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THE WILDLY-ACCLAIMED DONMAR WAREHOUSE PRODUCTION TRANSFERS TO THE WEST END

NEXT TO NORMAL

Music by Pulitzer, Tony, Emmy and Grammy Award-winning composer TOM KITT

Book and Lyrics by Pulitzer Prize and Tony Award-winning writer BRIAN YORKEY

Limited season begins performances at WYNDHAM’S THEATRE, LONDON from 18 June 2024

For all information and tickets, visit www.nexttonormal.com 

Critic’s Pick
“As staged afresh in London under the astute eye of director Michael Longhurst, “Next to Normal” has a renewed sting. The result is transformative …there’s no more vital theatrical place to be.”
Matt Wolf, The New York Times

Monday 20 November, London – The critically acclaimed Donmar Warehouse production of the Broadway musical Next to Normal – which sold every seat at every performance across its season at Donmar Warehouse, where the production made its long-awaited UK Premiere – is to transfer to London’s West End.

It will begin performances at Wyndham’s Theatre on Tuesday 18 June 2024 for a strictly limited 14-week season.

When the landmark musical debuted on Broadway in 2010, Ben Brantley of The New York Times called it “Brave and breathtaking. It is something much more than a feel-good musical; it is a feel-everything musical.” And Peter Marks of The Washington Post called it “a moving, blisteringly honest, and inordinately powerful new musical stocked with beautiful songs that get to the heart of the story – and simply get to the heart.” Next to Normal went on to win three Tony Awards, including Best Original Score, as well as the Pulitzer Prize for Drama, one of only 10 musicals in history to receive the prestigious honour.

Next To Normal is an intimate exploration of family and illness, loss and grief. At its heart is Diana Goodman, a suburban wife and mother living with bipolar disorder and haunted by her past. Donmar Artistic Director Michael Longhurst directs this powerful rock musical.

Tickets go on priority on sale on Monday 27 November – sign up at www.nexttonormal.com. General on sale is Friday 1 December.

Michael Longhurst commented on the transfer:
“Some stories pierce the heart of the human condition: Tom and Brian’s astonishing musical does just that – facing our deepest vulnerabilities whilst celebrating our capacity to endure. The outpouring of emotion from audiences at the Donmar was incredible: you could hear audible sobs before they surged to their feet every single night – like nothing I’ve experienced. Tickets were impossible to come by, so I am beyond thrilled that more people will now be able to experience the work of this extraordinary creative team.”

Next To Normal’s creative team is led by Tony, Emmy and Grammy Award-winning composer Tom Kitt and Pulitzer Prize and Tony Award-winning writer Brian Yorkey.

Tom Kitt received the 2010 Pulitzer Prize for Drama, two Tony Awards for Best Score and Best Orchestrations, and the Outer Critics Circle Award for Outstanding New Score for Next to Normal. He is also the composer of If/Then (Tony nomination), Almost Famous (Tony nomination), Flying Over Sunset (Tony nomination), High Fidelity (Broadway), Bring it On, The Musical (co-composer with Lin-Manuel Miranda, Broadway), Superhero (Second Stage), Disney’s Freaky Friday (Signature Theater D.C), Dave (Arena Stage) among others. As a music supervisor, arranger, and orchestrator, credits include SpongeBob Squarepants, The Musical (Tony nomination), Head Over Heels, Hell’s Kitchen, Jagged Little Pill; Grease Live!, Rise (NBC), American Idiot and the Pitch Perfect franchise.

Brian Yorkey received the 2010 Pulitzer Prize for Drama, as well as the 2009 Tony Award for Best Score for Next to Normal (Second Stage Theater/Broadway). He was also nominated for the Tony Award for Best Musical and Best Book of a Musical for Next to Normal, and his work on the show earned him the Outer Critics Circle Award for Best Score. He partnered again with the Next to Normal team on If/Then (Tony Award nominee for Best Score) starring Idina Menzel. He co-wrote the libretto for The Last Ship (Outer Critics Circle Award nomination, with John Logan), with a score by Sting. His musical adaptation of Freaky Friday for Disney Theatricals enjoyed a national tour before being adapted into a Disney Channel Original Movie. Current theatrical projects in development include the original musical Jesus in My Bedroom, with composer Tim Symons. Additional theatre credits include Making Tracks, which has played off-Broadway and regionally, the musical adaptation of Ang Lee’s The Wedding Banquet, and the play, Book of Jobs with Alex Glover. Brian was the Executive Producer and Showrunner of 13 Reasons Why for Netflix, Paramount Television and Anonymous Content.

