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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.  

JANE ASHER LEADS AN ALL-STAR CAST IN

SOMERSET MAUGHAM’S THE CIRCLE

TOM LITTLER’S INAUGURAL PRODUCTION

AS ORANGE TREE ARTISTIC DIRECTOR

The Orange Tree Theatre today announces the full cast for Somerset Maugham’s The Circle, directed by Tom Littler in his Orange Tree debut as Artistic Director since taking up the role in January this year. Littler directs Jane Asher (Lady Catherine Champion-Cheney), Pete Ashmore (Arnold Champion-Cheney), Chirag Benedict Lobo (Teddie Luton), Clive Francis (Clive Champion-Cheney), Nicholas Le Prevost (Lord Hughie Porteous) and Olivia Vinall (Elizabeth Champion-Cheney).

Somerset Maugham’s sparky comedy of manners was first staged in 1921 and has remained a firm favourite with audiences ever since. The Circle will open at the Orange Tree Theatre on 5 May, with previews from 29 April, running until 17 June, and will be available to stream online at OT On Screen from 20 to 23 June.

Tom Littler said: “I feel very lucky to announce this remarkable cast for Maugham’s perfectly constructed comedy. It’s a pleasure to welcome Clive Francis and Nicholas Le Prevost back to the Orange Tree, where they have already entertained audiences so brilliantly. The wonderful Jane Asher, Pete Ashmore, Chirag Benedict Lobo and Olivia Vinall are all making their Orange Tree debuts, and together we can learn how to navigate The Circle in our very own circular theatre.”

Somerset Maugham’s

THE CIRCLE

Director: Tom Littler; Designer: Louie Whitemore; Lighting Designer: Chris McDonnell;

Sound Designer: Max Pappenheim; Assistant Director: Sam Woof

29 April – 17 June 2023

OT On Screen: 20 – 23 June

Isn’t it fun being in love with someone who’s in love with you?

The sun is shining on the manicured lawns of the Dorset home of Arnold Champion-Cheney, MP. The Great War is over. Arnold’s political career is blossoming. He has a beautiful young wife, Elizabeth. If only the servants would dust his antiques properly, everything would be perfect.

But Arnold’s idyllic life is about to explode into chaos. His rakish father is staying for the weekend. His scandalous long-lost mother is descending with her detested husband in tow. And there’s a dashing young stranger who seems far too interested in Elizabeth…

Will history come full circle? Or can one generation learn from their parents’ disastrous mistakes?

Somerset Maugham (1874-1965) was an English novelist and playwright. His plays include Loaves and Fishes, Lady Frederick, Smith, Penelope, The Land of Promise, Our Betters, Caesar’s Wife, The Constant Wife, The Letter, The Sacred Flame, The Bread-Winner, For Services Rendered and Sheppey; and his novels include Liza of Lambeth, Mrs Craddock, The Magician, Of Human Bondage, The Moon and Sixpence, The Painted Veil, Cakes and Ale, The Narrow Corner, Theatre, Up at the Villa, The Razor’s Edge, Then and Now and Catalina.

Jane Asher plays Lady Catherine Champion-Cheney. Her recent theatre credits include A Song at Twilight, Moon Tiger (Theatre Royal Bath), An American in Paris (Dominion Theatre), Great Expectations (West Yorkshire Playhouse), The Gathered Leaves (Park Theatre), Pride and Prejudice (Regent’s Park Open Air Theatre), Charley’s Aunt (Menier Chocolate Factory), The Importance of Being Earnest, Farewell to the Theatre, Bedroom Farce (Rose Theatre, Kingston), Blithe Spirit (Vaudeville Theatre), To Those Born Later, The School for Scandal and House/Garden (National Theatre). For television, her credits include Holby City (as series regular Lady Byrne), Eve, Stella, Dancing on the Edge, The Old Guys, The Sarah Jane Adventures, Crossroads, Jackanory, Wish Me Luck and The Mistress; and for film: Death at a Funeral, Burn Burn Burn, Drunk on Love, I Give it a Year, Deep End, The Masque of Red Death and Alfie.

