Yvonne Arnaud, Guildford – until 4th February 2023
Reviewed by Antonia Hebbert
4****
It’s 1950, and P.G. Wodehouse is writing a new story in his phenomenally popular Jeeves and Wooster series. Easier said than done, as his wife (Ethel, aka Bunny) calls for breakfast, the Pekingese dogs need a walk, and he is being pursued by an earnest young man who wants to write his biography. So far, so jolly, in a scenario that’s a little like, well, something written by P.G. Wodehouse.
But there is a dark undertone. P.G. Wodehouse, known as Plum, has exiled himself in America. At the start of World War II he was living in France, was interned by the invading Germans, and made himself dreadfully unpopular back home by doing humorous broadcasts about being an internee. It is easy to see now the sort of pressure he was under, but at the time he was condemned as a traitor. He moved to New York after the war, settled in Long Island, and eventually started writing again. (Thanks to the wonders of modern technology, you can find his rather nice home through Google.)
Robert Daws plays Wodehouse, and does this show singlehanded, in a very realistic but rather bland set of a sitting room/study. He talks directly to the audience, sometimes as if writing a letter to his beloved stepdaughter Leonora (aka Snorky), sometimes as if responding to the pesky biographer Mr Phillips. He reads from one of his books, and sings musical theatre songs for which he wrote the lyrics – Wodehouse worked in Hollywood and on Broadway, as well as writing books. And he talks on the phone to his great friend the writer Guy Bolton, who was surely an inspiration for Galahad Threepwood, in the Blandings Castle stories.
While laughing off Mr Phillips’s probing questions, Daws/Wodehouse reveals extraordinary things. Wodehouse was born in Hong Kong, and was sent to England at the age of two, to be raised by various aunts (if you are a fan of Wodehouse, this makes you jump – his fictional aunts are daunting). By the age of 15 he had seen his parents twice. This casts a whole new light on the sunny innocence of the Wodehouse stories, and perhaps on the compulsion to ‘get a laugh’ that made him do the wartime broadcasts – a rare example of poor comic timing. In the second half, there is also a heart-wrenching shock.
If you like P.G. Wodehouse’s books, you will surely find this play by William Humble very charming and moving. It has made me want to go back to the books, in the hope that they will still seem as ingeniously funny as I remember. The director is Robin Herford.
Hope Mill Theatre, Manchester – until 4th March 2023
Reviewed by Matthew North
2**
Every now and then, a musical sounds like a great idea on paper and that great idea translates beautifully to the stage. Is this the case for Head Over Heels?
The short answer is that I’m afraid it isn’t.
Despite a cast overflowing with charm and talent, this show just feels adrift in quite a severe identity crisis. The plot is convoluted, the characters paper thin and the book plodding bordering on painful for the majority. Any musical including the back catalogue of The Go-Go’s isn’t exactly short of an array of cracking songs, but here they just feel shoe horned in for the most part and generally add even more confusion to an already muddy affair.
The Direction and Choreography by Tom Jackson Greaves goes some way toward providing some much needed clarity to proceedings but also noticeably lacks any moments of real stillness to let the stories and relationships on show to actually breathe and establish themselves in any meaningful way. The stage often feels chaotic and crowded – and whilst the near constant movement and shifting does give this production a real momentum and pacey feel, it’s hard not to feel left behind in a confused daze.
In the midst of all this, there really are some cracking performances from the 12 strong company. Highlights including a truly glorious performance from Iz Hesketh as Pythio, bringing a shimmering beauty and fantastic voice, a beautifully controlled vocal and some spot on line deliveries from Luke Bayer as Musidorus and Jenny O’Leary as Pamela. O’Leary brings an undeniable command of the stage and the vocal performance of the night – every time she appeared on the stage, the production suddenly went into a whole other gear. The portrayal of her relationship with Mopsa (a very charming Khadija Sallet) was played with the kind of sensibility the rest of the production would have really benefited from.
There’s no denying this production does raise a smile on multiple occasions (I can’t imagine a single audience member will sit there stone faced) but can I see the show moving on from here, or becoming a staple? Sadly not. Maybe that’s just me. It’s not that its out and out a bad show, nor do I feel like I’ve now seen one of those big musical flops that fans like to collect, it’s just something that didn’t work for me.
A LITTLE LIFE RELEASES ON STAGE SEATING FOR THE RUNS
AT THE HAROLD PINTER THEATRE AND RICHMOND THEATRE
ALSO ANNOUNCED TODAY A CHARITY GALA PERFORMANCE IN AID OF MIND,
AND A PRODUCTION PARTNERSHIP WITH APPLAUSE FOR THOUGHT
With rehearsals starting today, the producers of A Little Life – Wessex Grove, Gavin Kalin Productions, and Playful Productions – announce that they will release on stage seating across the runs at both Richmond and Harold Pinter Theatres priced at just £25 and £35, meaning over a third of all tickets across the run are £40 or under.
