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BRENDA EDWARDS & LEE MEAD

TO STAR AS KILLER QUEEN AND KHASHOGGI

IN

2 JUNE – 27 AUGUST 2023

LONDON COLISEUM

TICKETS ON SALE NOW: WEWILLROCKYOULONDON.CO.UK

West End leading lady and Loose Women panellist Brenda Edwards will star alongside musical theatre stalwart Lee Mead this summer, in Queen and Ben Elton’s sensational smash-hit show ‘We Will Rock You’ at the London Coliseum. The rock theatrical returns to London 21 years after it exploded into the West End for a strictly limited 12-week season from 2 June – 27 August.

Brenda Edwards will star in the role of Killer Queen. She previously played the part in both the UK tour and the record-breaking Dominion Theatre run. Brenda first found fame on the second season of The X Factor, where she made it all the way to the semi-final. She has since had leading roles in hit musicals including Mama Morton in Chicago, Deloris Van Cartier in Sister Act The Musical and Motormouth Maybelle in Hairspray.

Lee Mead will star in the role of Khashoggi. As winner of the BBC One series ‘Any Dream Will Do’ in 2007, Lee was awarded the prize of the lead role in Joseph and the Amazing Technicolor Dreamcoat. His theatre credits include Billy Flynn in Chicago, Caractacus Potts in Chitty Chitty Bang Bang, Emmett Forrest in Legally Blonde and Fiyero in Wicked.

Ben Elton said: “I’m thrilled that the wildly talented Brenda Edwards and Lee Mead are starring in We Will Rock You. They’re guaranteed to blow your mind and after that they’ll blow the roof off!”

Brenda Edwards said: “I’m delighted to be stepping back into the shoes of the legendary Killer Queen and this time at the iconic London Coliseum! I can’t wait to work with Ben again, the hugely talented Lee Mead and the rest of the amazing company.”

Lee Mead said: “I’m so excited to be joining the cast of We Will Rock and can’t wait to bring Queen’s legendary songs back to the London stage. We start rehearsing in April – bring it on!”

Following critical acclaim for their performances in the UK tour, Olivier award nominated actor Ian McIntosh and Elena Skye, reprise their roles as Galileo Figaro and Scaramouche. Further casting to be announced.

The musical features 24 of Queen’s greatest hits and a hilarious script by Ben Elton – who returns to the director’s chair for this London homecoming – ‘We Will Rock You’ rivals the scale and spectacle of the band’s legendary live performances.

It has been 21 years since We Will Rock You premiered at London’s Dominion Theatre in 2002, where it was seen by six million people over 4600 performances during an astonishing 12-year run, becoming one of the most successful musicals in West End history and the longest runner at the Dominion by a margin of nine years. It also found unprecedented popularity around the world, playing to a global audience of 20 million across 28 countries.

‘We Will Rock You’ tells the story of a globalized future without musical instruments. A handful of rock rebels, the Bohemians, fight against the all-powerful Globalsoft company and its boss, the Killer Queen; they fight for freedom, individuality and the rebirth of the age of rock. Scaramouche and Galileo, two young outsiders, cannot come to terms with the bleak conformist reality. They join the Bohemians and embark on the search to find the unlimited power of freedom, love and rock!

‘We Will Rock You’ is produced by Phil McIntyre Live, Queen Theatrical Productions and Tribeca Theatrical Productions.

“Magnifico!”

The Sun

“One of the best shows I’ve seen in yonks. An evening of sheer entertainment and enjoyment”

Daily Mirror

“The sheer power of the best Queen numbers strikes hard”

Financial Times

“There was wild applause at the climax of the show…and it only got louder”

Daily Telegraph

“Spectacular”

Daily Express

Listings Information:

London Coliseum, St Martin’s Lane, London WC2N 4ES

First show: 2 June

Final show: 27 August

Evening performances: Monday, Wednesday* – Saturday at 7:30pm

Matinees: Thursday* and Saturday at 2:30pm, Sunday at 3pm

*Please note that Brenda Edwards will not perform on Wednesday evenings (except 23 August), Thursday matinees and 24 August.

Website: wewillrockyoulondon.co.uk

Twitter: @WWRYMusical

Instagram: @WWRYMusical

Facebook: facebook.com/wwrymusical

RUTH WILSON IN THE SECOND WOMAN

ON SALE DATES ANNOUNCED

A Young Vic & LIFT co-production

Produced in association with Ruth Wilson

THE SECOND WOMAN

Created by Nat Randall and Anna Breckon

Presented in proud association with House of Oz

Young Vic Theatre – Main House

Friday 19 May at 4pm until Saturday 20 May at 4pm

The Young Vic Theatre and LIFT today announce tickets for The Second Woman starring Golden Globe and Olivier Award winner Ruth Wilson in an epic 24-hour performance which will go on priority sale on Thursday 2 March, and on general sale on Monday 6 March at 12pm.