Pete Ashmore plays Arnold Champion-Cheney. His recent theatre credits include Brief Encounter (Stephen Joseph Theatre/UK tour), Zorro: the Musical (Charing Cross Theatre), The Jungle Book, A Christmas Carol (Watermill Theatre), Venice Preserved, The Provoked Wife (RSC), The Lovely Bones, Treasure Island (Birmingham Rep), The Dog Beneath the Skin (Jermyn Street Theatre), Peter Pan, Private Lives, The Wind in the Willows, James and the Giant Peach (Mercury Theatre) and The Itinerant Music Hall (Lyric Hammersmith).

Clive Francis plays Clive Champion-Cheney, returning to the Orange Tree following Three Farces, The Woman Hater and The Skin Game. Other recent theatre credits include Slaves of Solitude (Hampstead Theatre), An Inspector Calls (Playhouse Theatre), 84 Charing Cross Road (Cambridge Arts Theatre/UK tour), Les Blancs (National Theatre), Thark (Park Theatre), The Madness of George III (Apollo Theatre), The Reluctant Debutante, Our Man in Havana, Three Men in a Boat, The Hollow Crown, Travels with My Aunt, The Lavender Hill Mob (UK tours), Enron (Noël Coward Theatre), Loot (Bristol Old Vic), The Tempest (Nottingham Playhouse), Entertaining Mr Sloane (Arts Theatre) and The Shakespeare Revue (international tour). For television, his credits include Anatomy of a Scandal, The Crown (as series regular Lord Salisbury) and Lipstick on Your Collar; and for film: A Clockwork Orange, Official Secrets, Dolittle, The Lost City of Z and Mr Turner.

Nicholas Le Prevost plays Lord Hughie Porteous, returning to the Orange Tree following Winter Solstice. Other recent theatre credits include Antony and Cleopatra, Man and Superman, People, The Prime of Miss Jean Brodie, The Magistrate (National Theatre), The Maid’s Tragedy, Festival of Firsts, The Winter’s Tale (Shakespeare’s Globe), What Shadows (Lyceum Theatre Edinburgh), My Fair Lady (National Theatre/Civic Opera House, Chicago – nominated for an Olivier Award for Best Performance in a Supporting Role), Love for Love, Much Ado About Nothing, Look Out…Here Comes Trouble!, Solid Geometry, Landscape of Exile (RSC), Bedroom Farce (Rose Theatre Kingston), The Last Cigarette (Minerva Theatre), Much Ado About Nothing, Mind Millie for Me (Theatre Royal Haymarket), As You Like It (Sheffield Theatres), Neville’s Island (Salisbury Playhouse), Emily Needs Attention! (Theatre Royal Bath), Hedda Gabler (Chichester Festival Theatre) and The Wild Duck (Donmar Warehouse). For television, his credits include Up the Garden Path, The Larkins, The War of the Worlds, Cranford, The Camomile Lawn, The Jewel in the Crown, It Takes a Worried Man, The Ghosts of Motley Hall and Wild at Heart; and for film: Testament of Youth, Shakespeare in Love, Here Comes Hell, Run for Your Wife, Margaret, Miss Conception, Gladiatress, Bright Young Things, The Land Girls and Made in Romania.

Chirag Benedict Lobo plays Teddie Luton. His recent theatre credits include Life of Pi (Wyndham’s Theatre), The Odyssey, The Public Servant (Jermyn Street Theatre) and The Winter’s Tale (Shakepeare’s Globe). For film, his credits include An Action Hero and Nasha.

Olivia Vinall plays Elizabeth Champion-Cheney. Her recent theatre credits include Women Beware Women (Sam Wanamaker Playhouse), As You Like It (Regent’s Park Open Air Theatre), Young Chekhov Trilogy: The Seagull, Ivanov and Platonov (Chichester Festival Theatre/National Theatre), The Hard Problem, King Lear, Othello (National Theatre), Romeo and Juliet (Leicester Square Theatre) and The Dark at the Top of the Stairs (Belgrade Theatre). For television, her credits include Roadkill, Queens of Mystery, The Woman in White and Apple Tree Yard; and for film: Where Hands Touch, Götterdämmerung and A Beautiful Curse, which won three awards at the Paris International Film Festival 2022.