Michael Longhurst is the Artistic Director of the Donmar Warehouse. For the company, direction includes Next to Normal, Private Lives, The Band’s Visit (6 Olivier nominations), Force Majeure, Midnight Your Time (lockdown film), Teenage Dick, Europe, Belleville and the post-pandemic multicast revival of Nick Payne’s Constellations, which helped reopen the West End,broke box office records at the Vaudeville and won the 2022 Olivier Award for Best Revival. His production of Constellations previously ran on Broadway starring Jake Gyllenhaal and Ruth Wilson (Samuel J Friedman Theater, for MTC), in the West End starring Sally Hawkins and Rafe Spall (Duke of York’s, Evening Standard Award Best Play) originating at the Royal Court. His Chichester Festival Theatre production of Tony Kushner and Jeanine Tesori’s Caroline, or Change transferred to Studio 54 for Roundabout Theater on Broadway, via Hampstead Theatre and the West End, with Sharon D Clarke reprising her Olivier Award-winning performance. The Broadway production received three Tony nominations including Best Musical Revival.  Other theatre includes Amadeus featuring the Southbank Sinfonia (National Theatre/NTatHome), The Son (Kiln Theatre/Duke of York’s Theatre), Gloria (Hampstead Theatre), Bad Jews (Theatre Royal Haymarket/Theatre Royal Bath/UK tour & revival at the Arts), They Drink It In The Congo and Carmen Disruption (Almeida Theatre), ‘Tis Pity She’s A Whore, The Winter’s Tale (Shakespeare’s Globe), If There Is I Haven’t Found It Yet (Off-Broadway for Roundabout), Linda, The Art of Dying, Remembrance Day (Royal Court Theatre), A Number (Nuffield Southampton Theatres/Young Vic), Cannibals (Royal Exchange Theatre), The History Boys (Sheffield Theatres), Dealer’s Choice (Royal & Derngate), The World of Extreme Happiness (NT Shed), Stovepipe (site-specific promenade with the National Theatre, HighTide and Bush Theatre), Midnight Your Time(HighTide), On The Beach (Bush Theatre), On The Record, Gaudeamus (Arcola Theatre), dirty butterfly (Young Vic – winner of the Jerwood Directors Award) and Guardians (Pleasance/Theatre503 – Fringe First Award).

The creative team is rounded out by Musical Supervisor Nigel Lilley; Designer Chloe Lamford; Movement, Choreography and Additional Direction Ann Yee; Lighting Designer Lee Curran; Sound Designer Tony Gayle; Video Designer Tal Rosner; Casting Director Anna Cooper CDG, Musical Director Nick Barstow and Production Manager Chris Hay.

Casting for the West End run of Next To Normal is to be announced.

Next To Normal is produced by David Stone, James L. Nederlander and The Donmar Warehouse.

★★★★★
“Electrifying… beautiful… heartwrenching”
Sunday Express

 “Kitt and Yorkey’s decision to write about mental health implicitly rebukes those who think musicals can’t be serious. Their approach is compassionate, thoughtful, but also witty”
Evening Standard

★★★★★
“It tears at the heart in a way few musicals manage.”
Attitude

★★★★★
“A heart-shatteringly extraordinary piece of theatre. It has no heroes or villains, just ordinary people trying to survive intense heartache and the alienation of mental illness.”
Broadway World

 “Kitt and Yorkey’s musical combines a sensitive exploration of the issue with a wonderful score. Astonishing.”
Daily Telegraph

NEXT TO NORMAL | LISTINGS INFOMATION

Wyndham’s Theatre
Charing Cross Road
London
WC2H 0DA 

Creative Team
Music    Tom Kitt
Book and Lyrics   Brian Yorkey
Director   Michael Longhurst
Musical Supervisor  Nigel Lilley
Designer   Chloe Lamford
Movement, Choreography and Additional Direction Ann Yee
Lighting Designer  Lee Curran
Sound Designer   Tony Gayle
Video Designer   Tal Rosner
Casting Director   Anna Cooper CDG
Musical Director  Nick Barstow
Production Manager  Chris Hay

Performances
Performances begin Tuesday 18 June 2024
Final performance: Saturday 21 September 2024

Monday – Saturday performance at 7:30pm
Thursday & Saturday matinees at 2:30pm

Captioned Performance: Saturday 7 September at 2:30pm
Audio Described Performance: Saturday 14 September at 2:30pm

Website
www.nexttonormal.com

Social Media
Facebook, X, Instagram and Tik Tok @NextToNormalUK 

SAM MENDES’ THEATRE ARTISTS FUND ANNOUNCES ROLLOUT OF £1.5M TWO YEAR PILOT PROGRAMME

• 75% OF FUNDS HAVE BEEN RAISED FOR 20 MID CAREER PROFESSIONALS TO RECEIVE 2 YEAR CONTRACTS WITH 15 VENUES ACROSS THE UK
   
• TO DATE, 11 PARTNER ORGANISATIONS ARE ENABLING 15 SKILLED PROFESSIONALS WORKING IN CRAFT AND TECHNICAL DISCIPLINES IN SUPPORT OF THE STUDY
   
• PRODUCTION MANAGEMENT, DESIGN, COMPANY MANAGEMENT, LIGHTING, AUTOMATION, RIGGING, CARPENTRY, COSTUME, PROPS, DRAUGHTING, AND SCENIC ART ARE AMONG THE DISCIPLINES CURRENTLY SECURED
   