Tickets will be available for the full 24 hours, for allocated time slots and on-the-door, with full details available at www.youngvic.org

One woman, one scene, one hundred men, one electrifying 24-hour performance.

The UK premiere of The Second Woman sees Ruth Wilson (Luther, His Dark Materials, Hedda Gabler) take on this internationally acclaimed feat of endurance theatre and live cinema at the Young Vic commencing on Friday 19 May, at 4pm and concluding on Saturday 20 May at 4pm.

Over a full 24 hours, 100 different men are invited to star opposite Ruth Wilson, as she performs over and over a scene between a man and a woman in a relationship that has lost its creativity and romance.

In an epic endurance performance inspired by John Cassavetes’ film Opening Night, none of the 100 different Martys have met or rehearsed with Ruth Wilson’s Virginia and most of them are non-actors. 

This production, created by Anna Breckon and Nat Randall, is a collaboration between LIFT and the Young Vic, bringing together two of London’s most innovative cultural institutions with one of the world’s most celebrated actors.

Whether you choose to stay for 24 minutes or the full 24 hours, The Second Woman is a unique, cinematic theatre experience in which the stage offers the audience a wide-angle view of the action, while multiple cameras capture and share live close-ups.

Ruth Wilson said: “I have a feeling that The Second Woman will challenge all norms of what it means to be actor and audience, to be performer and observer. I’m interested in what happens in that space between us all; if we form a bond as we watch and anticipate the next play partner. This is a one-off, 24-hour experience of pure, spontaneous interaction. It will never happen again.”

Kris Nelson, LIFT Artistic Director and CEO, and Stella Kanu, Executive Director, said: “We are fortunate to have some amazing partners and not many come close to the Young Vic who have been working with us tirelessly to bring this show to London since 2019! This May, you’ll get to witness an incredible performance – a mesmerising concept by Sydney-based artists Nat Randall and Anna Breckon that’s all about power, gender and the negotiations we make within a couple. Over 24 hours Ruth Wilson will reveal why she’s one of the country’s most mercurial and astounding performers. Audiences are in for a real treat!”

Kwame Kwei-Armah, Young Vic Artistic Director, and Lucy Davies, Executive Director, said: “The Second Woman is live event theatre at its very best, starring Ruth Wilson in a formidable and truly unique performance. We are proud to present Nat Randall and Anna Breckon’s genre-defying work with our brilliant co-producer LIFT, and together bring audiences non-stop, unforgettable theatre over 24 hours.”

The Second Woman is a Young Vic Theatre and LIFT co-production, produced in association with Ruth Wilson, created by Nat Randall and Anna Breckon, presented in proud association with House of Oz.

Direction is by Anna Breckon and Nat Randall, Video and Camera Design by EO Gill and Anna Breckon, Lighting Design by Amber Silk and Kayla Burrett, UK Lighting Design by Lauren Woodhead, Music Composition by Nina Buchanan and Set Design by FUTURE METHOD STUDIO.

The Second Woman is supported by the Australian Government through the Australia Council, its arts funding and advisory body, and originally supported by Next Wave 2016.

TICKET INFORMATION

The Second Woman goes on sale to Young Vic Soul Mates, Friends and LIFT members on Thursday 2 March at 12pm and on general sale on Monday 6 March at 12pm via www.youngvic.org

Demand for tickets is expected to be exceptionally high and tickets are limited to two per booking. Following priority and general on sales, there will be on-the-door tickets throughout the performance, subject to availability.

Tickets types:

24-Hour Tickets

Guaranteed entry from 4pm on Friday 19 May for the entire 24-hour experience.

Advance Timed Tickets

Book in advance for one of the following time slots: 9.30pm, 12am, 2am, 4am, 6am, 8am or 10am and stay as long as you like from that point onwards.

On-The-Door Tickets

Turn up at any point throughout the performance, join the General Queue and get entry to the show on a first come first served basis as space becomes available.

For all ticket types:

Once seated, you can choose to stay until the performance ends at 4pm on Saturday 20 May or leave whenever you wish. Short breaks outside of the auditorium are permitted. If you choose to leave for a longer period, you will be able to re-enter without paying again, but will have to re-join the General Queue and wait to be re-admitted at the earliest available opportunity.

Full tickets details are available at www.youngvic.org

JANIE DEE TO JOIN CAST OF THE MOTIVE AND THE CUE AS FULL CAST ANNOUNCED

With a week to go before rehearsals begin, the full cast for Jack Thorne’s new play, The Motive and the Cue, directed by Sam Mendes, is revealed.

It is announced today that Janie Dee (Follies, Stephen Sondheim’s Old Friends A Celebration) will play Eileen Hurlie, joining Johnny Flynn as Richard Burton, Mark Gatiss as John Gielgud and Tuppence Middleton as Elizabeth Taylor.