The first wave of seats will be made available on 6 February at midday encompassing the performances across the dates at Richmond, and from 25 March to 30 April at the Harold Pinter Theatre. There will be a further release of on stage seating for performances in May and June on 4 April, again at midday.
For the opportunity to experience the production from the intimacy of the stage, there is a final chance to sign up to receive the special booking link via: www.alittlelifeplay.com. The sign-up list will close on 6 February at 11.30am, ahead of the release at midday.
In addition to the on-stage seating, audiences will also be able to access a limited number of last-minute tickets through a variety of opportunities listed on the website.
CHARITY GALA PERFORMANCE IN AID OF MIND
Also announced today, is a charity gala performance on 30 March in aid of the mental health charity Mind. For further information on Mind: https://www.mind.org.uk/
A LITTLE LIFE PARTNERS WITH APPLAUSE FOR THOUGHT
A Little Life is partnering with Applause for Thought, a multi-award-winning community interest company that aims to create safe, empowering and empathetic spaces for all within the arts. Victoria Abbott will be supporting the company as the Production Wellbeing Practitioner (PWP). This role encompasses weekly in person 1-1 and group support within the development, rehearsal room, performance and post-production phases of a show.
Abbott’s role will assist in the appropriate implementation of mental health at work policies and risk assessments, develops resources for members of the audience and front of house teams as well as being an active support for the mental health and wellbeing at work of those both on and off stage. She will work pragmatically and sensitively amidst all the varying themes of the production to aid the creative process and reinforce the resilience of each department and team.
Victoria Abbott is a BACP registered integrative psychotherapist and she began supporting the mental health of those working in creative industries in 2014 when a theatre company asked her for guidance on designing and implementing a mental health at work policy. She has an undergraduate degree in Psychology, a masters in the Psychodynamics of Human Development and a PGDip in Integrative Psychotherapy as well as experience and training as a performer. She has her own thriving private practice where she specialises in burnout, life transition, bereavement and anxiety and is the Support Lead at Applause For Thought.
Originally produced by Internationaal Theater Amsterdam
Cast: James Norton, Luke Thompson, Omari Douglas, Zach Wyatt, Elliot Cowan, Zubin Varla, Nathalie Armin, Emilio Doorgasingh
Conceived and Directed by: Ivo van Hove; Set & Lighting Design: Jan Versweyveld;
Costume Design: An D’Huys; Music & Sound Designer: Eric Sleichim;
Casting Director: Julia Horan CDG
Richmond Theatre – 14 – 18 March
Harold Pinter Theatre – 25 March – 18 June
James Norton (Happy Valley, Grantchester) stars as Jude as the visionary director Ivo van Hove (Network, Hedda Gabler) stages the English language premiere of A LITTLE LIFE, his acclaimed production of the million-copy bestseller by Hanya Yanagihara (To Paradise, Booker Prize Shortlist for A Little Life).
The much-anticipated play also stars Luke Thompson (Bridgerton, Hamlet), Omari Douglas (It’s A Sin, Constellations), Zach Wyatt (The Witcher, I and You), Elliot Cowan (The Crown, 2:22 A Ghost Story), Zubin Varla (Tammy Faye, Equus), Nathalie Armin (Force Majeure, The Doctor), and Emilio Doorgasingh (Best of Enemies, The Kite Runner).
A LITTLE LIFE follows four college friends in New York City: aspiring actor Willem, successful architect Malcolm, struggling artist JB, and prodigious lawyer Jude.
As ambition, addiction, and pride threaten to pull the group apart, they always find themselves bound by their love for Jude and the mysteries of his past.
But when those secrets come to light, they finally learn that to know Jude St Francis is to understand the limitless potential of love in the face of life.