• RECIPIENTS WILL RECEIVE ADDITIONAL PAID MENTORING FROM ESTABLISHED FREELANCE PROFESSIONALS THROUGHOUT THEIR 2 YEARS
   
• PROFESSIONAL DEVELOPMENT WILL BE SUPPORTED BY THEATRE PEOPLE
   
• EVALUATION OF THE PILOT PROGRAMME PROVIDED BY TONIC THEATRE
   
• FUNDING CURRENTLY COMES FROM BACKSTAGE TRUST, GATSBY CHARITABLE FOUNDATION, MARIA BJORNSON MEMORIAL FUND, MACKINTOSH FOUNDATION, SWIRE CHARITABLE TRUST, JACQUELINE & RICHARD WORSWICK, MAMA EXHIBITION GROUP AND 1 ANONYMOUS DONOR

Following the announcement in 2021 that Sam Mendes’ Theatre Artists Fund would commence a two year pilot programme, investigating necessary support for mid-career artists by creating full time professional positions in arts organisations across the UK, the Fund is delighted to share further details of the pilot programme.

The programme has been designed to address the huge shifts in the creative workforce (towards film, tv, other careers) exacerbated by the pandemic. Largely affecting mid-career professionals – the ‘exodus’ is also impacting people looking to enter the industry as there are now fewer experienced practitioners on-hand to support essential professional development. This pilot seeks to embed skilled people back into buildings, provide financial stability and value them. A range of models for improvement are being explored, with a view to creating a blueprint for the future. 

Funding is nearing completion to enable 20 individuals to be offered full time two year positions in backstage roles throughout the industry. Up to 15 partner organisations will host the positions. Each individual has been offered a full time post with commensurate salary, in addition to which there are plans for them to receive mentorship from industry professionals throughout their time in the scheme and additional learning and professional development provided by Theatre People.

Sam Mendes said: ‘This is proof that at least something good has come out of the pandemic, despite the fact that theatre and its practitioners suffered substantially during that time. I very much hope that this is the beginning of a scheme that will help many more theatre freelancers over the next few years. After all, those people are – and have always been – the beating heart of the theatre industry.’

The organisations signed up so far are Theatre Royal Plymouth, York Theatre Royal with Wise Children, Leeds Playhouse, Chichester Festival Theatre, Lyric Theatre, Belfast, Nottingham Playhouse (with Rocket and Glitter Productions), Unicorn Theatre, Kiln Theatre, National Theatre with National Theatre Productions, National Theatre of Scotland, and Theatr Clwyd.

Participants are undertaking roles in a wide range of departments including Production Management, Design, Company Management, Lighting, Automation & Rigging, Costume, Props, Draughting and Scenic Art.

I graduated in Theatre Design and Production in 2003 and worked my way up through the Wardrobe ranks at Chichester Festival Theatre and various UK tours and West End shows. I changed direction to make time for my family and went into teaching; but much as I enjoyed encouraging the next generation of theatre makers, I really missed working in theatre. This scheme has enabled me to get back into the industry I love.

Helen Flower, Senior Costume Assistant, Chichester Festival Theatre

Everyone in the industry is acutely aware of the challenges for freelance artists, particularly in the wake of the pandemic. The Theatre Artists’ Fund is providing invaluable, practical and financial assistance for both mid-career artists and theatres in helping to smooth out obstacles in the pathway to employment and enabling talent development. It’s win-win for both sides and we’re immensely grateful for their support.

Justin Audibert, Artistic Director, Chichester Festival Theatre

My time as Company Manager at Kiln has been great in terms of career development for me. I have been able to hone and grow my skills and confidence in a supported environment. There have been opportunities and experiences that have challenged me such as transferring the Kiln production of The Wife of Willesden into ART in Boston and BAM in New York City.

I have also been involved in recruitment for roles in Kiln’s production department and as a result have given support and mentorship to less experienced freelancers. I am passionate about this part of the role because the backstage industry is lacking in people from underrepresented backgrounds, particularly those from the Global Majority and if people can see and learn from those like themselves, we may begin to break down some of the barriers to access. 
EJ Saunders, Company Manager

The Theatre Artist’s Fund pilot programme has allowed us to employ EJ as Kiln’s full-time Company Manager, a role that is proving invaluable to us. We have been able to increase our capacity to deliver excellent productions whilst also ensuring we are always providing pastoral support for our freelance workforce. We have also been able to increase our efforts to demystify technical, production and stage management careers – EJ has been absolutely instrumental in this work.
Nicki Brown, Head of Production

The pilot is operating in phases, responding to the recovery needs of each organisation which has the facilities and opportunities to enable mid-career professional development. Early partnerships and placements began in October 2022 whilst later partnerships and placements will complete by January 2026 at the latest. The final evaluation will be ready in early Spring 2026.