The cast also includes Aaron Anthony, Tom Babbage, Allan Corduner, Elena Delia, Ryan Ellsworth, Phoebe Horn, Aysha Kala, Luke Norris, Huw Parmenter, David Ricardo-Pearce, David Tarkenter, Kate Tydman, Laurence Ubong Williams and Michael Walters.

This startling new play opening in the Lyttelton Theatre on 20 April, is inspired by the making of Burton and Gielgud’s Hamlet.

Richard Burton, newly married to Elizabeth Taylor, is to play the title in an experimental new production of Hamlet under John Gielgud’s exacting direction. But as rehearsals progress, two ages of theatre collide and the collaboration between actor and director soon threatens to unravel.

The Motive and the Cue was originally commissioned by Neal Street Productions and has been developed and co-produced by the National Theatre and Neal Street Productions. Set design is by Es Devlin, costume designer is Katrina Lindsay, lighting designer is Jon Clark, composer is Benjamin Kwasi Burrell, sound designer is Paul Arditti, video designer is Luke Halls, casting by Alastair Coomer CDG and Naomi Downham and associate director is Zoé Ford Burnett.

Inspired by Letters from an Actor by William Redfield and John Gielgud Directs Richard Burton in Hamlet by Richard L. Sterne.

The Motive and the Cue runs from 20 April to 15 July.

Tickets are on sale now and available to book via the NT website.

WEST END ‘ELPHABA’ LAURA PICK

TO LEAD ‘WICKED’ UK & IRELAND TOUR CAST

Laura Pick to perform the iconic ‘Defying Gravity’on

BBC’s ‘Big Night of Musicals’, set for broadcast later this year

www.WickedTheMusical.co.uk

WICKED,“one of the most successful musicals of all time” (BBC News), will fly to cities in England, Scotland, Wales, and the Republic of Ireland from December 2023, and producers today announce that the cast will be led by former West End ‘Elphaba’ Laura Pick. The spectacular touring production opens this Christmas at the Edinburgh Playhouse, where an incredible 70,000 tickets have already been sold, and continues to Bristol, Birmingham, Bradford, Southampton, Liverpool, Dublin, Sunderland, Cardiff, and Manchester. For full tour details, to book tickets, or to sign up to access priority booking, visit www.WickedTheMusical.co.uk.

Tonight, Monday 27 February 2023, Laura Pick will perform one of the musical’smost iconic songs, ‘Defying Gravity’, as the BBC records ‘Big Night of Musicals’ at Manchester’s AO Arena. The television broadcast of the musical extravaganza is set for the Spring.

Laura Pick (Elphaba) was born in Wakefield and trained at Mountview. She made her London stage debut in July 2013 in Rodgers and Hammerstein’s The Sound of Music at Regent’s Park Open Air Theatre. Her West End journey in Wicked began in 2017, when she was cast as the Standby for ‘Elphaba’. Laura subsequently assumed the starring role full-time, playing ‘Elphaba’ in the West End at more than 350 performances to huge acclaim.

Laura Pick said: “I’m thrilled to be leading the UK & Ireland tour cast of Wicked and to be given the opportunity to continue my journey in the unique and extraordinary role of Elphaba, which first began for me in the West End in 2017. Wicked has been a life and career-changing show for me and I am proud to be part of the cast taking this incredible musical back to theatres across the UK and Ireland.”

Michael McCabe, Executive Producer (UK & Ireland) of Wicked said: “Laura Pick’s powerhouse performance wowed West End audiences at more than 350 performances and we’re excited that audiences across England, Scotland, Wales, and the Republic of Ireland will now get to experience her thrilling vocals and passionate portrayal of Elphaba.”

Further casting to be announced. Laura Pick is scheduled to appear at all venues.

It takes over 100 people on-stage and behind the scenes to deliver performances of this award-winning touring production of Wicked. Featuring all the celebrated spectacle, magic, technical wizardry, and more than 350 stunning costumes, this touring production has been acclaimed as “every bit the West End show” (The Reviews Hub) and “the ultimate Broadway experience for audiences all over the UK” (The Northern Echo).

Stephen Schwartz and Winnie Holzman’smusical, based on the novel by Gregory  Maguire, imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum‘s beloved characters from The Wonderful Wizard of Oz and reveals the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming Glinda The Good and the Wicked Witch of the West.

The West End and Broadway musical phenomenon, that tells the incredible untold story of the Witches of Oz, continues its open-ended run at London’s Apollo Victoria Theatre, where it is already the 12^th longest running production in West End history.

Wicked has now been seen by more than 60 million people worldwide, and 2023 marks the 20^th Anniversary of its Broadway premiere. Productions continue on Broadway, in the West End and on tour across North America. This year, Wicked will also return to Sydney, Australia and Tokyo, Japan.

Wicked has won over 100 major international awards including 3 Tony Awards; 6 Drama Desk Awards; 2 Olivier Awards; 11 WhatsOnStage Awards (including 3 for ‘Best West End Show’); 6 Australian Helpmann Awards, and aGrammy.

