hall), Humble Boy (Orange Tree Theatre) and many roles at the Royal Shakespeare Company will play ‘Arthur’.
Patrick Toomey, whose recent screen credits include Nolly (ITV) and The Crown (Netflix) and whose extensive stage credits include The Sugar House(Finborough Theatre); The Remains Of The Day(Out Of Joint); The Exorcist(Bill Kenwright UK tour); will play ‘Stephen’.
It will also be directed by Barney Norris (The Wellspring – Royal and Derngate, Nightfall – The Bridge Theatre), an Associate Artist at The Watermill. His tender portrayal of a family on the cusp of major change, learning to live and love with dementia, is set in his beloved rural Wiltshire. Barney Norris is an award-winning playwright and acclaimed author of novels Undercurrent, Five Rivers Met on a Wooded Plain and The Vanishing Hours.
A life-affirming tribute to love and gratitude for a life well-lived, VISITORS premiered at the Arcola Theatre in March 2014. Following a national tour and a transfer to the Bush Theatre later that year, it was selected by Henry Hitchings for the Evening Standard and Mark Lawson for the Guardian as one of the best productions of 2014 and won the Critics’ Circle Award and the OffWestEnd Award for Most Promising Playwright for Norris. It was also nominated the Writers’ Guild of Great Britain Best New Play Award, and the Evening Standard Theatre Awards Charles Wintour Award for Most Promising Playwright, and Best New Play from the Offies Awards
Revisiting stories as we go through our lives is a pleasure nearly all of us know – we all see multiple productions of the same Shakespeare, re-read our favourite novels, re-watch our favourite films. Returning to a play I wrote as a younger man has been a fascinating way of marking the passing of my own time. When I first staged this play, nothing had ever really gone wrong in my life. Now, a decade older, having survived some difficult times, and been a carer myself – care and caring are central to the vision of love offered in VISITORS – I look back at this play and I can see how I have changed. That’s exciting and intriguing – it will lead to a different production, and I can’t wait to see how it develops.”
VISITORS will be directed by Barney Norris, with design from Good Teeth (a theatre design studio founded by James Perkins and Victoria Smart, Associate Artists at the Lyric Hammersmith), with lighting design by James Whiteside and with sound design and composition from Anna Clock. The stage management team are Caitlin Ravenscroft (DSM), Gracie Adlington (ASM) and Natalie Toney (ASM).
The Watermill is a 200-seat regional powerhouse, with an unparalleled reputation for producing bold, world-class theatre with local and national reach from its home in West Berkshire. It also has an extensive programme of community outreach, and schools touring work, and a firm commitment to diversity, education, and talent development.
In the wake of the shock news that The Watermill Theatre had 100% of its annual funding from Arts Council England cut, the Newbury venue has launched a new fundraising campaign – THRIVE. Individuals can donate from as little £1 to show their support and ensure that the work of The Watermill, and everyone who is part of its community, can continue to thrive. There is also the option of becoming a Friend of the Watermill, from as little as £30 per year.