A LAMBERT JACKSON, CUFFE AND TAYLOR AND LIVE NATION PRESENTATION

CARRIE HOPE FLETCHER – LOVE LETTERS

BRAND NEW UK CONCERT TOUR

13 VENUES: OPENING SEPTEMBER 2024

Following the huge success of her UK Concert Tour, ‘An Open Book’, actress, author, vlogger and award-winning West End sensation Carrie Hope Fletcher is heading out on a brand-new UK concert tour in 2024. CARRIE HOPE FLETCHER – LOVE LETTERS will play thirteen venues around the country, kicking off on 27 September.

CARRIE HOPE FLETCHER – LOVE LETTERS will see the musical theatre star explore all forms of love; from romantic to maternal, unrequited to obsessive, showcased through a composition of stunning musical theatre classics.

Don’t miss this wonderfully intimate concert that promises to warm and break your heart in equal measure.

Sign up to presale from 9am on Monday 20 November. Tickets for the tour will go on Artist presale on Tuesday 21 November at 9am and public sale will open at 10am on Friday 24 November.

Presale sign up link: https://mailchi.mp/lambertjackson/carriepresale

CARRIE HOPE FLETCHER – LOVE LETTERS TOUR SCHEDULE 2024

GUILDFORD – Yvonne Arnaud Theatre – Fri 27 & Sat 28 September 2024

CANTERBURY – Marlowe Theatre – Sun 29 September 2024

LONDON – The London Palladium – Tue 1 October 2024

TRURO – Hall For Cornwall – Wed 2 October 2024

IPSWICH Regent Theatre – Fri 4 October 2024

BATH – The Forum – Sat 5 October 2024

CARDIFF – Wales Millennium Centre – Sun 6 October 2024

YORK – The Barbican – Tue 8 October 2024

GLASGOW – Royal Concert Hall – Wed 9 October 2024

SALFORD The Lowry- Fri 11 October 2024

GATESHEAD – The Glasshouse, Sage One, Sat 12 October 2024

BIRMINHGAM Symphony Hall – Mon 14 October 2024

EDINBURGH Festival Theatre – Tue 15 October 2024

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

Royal Shakespeare Theatre, Stratford-Upon-Avon – until 7th January 2024

Reviewed by Amarjeet Singh

4****

The Box of Delights is a children’s fantasy novel written by John Masefield and published in 1935 to the delight of children everywhere. It was then developed into a 6-part television series broadcast in 1984 with the intention of creating “the ultimate in children’s drama”. It’s a combination of magic, adventure, imagination, hope and good triumphing evil. It sits in the hearts of those who encountered it when they were young and sits shoulder to shoulder with the best children’s stories.

Orphaned Kay Harker is returning from boarding school to spend Christmas with his governess and fellow young people whose parents are absent. During the train journey, he encounters both the sinister and beguiling, and thus begins his adventures where he finds himself embroiled in a battle between factors to possess a magical box. The box is unbelievably powerful, It allows the owner to shrink in size, to fly, to go into the past and to enter the magical world within the box itself. Kay goes on a journey of discovery as he protects the box from those who wish to use it for bad deeds and finds himself having to save his friends, to save Christmas and to finally come to terms with the loss of his parents.

Piers Torday took on a huge task to adapt this otherworldly behemoth onto the stage, but he pulls it off for the most part in a spectacularly Christmassy fashion. The script is overly wordy in some parts and sparse where it should really matter. Prolonging certain scenes with no real purpose and speeding through poignant crucial parts of the story seemed a very odd choice. However, that aside, condensing the book into a performance lasting just over 2 hours is a true achievement in itself.

Nina Dunn and Matthew Brown’s resplendent video design is astounding. Within moments we were transported from a train station to a house, to a craggy mountainside and then we were witnessing the magic, which was cast by the box, via projections. Along with ariel swings, swaths of material to represent water, boats appearing from no where and such clever and multipurpose uses of the static set, Director, Justin Audibert has achieved an utterly absorbing and fantastical play. Other than some clunky transitions, it’s truly a feast for the eyes.

Samuel Wyer’s puppetry is perfection. It’s such a surprise to see Barney the dog bound on stage with his ever-wagging tail and it’s exciting to witness a tiny Kay skulking in the shadows. The breath-taking phoenix was a sight to behold, made mobile by many hands with swirling fan wings and bejewelled lit up eyes and abdomen. Ed Lewis’ musical score included songs and carols sung by the cast adding a true Christmas like feel to the production.

It was wonderful to watch a truly diverse cast. Callum Balmforth is an enthusiastic Kay, his tone seemed to be stuck at perpetual surprise, some light and dark would have added some layers to the performance. His physicality and charm were endearing as were his puppeteering skills with Mini Kay. Mae Munuo gave a powerhouse performance as Maria, shooting from the hip, oozing with sass, a true joy to watch. Jack Humphrey was a fabulous ying to her yang, playing her rather wet brother. Stephen Boxer is an arresting Hawlings, Richard Lynch an increasingly comical Abner, although again, some light and dark in his performance would have given it more depth. Claire Price was resplendent as witch/crook Sylvia Daisy Pouncer. Rhiannon Skerritt did a fabulous job puppeteering Barney as well as being part of the ensemble. Tom Chapman as the Rat was superb. Nana Amoo-Gottfried and Tom Kanji as the conmen were easily my standout favourites, the latter raising many a laugh, for all the right reasons.