Wicked features songs by multi-Oscar and Grammy Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt, Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted). It is based on the multimillion copy best-selling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Emmy and Tony Award nominee Winnie Holzman (creator of the landmark American television series My So-Called Life). Musical staging is by Tony Award-winner Wayne Cilento with direction by two-time Tony Award-winner Joe Mantello.

Stephen Schwartz and Winnie Holzman are currently collaborating on the two-part Universal Pictures film version of Wicked, directed by Jon M. Chu and starring Cynthia Erivo, Ariana Grande, Jonathan Bailey, Michelle Yeoh,and Jeff Goldblum.

Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt, and David Stone. Executive Producer (UK & Ireland) Michael McCabe.

Wicked – UK and Ireland 2023 – 2025 Tour Dates and On Sale information:

EDINBURGH Playhouse, Thursday 7 December 2023 – Sunday 14 January 2024

Tickets Now On Sale

BRISTOL Hippodrome, Tuesday 23 January 2024 – Sunday 25 February 2024

Tickets Now On Sale

BIRMINGHAM Hippodrome, Tuesday 5 March 2024 – Sunday 7 April 2024

Tickets on public sale 11am Thursday 9 March 2023 / Birmingham Hippodrome Friends Monday 6 March 2023 / Groups 10+ Wednesday 8 March 2023

BRADFORD Alhambra Theatre, Tuesday 16 April 2024 – Sunday 19 May 2024

Tickets Now On Sale

SOUTHAMPTON Mayflower Theatre, Thursday 23 May 2024 – Sunday 16 June 2024

Tickets Now On Sale

LIVERPOOL Empire, Thursday 20 June 2024 – Sunday 14 July 2024

Tickets on public sale Thursday 8 June 2023 / Theatre Card holders Monday 5 June 2023 / Groups 10+ Tuesday 6 June 2023

DUBLIN Bord Gáis Energy Theatre, Tuesday 23 July 2024 – Sunday 15 September 2024

Tickets on public sale in Spring 2023

SUNDERLAND Empire, Tuesday 24 September 2024 – Sunday 20 October 2024

Tickets on public sale Thursday 8 June 2023 / Theatre Card holders Monday 5 June 2023 / Groups 10+ Tuesday 6 June 2023

CARDIFF Wales Millennium Centre, Thursday 24 October 2024 – Saturday 23 November 2024

Tickets Now On Sale

MANCHESTER Palace Theatre, Tuesday 3 December 2024 – Sunday 12 January 2025

Tickets on public sale Thursday 8 June 2023 / Theatre Card holders Monday 5 June 2023 / Groups 10+ Tuesday 6 June 2023

The producers cannot guarantee the appearance of any artist, which is always subject to illness, injury, and statutory holiday entitlement. Please note that loud noises, flashing lights, smoke effects and strobe lighting feature in the production.

Official website: www.WickedTheMusical.co.uk

Twitter: @WickedUK  |  Facebook: /WickedUK  |  Instagram: @WickedUK

The Grammy Award-winning, Platinum-certified Original Broadway Cast Recording on Decca Broadway

STAR OF STAGE AND SCREEN KYM MARSH

& DAUGHTER EMILIE CUNLIFFE

TO STAR AS RACHEL AND YOUNG RACHEL IN

THE OFFICIAL TAKE THAT MUSICAL

GREATEST DAYS

UK AND IRELAND TOUR

FROM 6 MAY 2023

Producer Adam Kenwright is delighted to announce English singer, actress and TV presenter Kym Marsh and her daughter Emilie Cunliffe will star as Rachel and Young Rachel respectively in The Official Take That Musical GREATEST DAYS, with a book by award-winning playwright Tim Firth. The musical will embark on a major UK and Ireland tour from 6 May 2023 and will coincide with the summer 2023 release of the official movie version of this smash-hit musical, starring Aisling Bea and Jayde Adams. Celebrating the 30th Anniversary of Take That’s first ever UK number 1 single Pray, GREATEST DAYS features more than 15 record-breaking Take That songs alongside a heart-warming and hilarious story of love, loss and laughter from the award-winning writer Tim Firth (Calendar Girls, Kinky Boots). The musical follows a group of five best friends in the 1990’s who are obsessed with their favourite boy band. The girls then reunite more than 20 years later with a plan to see their heartthrobs one last time in what could be the Greatest Days of their lives.

Kym and Emilie will perform from 6 May in Bromley.

Further casting is to be announced.