Eleanor Lloyd Productions and Eilene Davidson Productions present
Vardy v Rooney:
The Wagatha Christie Trial
AWAY FIXTURES ANNOUNCED: VARDY V ROONEY: THE WAGATHA CHRISTIE TRIAL WILL TOUR TO WOKING, LIVERPOOL, SOUTHEND, SALFORD AND BRIGHTON FOLLOWING THE STRICTLY LIMITED RUN IN THE WEST END AT THE AMBASSADORS THEATRE FROM 6 APRIL – 20 MAY 2023
LUCY MAY BARKER (REBEKAH VARDY), LAURA DOS SANTOS (COLEEN ROONEY), JONATHAN BROADBENT (HUGH TOMLINSON QC), TOM TURNER (DAVID SHERBORNE) AND NATHAN MCMULLAN WILL REPRISE THEIR ROLES AT THE AMBASSADORS THEATRE BEFORE HEADING OUT ON TOUR
A SPECIAL GALA IN SUPPORT OF CHARITY ADVOCATE WILL TAKE PLACE AT THE AMBASSADORS THEATRE ON 13 APRIL
Photo credit: Tristram Kenton. L-R: Jonathan Broadbent (Hugh Tomlinson QC), Lucy May Barker (Rebekah Vardy), Laura Dos Santos (Coleen Rooney), Tom Turner (David Sherborne)
Following a strictly limited run at the Ambassadors Theatre in the West End (6 April – 20 May 2023),Vardy v Rooney: The Wagatha Christie Trial will tour to the following locations: WOKING New Victoria Theatre (26 May – 27 May 2023), LIVERPOOL Empire Theatre (28 May 2023), SOUTHEND Palace Theatre (30-31 May 2023), SALFORD The Lowry (9-11 June 2023) and BRIGHTON Theatre Royal (15-17 June 2023).
The verbatim production opened on 15 November 2022 at the Wyndham’s Theatre where it played to packed houses and standing ovations. The trial that gripped the nation has been adapted from seven days of High Court transcripts by Liv Hennessy (finalist in the Paines Plough’s Women’s Prize for Playwriting) and directed by Lisa Spirling (Artistic Director of Theatre503).
Reprising their roles will be Lucy May Barker (Mamma Mia!, West End; Pine Hampstead Theatre) as Rebekah Vardy and Laura Dos Santos (Yes So I Said Yes, Finborough Theatre; My White Best Friend, Liverpool Everyman) as Coleen Rooney, Jonathan Broadbent (The Comedy of Errors, RSC; My Night with Reg, Donmar and West End) as Hugh Tomlinson QC, Tom Turner as David Sherborne and Nathan McMullen (Misfits, E4; Hushabye Mountain, Hope Mill) playing multiple roles including Wayne Rooney and Jamie Vardy. Further casting is to be announced.
Tickets will go on sale for The Lowry on Friday 3 February 2023. www.thelowry.com 0161 876 2000 or www.wagathaplay.co.uk Tickets for the rest of the tour will go on sale on 17 February.
A special gala performance in support of Advocate will take place on 13 April at the Ambassadors Theatre. The charity exists to match members of the public who need free legal help with barristers who are willing to donate their time and expertise in deserving cases for those who are unable to obtain legal aid and cannot afford to pay. Advocate is the Bar’s national pro bono charity that makes it possible for barristers to balance a dedicated practice with making a significant contribution to the community.
Three assisted performances at the Ambassadors Theatre are also announced today. These include a Captioned performance on 29 April at 14:30, BSL interpreted performance on 4 May 19:30 and Audio described performance on 13 May 14:30.
From sting operations to sensational headlines, this verbatim production reveals what went on behind closed doors in the case that turned social media sleuthing into high drama. Audiences can see first-hand, and in the words of Rebekah Vardy and Coleen Rooney, how the extraordinary week in court played out.
Vardy v Rooney is a story stranger than fiction, with lurid one-liners and revelations blurring the boundaries of tabloid and court case, social media and soap opera. This unique moment in British media history captivated the country but while public debate raged, only a handful of people witnessed what happened in the trial. Now audiences can watch the intrigue and intricacies of the case live on stage in the West End and beyond.
Vardy v Rooney: The Wagatha Christie Trial is adapted by Liv Hennessy, directed by Lisa Spirling and designed by Polly Sullivan, the composer and sound designer is Richard Hammarton and Lizzie Manwaring is assistant director.
2:22 – A Ghost Story – the West End thriller returns from the dead in yet another reincarnation, this time choosing the Lyric Theatre as its haunt of choice…
With a new venue comes a new cast to tell this chilling story (with the exception of original cast member Jake Wood, who returns with a wonderfully layered and highly comedic performance as Ben). Cheryl (Newcastle’s answer to Cher), is leading the cast in the role of Jenny, and is also making her professional acting debut on the West End stage… no pressure, Cheryl!
Upon entering the auditorium we are greeted with a sense of impending doom, thanks to the fantastic set design of Anna Fleischele and lighting design by Lucy Carter – and are fully immersed and made aware of what this night has in store for us. The frenzied digital clocks moving frantically as though time were in flux as we took our seats had me thinking, has the Lyric auditorium always felt this creepy?