Tom Littler is Artistic Director of the Orange Tree Theatre, and The Circle marks his inaugural production at the theatre. He was formerly Artistic Director of Jermyn Street Theatre, Associate Director of Theatre503, Artistic Director of Primavera, and Associate Director of the Peter Hall Company. He has directed over 70 productions throughout the UK and Europe, recently including Love All and Cancelling Socrates at Jermyn Street Theatre, and Hamlet for Guildford Shakespeare Company.

Orange Tree Theatre

Listings

1 Clarence Street, Richmond, TW9 2SA

Box Office: 020 8940 3633 (Mon-Sat, 10am-6pm)

orangetreetheatre.co.uk

Ticket prices (NO BOOKING FEES)

In person tickets: £15, £26, £34, Under 30s: £15

Access: £15

Prices increase based on demand

SEASON AT A GLANCE

DUET FOR ONE

Until 18 March 2023

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from 18 Feb)

Captioned Performance: Tue 14 Mar 7.30pm

Audio Described Performance: Mon 13 Mar 7.30pm

Distanced Performances: Wed 1 Mar 7:30pm

Relaxed Performance: Tue 7 Mar 7.30pm

Post-Show Talk & Patrons’ Evening: Tue 28 Feb 7.30pm

YOU BURY ME

27 March – 22 April 2023

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from 1 Apr)

Captioned Performance: Fri 14 April 7.30pm

Audio Described Performance: Mon 17 Apr 7.30pm

Distanced Performance: Thu 13 Apr 7.30pm

Relaxed Performance: Wed 5 April 7.30pm

Post Show Talk & Patrons’ Evening: Tue 4 April 7.30pm

THE CIRCLE

29 April – 17 June 2023

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from 6 May)

Distanced Performance: Tue 16 May 7.30pm

Captioned Performance: Mon 5 June 7.30pm

Audio Described Performance: Tues 30 May 7.30pm

Relaxed Performance: Wed 7 June 7.30pm

Post Show Talk & Patrons’ Evening: Wed 10 May 7.30pm

PRIMARY SHAKESPEARE: AS YOU LIKE IT May – June

Public performance: Sat 6 May, 10.30am Schools performances: 9 May – 16 June Tue, Wed & Fri, 10.30am & 2pm

THE SWELL

24 June – 29 July 2023

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from 29 June)

Captioned Performance: Mon 17 July 7.30pm

Audio Described Performance: Thu 13 July 7.30pm

Distanced Performance: Tue 18 July 7.30pm

Relaxed Performance: Wed 19 July 7.30pm

Post Show Talk & Patrons’ Evening: Tue 4 July 7.30pm

Robert Fox, Jonathan Church Theatre Productions and Theatre Royal Bath Productions present

RUPERT EVERETT in

A VOYAGE ROUND MY FATHER

by John Mortimer

Directed by Richard Eyre

Theatre Royal Bath from 28 September – 7 October 2023, before U.K. tour

BAFTA and Golden Globe nominee Rupert Everett will star in John Mortimer’s celebrated autobiographical play A Voyage Around My Father, whichwill open at Theatre Royal Bath, with performances from 28 September to 7 October 2023, before embarking on a U.K. tour. Tour venues and schedule to be announced.

Growing up in the shadow of a brilliant and eccentric barrister, a man whose tea-time conversation could take in music hall, adultery, evolution, the ridiculous inconvenience of sex, Shakespeare, and the importance of avoiding anything heroic in wartime, the son continually yearns for his father’s love and respect.

In shining a light on this delicate relationship between a young man and his father who adored his garden and hated visitors, and whose blindness was never mentioned, A Voyage Round My Father introduces us to a gallery of unforgettable and often hilarious characters.  

John Mortimer was a novelist, playwright and a barrister in his own right, renowned for his political dramas and creator of Rumpole of The Bailey.

Rupert Everett’s leading roles have included the multi award-winning film My Best Friend’s Wedding, The Importance of Being Earnest, An Ideal Husband, Dance With A Stranger and The Happy Prince. His stage roles have included Blithe Spirit on Broadway, Pygmalion and The Judas Kiss in the West End and Uncle Vanya in the Theatre Royal Bath Summer Season.