Actress, presenter and singer Kym Marsh arrived on our screens back in 2000 while appearing on the hit reality TV show, Popstars. She went on to win a place in the band Hear’Say. During her time in the band, Kym achieved two UK number one singles and a number one album before leaving in 2002 to pursue a successful career as a solo artist. She went on to star in London’s West End, playing the role of Annette in the critically acclaimed musical, Saturday Night Fever. She appeared in BBC One’s Doctors and Channel 4’s Hollyoaks: In The City before joining the cast of ITV’s Coronation Street in the role of Michelle Connor in 2006, a part she would play for almost 14 years and during which time she won a string of prestigious awards for her work. Since then she has appeared in hit BBC One drama The Syndicate and can currently be seen on BBC One’s continuing drama, Waterloo Road, where she plays the role of Nicky Walters. In 2022 Kym made it to the quarter final of Strictly Come Dancing on BBC One with professional partner Graziano Di Prima and also played the iconic role of Alex Forest in a nationwide theatre tour of Fatal Attraction. She is a weekly presenter on hit daytime TV show Morning Live on BBC One.

Emilie Cunliffe has been singing and performing for as long as she can remember. Having trained with Carol Godby’s Theatre Workshop from a young age, she has appeared on BBC One’s The Voice and ITV’s Britain’s Got Talent. Emilie has recently finished recording her debut album which will be released later this year.

Speaking about the role and working with her daughter, Kym said: “I’m delighted to be returning to theatre and joining the cast of Greatest Days. I was in my early twenties when Take That were at the height of their fame and, of course, I was a huge Take That fan – who wasn’t? Their music takes me back to so many special times in my life as it will for so many other people. I’m thrilled to be working with my daughter, Emilie, too. She’s a real talent and I can’t wait to share the stage with her. Greatest Days is a wonderful, uplifting show with iconic music, a great storyline and I know people will love it.”

Emilie added “I’m really excited to be joining the cast of Greatest Days. I grew up listening to Take That with mum, so what an honour it is to be part of this brilliant musical celebrating their music. I’m really close to my mum and getting to work with her is a dream come true.”

GREATEST DAYS was originally produced as The Band by David Pugh & Dafydd Rogers + Take That. The UK tour of The Band originally opened at Manchester Opera House in September 2017, breaking box office records along the way.

The book of GREATEST DAYS is written by Tim Firth, with co-direction by Stacey Haynes and Tim Firth, Choreography by Aaron Renfree, Set & Costume Design by Lucy Osborne, Lighting Design by Rob Casey, Sound Design by Tony Gayle, Casting by David Grindrod Burton Casting, Musical Supervision by John Donovan, Costume Supervision by Martin Rodges.

The UK and Ireland Tour of Greatest Days by Tim Firth – The Official Take That Musical is produced by Adam Kenwright for Kindred Partners.

Website: greatestdaysmusical.com

Facebook: @GreatestDaysMusical

Twitter: @Greatest_Days

Instagram: @Greatest_Days

2023 / 2024 TOUR SCHEDULE

6 – 13 May                                Bromley Churchill Theatre                               0343 310 0020                                                   

                                                  www.churchilltheatre.co.uk                                                          

16 – 27 May                              Manchester Palace Theatre                                                                                                       

                                                       www.atgtickets.com/manchester                                    

29 May – 3 June                        Newcastle Theatre Royal                                0191 232 7010                                                   

                                                        www.theatreroyal.co.uk                                                 

5 – 10 June                               Woking New Victoria Theatre                                                                                                    

                                                       www.atgtickets.com/venues/new-victoria-theatre            

12 – 17 June                             Sheffield Lyceum Theatre                                0114 249 6000                                                   

                                                        www.sheffieldtheatres.co.uk                 

20 – 24 June                             Southend Cliffs Pavilion                                   0343 310 0030                                                   

                                                  www.thecliffspavilion.co.uk                                 

27 June – 1 July                        Cardiff Wales Millennium Centre                     029 2063 6464                                                 

                                                   www.wmc.org.uk                                  

3 – 8 July                                  Milton Keynes Theatre                                                                                                              

                                                       www.atgtickets.com/venues/milton-keynes-theatre         

10 – 15 July                              Liverpool Empire Theatre                                                                                                          

                                                 www.atgtickets.com/venues/liverpool-empire                 

17 – 22 July                              Wolverhampton Grand                                      01902 42 92 12                                                  

                                                  www.grandtheatre.co.uk                                                

24 – 29 July                              Cheltenham Everyman Theatre                          01242 572573                                                    

                                                  www.everymantheatre.org.uk                                         

31 Jul – 5 Aug                           Canterbury Marlowe Theatre                             01227 787787                                                 

                                                  www.marlowetheatre.com                                              

7 – 12 Aug                                Norwich Theatre Royal                                       01603 630 000                                                           

                                                 www.norwichtheatre.org                                                   

15 – 19 Aug                              Blackpool Opera House                                      0844 770 0593                                                   

                                                 www.wintergardensblackpool.co.uk                               

21 – 26 Aug                              Glasgow Kings Theatre                                                                                                            

                                                  www.atgtickets.com/venues/kings-theatre-glasgow        

28 Aug – 2 Sep                         Edinburgh Playhouse                                                                                                              

                                                  www.atgtickets.com/venues/edinburgh-playhouse/         

4 – 9 Sept                                 Nottingham Theatre Royal                                  0115 989 5555