The Box of Delights is a truly enjoyable Christmas production. Magical, uplifting, mysterious and enchanting, it was lovely to watch. There are a few tweaks which if made would enhance the performance but ultimately it’s a fun filled festive treat which would absolutely delight all the family.

Forum Theatre, Malvern – 18th November 2023

Reviewed by Courie Amado Juneau

4.5*****

The Elvis Years returns to Malvern with its annual Christmas show – and what a show it is.

I was impressed in the foyer when Debbie (on the impressively stocked Merch stand) was extremely helpful. If even the Merch stand people are this lovely, the show promised to be a superb one.

The lights dimmed, the anticipation mounted and the band struck up a rousing rendition of “White Christmas” with some pleasing lyric changes to mention “Elvis rocking”. And right on queue, here’s the man himself – well, not quite but so very nearly, in the person of Mario Kombou. Making his way through the crowd dispensing handshakes and kisses as he goes; this is genuine Elvis.

After another Christmas favourite “Here Comes Santa Claus” to get us thoroughly in the spirit, we are launched into Elvis’s early years with a selection of Sun Records and early RCA cuts (“Heartbreak Hotel” etc.).

The big screen at the back set the mood for the the TV years – with hits from this era including “Don’t Be Cruel”. The backing group (in the guise of The Jordinaires) gave a comical version of “Winter Wonderland” with handbells – a crowd favourite judging by the cheers.

A feature of this show is the superb backing vocalists who also take solo spots (and duet). Jenny took centre stage first for “Rocking Around The Christmas Tree”. She also dueted with Elvis on “Santa Bring My Baby Back To Me” and with Hayley on a disco version of “Fever”. Hayley took the lead on a gently flirty (it is a family show) version of “Santa Baby” – and it was obvious that she made the night of at least a couple of gentlemen sat in the front row.

The Hollywood era was thoroughly covered with all the big hits present, giving the band a chance to crack out their Hawaiian shirts and grassy skirts. “Return To Sender” segued into “Viva Las Vegas” propelling us to a breathless first half finale.

After the break the 68 Comeback Special (leather jumpsuit) intimate set was lovingly recreated – including (for me) Elvis’s most emotional song “If I Can Dream”. Spot on singing from Mario, which took the roof off.

The band was introduced: Simon on Bass, Stephen on guitar, Neil on drums, John on keyboards and rhythm guitar, giving the audience a chance to show their appreciation for this crack musical unit! Then onto the finale with the Vegas and Touring years covered including all the hits you could wish for plus some rather natty white jumpsuits.

Everything you would expect, faithfully recreated with care and attention to detail. The show is obviously a labour of love and is a pure joy to watch. Although a music concert, Mario is a very likeable frontman in his own right and his depiction of Elvis – the King’s humour and mannerisms etc are absolutely bang on. Close your eyes and you will believe Elvis is in the room. Open them and you’re only slightly aware it’s not him after all!

A real feel good show which is perfect for the festive season. I can’t wait to see next year’s return engagement and also to catch them all when they return for their non-Christmas set. Good Rockin’ Tonight – indeed!

The Playground Theatre – Sunday 19th November 2023

Reviewed by Fiona Leyman

The Mitfords

2**

The Playground Theatre is hosting its Pick of Fringe season, showcasing some of 2023 Edinburgh Fringe Festivals best productions. A small intimate theatre that allows the audience to be up close to the production.

Celebrated South African Playwright Gail Louw has a double bill showing of two of her most popular one-woman plays. These are The Mitfords and the recently published, The Good Dad.

First up with The Mitfords featuring talented actress, Emma Wilkinson Wright (The Changeling, Southwark Playhouse). This short 50-minute play revolves around the lives of The Mitford Sisters who were well known socialites during WW2. These 6 sisters, Jessica, Nancy, Unity, Diana, Pamela & Deborah gained widespread attention for their political views between fascism and communism. Each of these sisters had a story, and this play was to highlight each of their tales. Unity and Pamela, for their love of Hitler, and how Unity did everything in her power to be inducted into his inner circle of trust. Jessica, who ran away to fight for the Republicans in the Spanish Civil War and Nancy, who became a celebrated author as did Deborah. Diana married the leader of the British Union of Fascists, Oswald Mosley in 1936 in Nazi Germany.