The world class artistic team for A Voyage Around My Father will include former Director of the National Theatre, the multi Award-winning film, television, opera and theatre Director Richard Eyre, alongside Olivier® and Tony® Award-winning creatives Bob Crowley (Designer) and Hugh Vanstone (Lighting Designer).

Further casting and creative team to be announced.

Further information can be found at theatreroyal.org.uk

FIRST EVER UK AND IRELAND TOUR OF DISNEY’S HIT BROADWAY AND WEST END MUSICAL, ALADDIN TAKES FLIGHT FROM OCTOBER 2023

BASED ON THE HIT 1992 ANIMATED FILM WITH NEW SONGS BY TONY®, OLIVIER®, GRAMMY®, EMMY® AND EIGHT-TIME ACADEMY AWARD® WINNER ALAN MENKEN

Disney Theatrical Productions, under the direction of Thomas Schumacher, today announce that their critically acclaimed Broadway and West End musical Aladdin will tour the UK and Ireland for the first time, opening in Edinburgh in October 2023, followed by dates in Cardiff, Plymouth, Sunderland, and Milton Keynes, with further cities to be announced. For a full list of dates and details, including an opportunity to sign up for early access to tickets before the general on sale, please visit aladdinthemusical.co.uk. Tickets will go on sale in March and full casting will be announced in due course.

Experience the timeless story of Disney’s Aladdin, a thrilling production filled with unforgettable magic, comedy and breathtaking spectacle! Don’t miss this extraordinary theatrical event already seen by over 14 million people worldwide, where one lamp and three wishes make the possibilities infinite.

Adapted from Disney’s 1992 animated film and centuries-old folktales including “One Thousand and One Nights”, this smash-hit musical is brought to theatrical life in a unique and dazzling way. The show continues its record-breaking run on Broadway at the New Amsterdam Theatre, and since opening there in March 2014, nine subsequent productions have launched around the world, including its 2016 West End premiere at the Prince Edward Theatre, London where the show ran until August 2019.

“As Aladdin approaches its second decade onstage, we are thrilled that the 11th production of the glorious Broadway show will soon be seen by audiences throughout the UK and Ireland.   Thanks to Casey Nicholaw’s direction, Alan Menken’s music and the peerless design team of Bob Crowley, Natasha Katz and Gregg Barnes this show is a powerful tonic, an irresistible lift for every audience who sees it,’ said Thomas Schumacher, President & Producer Disney Theatrical Productions. “The musical theatre performers in the UK and Ireland rival any on the planet and we look forward to presenting the best of them in this joyous new production.”

Aladdin features the timeless songs from the animated film, as well as new music by Tony®, Olivier®, Grammy® and eight-time Acadamy Award® winner Alan Menken (Beauty and the Beast, Newsies, Sister Act), lyrics by two-time Academy Award® winner Howard Ashman (Beauty and the Beast, The Little Mermaid), three-time Tony® and three-time Academy Award® winner Tim Rice (The Lion King, Evita, Aida) and six-time Tony® nominee Chad Beguelin (The Prom, The Wedding Singer), with a book by Beguelin, and is directed and choreographed by Tony® and Olivier® Award winner Casey Nicholaw (The Book of Mormon).   

Aladdin is designed by seven-time Tony®-winning scenic designer Bob Crowley, seven-time Tony®-winning lighting designer Natasha Katz, two-time Tony®-winning costume designer Gregg Barnes and sound designer Ken Travis.

The production team also includes illusion designers Jim Steinmeyer and Rob Lake, hair designer Josh Marquette and makeup designer Milagros Medina-Cerdeira.  The music team is headed by music supervisor and music director Michael Kosarin, who also created the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly. Ben Clare is the associate director, Kyle Seeley is the dance supervisor, Jason Trubitt is the production supervisor and Myriah Bash is the US general manager. Casting is by Jill Green CDG.

The producers of Operation Mincemeat are excited to announce that David Cumming, Claire-Marie Hall, Natasha Hodgson, Jak Malone and Zöe Roberts, the 2023 Off-West End ‘Best Musical Production’ award winning cast (Southwark Playhouse/ Riverside Studios), are returning for the West End transfer with previews starting on the 29^th March 2023, followed by an 8-week run beginning on the 9^th May. Operation Mincemeat will be following thirty-three hugely successful years of The Woman In Black at the Fortune Theatre.