                                                  www.trch.co.uk

11 – 16 Sep                              Bristol Hippodrome                                                                                                                  

                                                 www.atgtickets.com/venues/bristol-hippodrome              

18 – 23 Sept                             Bradford Alhambra Theatre                             01274 432000   

                                                  bradford-theatres.co.uk

26 – 30 Sep                              Southampton Mayflower Theatre                    02380 711 811                                                   

                                                  www.mayflower.org.uk                                                      

2 – 7 Oct                                   Royal & Derngate Northampton                      01604 624811

                                                  www.royalandderngate.co.uk

9 – 14 Oct                                  Brighton Theatre Royal                                                                                                                        

                                                   www.atgtickets.com/Brighton          

17 – 21 Oct                               Truro Hall for Cornwall                                     01872 262 466

                                                  www.hallforcornwall.co.uk                                              

23 – 28 Oct                               Leicester Curve                                                0116 242 3595

                                                  www.curveonline.co.uk                                                     

30 Oct – 4 Nov                         Hull New Theatre                                               01482 300306

                                                 www.hulltheatres.co.uk/

7 – 11 Nov                                Aylesbury Waterside Theatre                                                                                                    

                                                  www.atgtickets.com/venues/aylesbury-waterside-theatre        

14 – 18 Nov                              Sunderland Empire                                                                                                                   

                                                       www.atgtickets.com/venues/sunderland-empire              

21 – 25 Nov                              Leeds Grand Theatre                                           0113 243 0808                                                 

                                                       www.leedsheritagetheatres.com                                      

Further venues to be announced

Forum Theatre, Malvern – 25th February 2023

Reviewed by Courie Amado Juneau

5*****

Here in the Midlands we are blessed with having the CBSO close by so it’s easy to overlook visiting orchestras. But in Malvern the English Symphony Orchestra showed us why this is a tragic mistake as they blessed us with two works by Antonin Dvorak; his Cello Concerto and renowned Symphony no. 9.

From the first notes of the Cello Concerto it was obvious that this orchestra is exceptional, producing a sonorous beauty that captured ones heart. The strings were lushly romantic, supported by a muscular brass section and strong, athletic winds all punctuated by dramatic percussion! Our soloist for the evening, Maja Bogdanović, was equally impressive. All the requisite fireworks expected of a soloist in a Romantic work were there; the double and triple stopping and the convoluted, lightening fast runs up and down the fingerboard, Maja treated us to an assured display. But it was that middle section with its singing, heartfelt qualities in which she soared. I especially loved when she was supported just by the lower strings. Wonderful! Totally transported me to a different plane with her glorious tone and sensitive, generous reading. I also adored the interplay between her and the leader of the orchestra, first violinist Kate, in the last movement. Both ladies on the edge of their seats – they we’re almost doing a (sit down) dance together. These are the magic moments you only experience watching live music! After a much deserved, extended ovation we were thoroughly spoiled with a charming encore: “Raindrops” by the 8 year old Jean Sibelius. This pizzicato duet featuring Maja and Kate was the perfect way to lead us into the intermission with beaming smiles.

After the interval the ESO’s exceptional conductor, Kenneth Woods, gave us some background on Dvorak’s reason for going to America and introduced the famous “New World” Symphony, the composer’s all important 9th.

The first movement has (to my ears) something of the sunny uplands of Beethoven Pastoral Symphony about it. Given that Mr Woods had informed that Dvorak’s intention

was to weave into the work some of the natural beauty of America (the prairies) this made sense. Again the orchestra soared! The second movement gave us arguably the most famous part of the work (used in the Hovis adverts) and the grin grew even wider across my face. The 3rd movement opening reminded me of the second movement of Beethovens 9th and the 4th movement gave us an early prediction of film music (think John Williams). I’ve always liked this symphony but it’s never been one I would cite as a favorite. Hearing it played like it was this evening, it is now one I shall encourage everyone to hear live.

The ESO truly did these magnificent works justice, bringing them alive in glorious, panoramic, technicolour with crisp rhythms, exciting shifts of dynamics and all-round stunning playing that was simply sublime. Bravo one and all! A wonderful programme from a breathtakingly world class orchestra, I can’t wait for their next visit.

Harrogate Theatre – 24 February 2023

Reviwed by Sal E Marino

5*****

Imitating the Dog have produced yet another ground-breaking, edgy and innovative play in the form of Macbeth. What greatly appeals with this production is that by taking Macbeth into a dystopian modern context, making him a gang warlord in the seedy underbelly of a criminal world, we get to watch his downfall unfold in a place we can know exists but don’t ever want to go. It becomes a cautionary tale to all as a ‘not-what-to-do guide’ and therefore modern-day commandments. All around, cryptic graphics, mysterious images and extremely clever camera work flood the stage along with a young and very talented cast. This is what makes this production of Macbeth reach out to an audience who might be switched off by a traditional version; it’s more diverse and accessible to a wider audience. We ‘got’ the characters quickly due to their dark costumes, gestures and line delivery so it was easy to gage which timeline and story set we were in from the get-go.