Emma controlled the stage which was full of World-War era props. Changing her voice slightly to signify which sister was telling their story. The most notable sisters portrayed were Unity and her quest to seek out the attention of Adolf Hitler and how their lives became a love story. Using the pearl handled gun Hitler gave her, she tried to take her own life when Britain declared war on Germany. Much loved favourite of Unity, Jessica, made it feel she was directing her monologues direct to the audience. Jessica’s life changed when she turned her back on a comfortable privileged lifestyle to run away with her cousin Esmond Romily to fight the Civil War going on in Spain. Nancy was portrayed as a low-voiced comedic personality who often refers to Unity’s size and looks. Everything she experienced is described as being “A Hoot!”. Finally, we have Diana, she was torn away from her children and thrown in prison along with her husband for the majority of WW2 for being a Nazi sympathiser.

Despite Emma’s extraordinary talent as an actress, this play fell flat. Apart from Nancy and Unity, it was difficult to determine which sister she was playing. This became more evident when I looked back at my notes and compared them to the research I had done. I realised that Emma was not portraying the sister I had believed her to be. I became unsure about whose story was who’s after a while, as some of the voices merged into one. The audience’s confusion might have been reduced by using a simple prop that identified each sister. The story of the Mitford Sisters is interesting and how this family was ‘Bound by Love, Divided by Hatred’, but I felt this play was rushed and the switching between voices too quick. It was confused and failed to connect with the audience, sadly earning it only 2 Stars.

Gail Louw’s Double Bill – The Mitfords & The Good Dad

The Playground Theatre- Sunday 19th November 2023

Reviewed by Fiona Leyman

The Good Dad

5*****

Seconded up in this Gail Louw double bill was the ironically named play, The Good Dad. This play was on a different scale to the one I had just previously watched. Sarah Lawrie (Forbidden Love) commanded the stage and the audience’s attention whilst she seamlessly switched between the three characters she was portraying.

The Good Dad is based on a horrific true story from the 1980s. A story of a family broken apart by David, the “Good Dad” and his sordid affair and sexual abuse of his daughter, Donna. The play opens with Donna in prison, why, we don’t know yet, but she is telling her tale on how she become to be in this place. Recounting her early life as a child with her identical twin Carol who everyone but their father could tell them apart. Donna was her father’s ‘favourite’.

This is a story of severe sexual abuse of a young innocent child who loves her father dearly, and not understanding that this sort of behaviour is not normal. Always wanting to please her father, she embarked on a true love affair and fathering four children with him.

A clear switch of a cardigan showed the audience the change in the character. Mother now controlled the stage at the funeral of her ex-husband. The disgust and hatred were clear in her voice, and she described her life with this awful man. No longer referring to her daughter as Donna, but as ‘The Other Woman’ she recants her tale on how her husband leaves the family home to move in with his new family. Living a lie to not bring suspicion on their family, David portrayed he still lives with his wife, when in fact he was living with his daughter and their new family.

Another quick change to a white hooded jacket, the character of twin sister Carol became evident. Bitter, nasty and bewildered why all these people were crying at her dead father’s funeral. She could see him for the man he really was. The family knew what was going on behind closed doors, but because of his bad heart, chose not to do anything, portraying themselves as the perfect family. This all changed when Donna’s own daughter becomes of age, resulting in her being in prison. The story switched back and forth between these three characters throughout the whole hour-long show, and each audience member was engrossed in what each character had to say.

Sarah was incredible on stage, her presence and ability to switch between each character was clear, and easy to follow. Being on stage alone, portraying three different characters is no easy feat, especially with such a hard-hitting subject matter, but Sarah did this effortlessly and had the audience believing every word she spoke. Of course, we believed her, because sadly this is based on a true story. Sarah was the true “tour de force” of Gail Louw’s Pick of Fringe double bill and thoroughly deserves these 5 Stars.

Actor, singer, west end performer and fightdirector Christopher D Hunt sat down with fairypowered to answer 20 questions. Christopher is currently playing Jeff on the Take That inspired musical, Greatest Days. The show finishes its 2023 tour at Leeds and tickets can be found here

Lets start with a few favourites

Favourite show (whether you have been in it or not)? 

To Kill a Mockingbird & Lord of the Rings at Theatre Royal Drury Lane (in them both)

Favourite book? 

To Kill a Mockingbird

Favourite theatre? 

Theatre Royal Drury Lane,  Regent’s Park Open Air Theatre

Favourite song? 

Smile (Charlie Chaplin)

Favourite music? 

Anything By the Beatles

Favourite food? 

Anything Naughty

Favourite drink? 

Anything Naughty

What is your favourite role? 

I have loved all the roles I have played.

What was your first role? 

My 1^st Role was playing Cardinal Richelieu in The Three Musketeers at The Rose Theatre.

And what role would you really like to play? 

I had the chance to play Batman for Warner Bros on a world arena Tour. I would love to do that again.

If you weren’t a performer, what would you be?

There is nothing else I would rather do.

What made you decide to be a performer? 

My Grandfather was a massive inspiration for me. His involvement in the arts planted the seed to ignite the passion for me.

Do you enjoy touring?

 I love touring, I love the West End, I love any stage.