Cast members David Cumming, Natasha Hodgson and Zöe Roberts, alongside Felix Hagan, form SpitLip, the writers and composers of Operation Mincemeat, while the full cast and creative team is to be announced shortly.

Praise for Operation Mincemeat at Southwark Playhouse and Riverside Studios:

“a dazzling series of gender-switching roles…a Beyoncé-esque assertion of female power…excellent performers… There are some big, blowsy shows around in the West End, but this little belter is staging its own audacious invasion plan” ★★★★★
Suzi Feay, Financial Times

“a miraculous musical that tells the entire story in a kind of accelerated farce that is part Mel Brooks, part SIX, part Hamilton with a side order of One Man, Two Guvnors.” ★★★★★
Neil Norman, The Daily Mirror

“the stage show’s comic power rests in its ability to subvert expectation and provide a revisionist commentary on the establishment figures”

Emma John, The Observer

“a buzz louder than a doodlebug surrounds Operation Mincemeat…a kind of genius declares itself”

Dominic Cavendish, The Daily Telegraph

“this is the musical you didn’t know you needed…a little show with a very big future.”
David Benedict, Variety

Tickets are on General Sale now from the Official Box Office at OperationMincemeat.com. Priority access to the best seats is available via the official mailing list.

After sold-out development runs at the New Diorama Theatre in 2019 and Southwark Playhouse in 2020, 2021 & 2022, plus an extended Riverside Studios run last summer, Operation Mincemeat is back.

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. 

Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler? 

Operation Mincemeat won The Stage Debut award for Best Composer/Lyricist, the Off-West End award for Best Musical Production and Best Company Ensemble and has been listed in The Observer’s Top 10 and The Independent’s Top 15 shows of the year.  The show is currently featured in the V&A’s Re:Imagining Musicals display, exploring how musicals have continuously reimagined, reinvented and reinterpreted themselves over time.

The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and supported by the Rhinebeck Writers Retreat with additional support from Avalon. 

Operation Mincemeat is presented in the West End by Avalon in association with SpitLip.           

SIX announces a new West End booking period

Capturing hearts, delighting audiences and winning accolades across the world, the homegrown British hit musical SIX, written by Toby Marlow and Lucy Moss, has extended its record-breaking reign at the Vaudeville Theatre until April 2024, with tickets now on sale.

The news comes in addition to the show’s win at the recent WhatsonStage Awards, where SIX was crowned London’s Best West End Show. Received by members of the West End cast at the prestigious ceremony at the Prince of Wales Theatre, the award marked the second time SIX has received the highly-coveted award, where it continues to play to sold out houses at each performance at the Vaudeville Theatre.

With tickets proving so popular, producers have also extended the booking period, adding a future six months of SIX, with performances booking up to April 2024, allowing its ground-breaking reign to continue in the capital, featuring cast members Rhianne-Louise McCaulsky (Aragon), Baylie Carson (Boleyn), Claudia Kariuki (Seymour), Dionne Ward-Anderson (Cleves), Koko Basigara (Howard), Roxanne Couch (Parr) and the incredible alternate performers Monique Ashe-Palmer, Danielle Rose, Leah Vassell, Rachel Rawlinson and Esme Rothero.

SIX can be seen live on stage at London’s Vaudeville Theatre, the Lena Horne Theatre in New York, across the UK on its current sell-out, record-breaking tour, with two concurrent North American tours, a recent Australian tour and forthcoming productions due to play Korea, Holland and Canada.

The new booking period, which goes on sale today, will see SIX play up until Sunday 28 April 2024, including a hugely popular Sing-along performance on Sunday 21 January and numerous access performances, providing Audio Description, British Sign Language Interpretation and Captioning for audience members to experience.

Speaking on the booking extension and the WhatsonStage Award win, producers said: “It was a huge honour to have won Best West End Show at last year’s awards, so to win it for the second year running is incredible. We’re all so grateful to the shows’ wonderful fans, the Queendom, for continuing to support SIX and we’re very proud to continue its history in London’s West End.”