The relationship portrayal of the couple; Macbeth (Banjamin Westerby) and Lady M (Maia Tamrakar) gave me feelings of bitter-sweet and tragic rather than totally toxic – which I’ve felt in other versions – but with these two, despite knowing the ending, you still find yourself thinking there might be a chance that they will just stop! See sense – the bigger picture and so go off and live happily ever after! On stage, they create that sense of a magnetic pull that of which soul mates share but due to their time and placement in the world, they end up becoming a dysfunctional co-dependant couple who will only end in a catastrophic mash-up until they both become aware of it. Both Westerby and Tamrakar being a younger pairing give the Macbeth’s a vulnerability that I’ve not felt before. In this setting, there is more of an understanding (not acceptance) of why they act like they do because being emersed in a gang-culture of: ‘dog-eat-dog’, paranoia, drugs, money and hopelessness creates a frequency of being in constant fear and thus creating an overwhelming hunger for survival.

Is this how it was for the ‘original’ Macbeth back in the 11th century or how Shakespeare felt in 1606? Probably similar but, due to thinking of Macbeth as an older, wiser and loyal soldier as in most other adaptations, there is less of a human response to his unforgivable actions – Duncan had treated him fairly so there is no justification whatsoever for his murder. Macbeth didn’t appear to be under any threat whereas in Imitating the Dog’s version, there is a feeling of suspicion and murder threatening Macbeth from the start.

Traditionally, the ambitious and power mad Macbeths go insane at the suggestion of becoming rulers and forget they are part of a human race; feeling nothing for their fellow man as being ‘at the top’ (monarchs) becomes their focus but, in this production, we can see that the very young Macbeth’s are trapped in a complex web of self and collective trauma (arisen from the childhood and the age they live in) and you wish they could see this and heal before what happens – happens.

The three other cast members: Laura Atherton, Stefan Chanyaem and Matt Prendergast all play multiple characters with their own unique twists perfectly. The clear diction, variety of tones, accents and larger-than-life personas give some intriguing interpretations of various characters. The ‘witches’ dress like punk – ‘Joker’ – villains but appear to be dark angels – suggesting things that trigger Macbeth’s cruel crusade of destruction and finally his downfall. As mentioned earlier, the set, lights, sound and props are all first-class and kudos must be given all round to such a brilliant creative team. The creatives really make this production stand out and I think even a non-Shakespeare lover will enjoy this production of Macbeth as it has a high appeal to all from the higher end of teenager – up. (Imitating the Dog recommend 14 plus – but you need to enquire further about the content if you have any concerns).

Macbeth’s tragic tale is centuries old, and you’d think we’d have learnt by now that power over others is not what serves humankind well whereas being sovereign in our own right, so bringing equality and harmony with one another does. Unfortunately, until we learn that lesson, the pattern will just repeat itself. Imitating the Dog have shared this message with us again on a new timeline brilliantly and with a highly stimulating, fresh aesthetics.

Shoreditch Town Hall, London – until 11th March 2023

Reviewed by Celia Armand Smith

3***

Following the widely praised and trail blazing “I, Joan” at the Globe last year, comes Charlie Josephine’s new play “Flies”. Flies is inspired by and a response to William Golding’s classic 1954 novel Lord of the Flies.

Co-produced and co-commissioned by Boundless Theatre and Shoreditch Town Hall, and directed by Julia Head, the one act Flies is an electric take on the male gaze and how it impacts on young women and girls. The story is of seven girls, constantly being scrutinised by men, hitting puberty, and experiencing harassment, sexism, misogyny, pleasure, and fear. In a system that puts all the onus on women to keep themselves safe, Flies is about the stories that women tell each other, and the safe spaces and communities they seek out.

The cast is made up of Brit School actors and alumni Afriya-Jasmine Nylander, Annabel Gray, Ellie-Rose Amit, Louisa Hamdi, Pearl Adams, Rosa Amos and Willow Traynor. Many, if not all of them making their professional acting debut. The cast had a synchronicity and rhythm in both speech and movement that made them magnetic and watchable. The production is designed by Cat Fuller, and utilises the small space and in-the-round setting perfectly. A white seamless photography backdrop provides space for the cast to be the focus, plus projections are used to show a recent history of misogyny in the media. The lighting by Martha Godfrey changes with the ebb and flow in speech when the performers switch from conversation to narration to statement making including explanation from the writer in the form of “the writer would like you to know…”. Woven into the play were music and sound design by Nicole Raymond, and dance breaks with movement direction from Nandi Bhebhe. The dancing was chaotic but mesmerising, the cast filling the space and pulsing with energy.