What advice would you give a 16-year-old you? 

Keep going Kid, keep telling stories, you’re good at it. 

Do you fancy branching out in Producing or Directing? 

As well as being an actor I have worked as a fight director Strangely I have been told a lot over the last few years by my peers that I should direct!

What was the last stage show you saw and really enjoyed? 

Only Fools and Horses at the Theatre Royal Haymarket – West End

Favourite line from any show? 

“A life lived in fear, is a life half lived” – Baz Luhrmann (Strictly Ballroom)

If you could be anyone else for the day, who would it be?

Gene Kelly or John Lennon

What are the nicest/weirdest things you have ever received from fans? 

I couldn’t possibly divulge but Cheesecake has been my favourite.

Can you tell us what you will be up to next? 

I plan to take a little break after this wonderful show has a break. I look forward to spending some time with my daughter and recharging the batteries in preparation for the next incredible story to be told.

Lyric Theatre – 15 November 2023

With an online cult following and a cast to die for, the opportunity to see SuperYou in concert was not to be missed.

Lourds Lanes’ story of self-discovery and self-acceptance has shades of Be More Chill and Eugenius! but is a sweeter, more earnest creation.

Katie (Aaliyah Monk) and her big brother Matty (Jonty Peach) create and draw comics to help themselves through their tricky homelives. With an alcoholic mother and horrible memories of the father they fled, the family has moved around a lot and Katie has struggled to fit in at her new schools. Matty encourages Katie to draw herself as a superhero and she creates Lightning Girl. Feeling protected by this, Katie draws superheroes for 4 other kids who are taunted and bullied at school, not realising what an impact she makes on their lives. But Katie’s dreams are still haunted by the evil Mi-Roar (Will Bozier).

As she grows up, Katie (now played by Lucie Jones) and Matty continue drawing and enter competitions, but life gets in the way of their dreams and Katie must get a steady job to support her mother as tragedy strikes. A sweet romance with barista and singer Jay (Luke Brady) is jeopardised by his singing going viral and Jay getting swept up in the circus of online fame, and a chance to chase her dream again is scuppered by more family tragedy and work pressures. However, Katie’s superhero crew have her back and the Boltz are never slow to jump in with advice and inspiration for Lightning Girl in Katie’s subconscious.

This concert version had very little movement, with stage directions read out and the cast standing behind music stands but the powerful and often poetic dream fight sequences were danced beautifully by Aaliyah Monk and Will Bozier. What we heard of the book sounded promising, although it might need a bit more snark to shake off the initial “sweetly battling adversity” Disney musical atmosphere. More workshopping on the book could create something incredible. The music was a wonderful mix of rock, pop, ballads, and even some yodelling. Lucie Jones was a phenomenal as ever, and Aaliyah Monk was astonishingly polished as the younger version of Katie. Luke Brady’s vocals and comic timing were a dream and Jonty Peach was a sweet older brother. Giving Jones a run for her money on the vocal front were The Boltz, with Joni Ayton-Kent, Sharon Ballard, Lourds Lane and Jenny O’Leary giving barnstorming performances. Ballard’s rock vocals have to be seen to be believed.

With a wonderful message of empowerment, kindness and self-belief, SuperYou is a fun and inspiring musical, and the effect of the face melting vocals on display in this concert version show the exciting potential a more finessed, fully staged production could have. An electric night out.

Birmingham Hippodrome – until 3 December 2023

Reviewed by Louise Ford

5*****

Pure Escapism

The Nutcracker must be the quintessential Christmas story and this year’s production at the Birmingham Hippodrome is top class. Birmingham Royal Ballet has been producing this delightful ballet for over 30 years. This year’s choreography is by Peter Wright, Lev Ivanov and Vincent Redmon.

Tchaikovsky’s glorious score is faithfully performed by the Royal Ballet Sinfonia under the expert baton of Thomas Jung.

The set designs are by John Macfarlane and are magnificent. The opening scene is in the Nuremberg’s home on Christmas Eve. The snow is falling outside and the household are putting the finishing touches to the Christmas tree. Dr Stahlbaum (Jonathan Payn) and his wife (Dalia Stanciulescu) are waiting with their children for their guests to arrive. The butlers and staff are on hand to take the guests’ coats and Christmas gifts. The gifts are added to the impressive pile under the equally impressive Christmas tree.

The set is rich and opulent with deep red and black walls and drapes. The guests and hosts are in their finery. In contrast the children (and their friends) are dressed in pale cream and sailor suits.

Mrs Stahlbaum has invited a magician Drosselmeyer (Rory Mackay) to entertain the party. As well as bringing presents for the children (including the eponymous Nutcracker doll for Clara) Drosselmeyer and his assistant (Gus Payne) perform magic tricks and introduce some dancing toys, Harlequin (Shuailun Wu) and Columbine (Rachele Pizzillo) and my favourite the Jack -in-the-Box . This role is performed by Eric Pinto Cata, with such energy and bounce. His costume is an absolute delight.