The link to Lord of the Flies lingers above the production all the way through, occasionally making itself more obvious. Towards the end, the girls turn “feral”, destroying the set and finally escaping the watchful eye of the camera that had been recording them all along. They break free from the boundary of the white backdrop, something that they had been afraid to do, pulling each other back from the edge up to this point. Paint, costumes, and bodies are flung about, until it all comes to an abrupt standstill when a man (Stevie Raine) brings a focus back to the room.

Flies should be required viewing for all teenage boys, however I doubt many of them will see it at Shoreditch Town Hall. Having said this, it reinforced a lot of what I know and think as a woman living in the present day, and the young female cast gave me hope for the future. I also look forward to seeing them across stage and screen for years to come.

York Theatre Royal – until Saturday 4th March 2023

Reviewed by Michelle Richardson

4****

Celebrating 70 years of musicals, York Light Opera Company, are once again performing on the stage at York Theatre Royal. This year’s production is Sondheim’s wonderful, but dark musical Sweeney Todd.

Sweeney Todd tells the tale of barber Benjamin Barker, aka Sweeney Todd (Neil Wood), who returns to London after being wrongfully banished for 15 years, by malicious Judge Turpin (Craig Kirby) for a crime he did not commit. On his return he finds that his dear wife is dead with their daughter Johanna (Madeleine Hicks), under the guardianship of that same judge, and vows to seek his revenge. He befriends Mrs Lovett (Julie-Anne Smith) and sets up a barbers above her struggling pie shop. Just when Todd is about to exact his revenge, the opportunity is pulled out from under him, and the chance is gone. Incensed and enraged, he snaps, and starts slitting the throats of his unsuspecting clientele. With assistance of the ever-pragmatic Mrs Lovett, who suggests baking the flesh inside her meat pies, as meat is so scarce, as a way of disposing of the bodies. A pact is formed, and the murderous slaughter ensues.

Wood has dreamt of playing the title role since 1987, when he first saw the show. His vocals were excellent, but what really stood out for me was his portrayal of Todd’s downward spiral, the inner rage emanating from within him, it was compelling to watch.

Taking nothing away from the rest of the cast, the stand out of the show was Smith as Mrs Lovett. Her delivery of the many musical numbers was outstanding. With her frizzy orange hair, she was captivating, mischievous and fully embraced the character.

Other performances to note were Jonny Holbek as Tobias. He really came into his own during the second half, as he slips into insanity with the shock and horror that he has been dealing with. Hicks, playing Johanna, has a beautiful voice, especially with the lovestruck Anthony (Maximus Mawle), they really complement each other. Shout out to Kirby for stepping into the role with 3 weeks to spare as the sinister Judge, he deserved the boos during the finale, in a good way and a seal of approval from the audience.

This has a large cast of 39 and I was concerned that this would be too much, my fears were unfounded. The ensemble cast were truly magnificent when delivering their group performances. These group numbers were so powerful and added to a great experience.

During the interval I was chatting to a couple of members of York Light who had been working behind the scenes. Once of these ladies has been with them for 50 years, both front stage and back of house. She helped make the costumes for this production and this is her final swansong, I wish her all the best. The costume department has done such a wonderful job in creating so many costumes in such a short space of time.

The set was dark, with the barber shop above the pie shop, with the large oven being wheeled on and off the stage. The use of the barber chair had us all gasping when in use, I’m not going to say anything else, you just have to see for yourself.

York Light have created a great show that is full of terrific performances and musical numbers. Make sure you purchase their celebratory 70th programme, which is jammed packed through with articles and even comes with a poster.

This dark tale, with a few playful and funny moment thrown in, is thick with injustice, and though pretty macabre, you can’t help but feel some sympathy for Todd. What would you do if you were pushed to the end of your tether?

What is your favourite pie?

CAPITAL THEATRES IS DELIGHTED TO ANNOUNCE THAT THE KING’S REDEVELOPMENT CAN COMMENCE THANKS TO INCREASED FUNDING FROM CITY OF EDINBURGH COUNCIL AND SCOTTISH GOVERNMENT  

• City of Edinburgh Council (by an additional £3m) and Scottish Government (by an additional £3.85m) have both increased their investment in the redevelopment of the King’s Theatre. 
• On top of the £26.7m already raised, these pledges, along with additional fundraising since January, combine to £7.2m which accounts for the majority of the £8.9m funding gap which emerged last summer due to global conflict, changing trading routes and inflation.  
• With this money in place the Board of Capital Theatres, the charity which runs the council-owned King’s Theatre, is confident to proceed with the transformational redevelopment. The remaining shortfall of £1.7m will be raised throughout the life of the project.  
• This project is vital to preserve this beloved theatre for the Tollcross community, Edinburgh and Scotland making it a world-class venue which is accessible to all.