The role of Clara is played by Beatrice Parma who is light and delicate and dances effortlessly. She is after all a ballet student and wants to be a ballerina like her mother.
The party comes to an end, all the guests leave and the family goes up the magnificent staircase to bed. As midnight strikes Clara, unable to sleep, creeps downstairs, and the scene magically transforms, Clara shrinks to the size of a mouse and the Christmas tree grows and the fireplace erupts into a fiery inferno. Out of this blazing hole an army of rats emerge. The whole scene is orchestrated by Drosselmeyer. The magic continues and the Nutcracker (Gus Payne) and the toy soldiers come to life to fight the rats. There’s an epic fight scene between the Nutcracker and the King Rat (Callum Findlay-White). The rats are animated and elegantly clad, bouncing all over the stage. When it looks as though the Nutcracker maybe defeated Clara steps in and strikes King Rat. Unfortunately the Nutcracker is seriously wounded and falls to the floor, seemingly lifeless . Fortunately Drosselmeyer is on hand to perform another magic trick and the Nutcracker is revived as The Prince (Mathias Dingman). The stage is magically transformed into a winter wonderland,the Land of Snow. This wintry land is presided over by The Snow Fairy(Yu Kurihara) and her attendants. They perform the snowflake dance with lightness and joy. The curtain falls on the first act and the audience are spellbound as the snow flakes fall.

The second act opens to an impressive night time starry sky into which Clara magically flies. This is then transformed into a cosmic scene with pillars, red poppies and Chinese symbols. Poppies we all know are a symbol of remembrance however in this case I think that they are a symbol of romantic love.

This frame is the backdrop for the confectionery of dances that makes the Nutcracker so memorable. All those tunes that are instantly recognisable. The vignettes from across the world, from Spain, to Arabia,to China  and Russia are faithfully danced each with its own character and charm. Yaoqian Shang as the Arabian Princess is wonderfully aloof and performs some impressive leaps.

From the land of sweets we move on to the world of flowers with the Waltz of the Flowers performed by the Rose Fairy (Miki Mizutant) and her attendants. The finale  with a breathtaking pas de deux performed by Momoko Hirate (as the Sugar Plum fairy) and Mathias Dingman.

All of these dances are orchestrated by Drosselmeyer for Clara’s entertainment and she watches from the sidelines with awe and occasionally she gets to join in and perform. Her dreams come true and she becomes the Sugar Plum fairy.

But all good things must come to an end and the magic fades and Clara awakes. So was it an adventure or simply a dream?

The Rep, Birmingham – until 28th January 2024

Reviewed by Joanne Hodge

5*****

In a year which has so often felt to be always winter and never Christmas, the magic and wonder of Narnia has arrived in Birmingham direct from the West End, announcing that – at last – the big day is well on the way!

The Chronicles of Narnia were some of my favourite childhood books, and I continue to read them now, so have to admit I was somewhat nervous of the ability of this musical production to live up to the mystical world I have long held in my vivid imagination. I needn’t have worried.

The moments of comedic relief begin early, with the plummy tones of the station announcer giving advice to the audience as we await the fate of the young evacuees of World War II London. The scene, accompanied by a somewhat melancholic rendition of ‘We’ll Meet Again’, fully captures the mood of the time. And then, just like that, we are taken on a journey by steam train, to begin our full emersion into the somewhat-modernised adventures of the Pevensie children.

My awe of the work of Toby Olie [Original Puppetry Direction] and Max Humphries [Original Puppetry Design] began with the introduction of the Professor’s [David Birell] cat, Schrodinger [yes, the geeks among us will love this reference to the theories of quantum mechanics]. I was instantly in love with this feline character – who knew that so much could be implied by a ‘Miaow’?!

From the moment Lucy [Kudzai Mangombe] finds this mystical other world via Spare Oom and the War Drobe, our journey becomes a rollercoaster of light and shade. Jez Unwin’s Mr Tumnus is an absolute delight, a flawed character who – like so many of us – finds himself in trouble for trying to do the right thing. The Beavers’ [Samuel Morgan-Grahame and Ruby Ablett] give the air of a warm hug on a cold day, and you know they’re the kind of people/beavers on whom you can always rely. And of course, everyone was delighted to see our festive favourite Father Christmas.

Not all the inhabitants of Narnia are what we’d like them be however. Maugrim [Shane Antony-Whitely] is truly terrifying, and our introduction to Cath Whitefield’s White Witch Jadis is still giving me chills hours later.

As expected, the true star of the show is Aslan, who is represented cleverly and perfectly amazingly by both actor [Oliver Hoare] and puppetry [Michael Larcombe].

Of course most people are familiar with the much-loved tale of the battle between good and evil, so I won’t spoil it for those who are yet to experience this magical land, but anyone who gets the opportunity should see this spectacular adaptation, and if it also introduces more children to C.S.Lewis’s Chronicles of Narnia, I’ll be even happier.