The show really is an ensemble piece and Cheryl is surrounded by a grounded and established cast of actors who have had years of experience treading the boards under their belts, however instead of outshining the gorgeous Geordie they manage to raise her up with their well crafted performances and set a bar for her to reach up to. Louise Ford’s performance, which has wonderful depth and a wicked sense of humour as the troubled Lauren is especially memorable.
It is a fair comment that Cheryl, at this moment in time, is not a natural stage actor. There is a distinct lack of theatrecraft and technique both vocally and physically (by the second act she seemed rather fatigued – character choice? I think not). However, with time and practice, these skills can all be learnt and I have no doubt that with the right commitment to the craft, Cheryl will flourish further in this role.
In her performance, Cheryl shows us that she has genuine actor instincts and there is some raw talent there; I was pleasantly surprised by her truth and presence. I was also grateful for her moments of subtlety instead of going down the route that most non-theatre performers take of over-emphasising every line just to get their performance across the footlights.
The play (if you haven’t already seen it) does exactly what it says on the tin, it is a ghost story through and through and it fully succeeds with what it sets out to do. I was not expecting (but thoroughly enjoyed) the comedic beats and character backstories that break up the suspense and elements of surprise. The piece is well structured and brilliantly paced with kudos to writer Danny Robbins and Matthew Dunster helming the direction.
As for Cheryl, her genuine likeability, poise and grace shine through (there is a reason she was dubbed “sweetheart of the nation”) and while I don’t think we’ll be hearing of her starring in Hedda Gabler anytime soon, I sincerely hope this won’t be the last we see of what she has to offer.
34 years after having starred in the original West End production, Michael Ball returns to Andrew Lloyd Webber’s celebrated musical Aspects of Love at the Lyric Theatre for a strictly limited season, this time playing the role of George.
Performances begin on 12 May 2023. For more information and tickets, please see www.aspectsoflove.com
It was announced today (Thursday 2 February 2023) that Jamie Bogyo – who made his professional theatre debut in the lead role of Christian in the smash hit West End production of Moulin Rouge! The Musical – will play Alex, the role that Michael Ball himself originated in 1989.
It was announced today (Thursday 2 February 2023) that Jamie Bogyo – who made his professional theatre debut in the lead role of Christian in the smash hit West End production of Moulin Rouge! The Musical – will play Alex, the role that Michael Ball himself originated in 1989.
Michael Ball said:
“I’m thrilled to announce that the role of Alex in Aspects of Love will be played by Jamie Bogyo. He’s tall, good looking, sings like a dream and is half my age…..I hate him! He will be amazing.”
Jamie’s casting was announced in a very special performance on the Ken Bruce Show on BBC Radio 2, with a Jamie and Michael teaming up to perform the iconic number, Love Changes Everything. You can listen to their performance again HERE.
With original music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart, based on the novel by David Garnett and directed by Jonathan Kent, this heart-breaking story of passion, love, life and loss in post-war France and Italy, follows three generations of the Dillingham family spanning 17 years.
Alex falls in love with an actress Rose and as the pair embark on a passionate affair, the unexpected arrival of Uncle George changes all their lives and those around them forever as they discover how love – in its many forms – truly does change everything.
Aspects of Love at The Lyric Theatre is produced by Nica Burns, by arrangement with The Really Useful Group Limited. Further casting is yet to be announced.
Cambridge Arts Theatre, Cambridge – until Saturday 4th February 2023
Reviewed by Steph Lott
5*****
The Mirror Crack’d is one of my favourite Agatha Christie stories, and Rachel Wagstaff’s new adaptation, starring Susie Blake as Miss Marple, did not disappoint. I think it’s one of Agatha Christie’s most ingenious plots, a story of revenge and old dark secrets, and this performance, imbued with both comedy and sadness, is a true delight for the audience.
The sleepy village of St Mary Mead has a new housing estate and a rich American film star, Marina Gregg, (played by Sophie Ward) has made their home in the manor house. A terrible murder takes place, and it seems that it’s up to the redoubtable Miss Jane Marple, confined to a chair after an accident, to solve the crime. Her somewhat bumbling nephew Chief Inspector Craddock (Oliver Boot) has been brought in to solve the case but of course needs his aunt Miss Marple to help him.
Susie Blake’s Miss Marple is outstanding. She is warm, wise, clever and engaging and it would be so easy to tell her your secrets! The cast that supports her is excellent too. Sophie Ward brings a narcissistic air to her portrayal of glamorous selfish Marina Gregg. There are great performances too from Jules Melvin as the killer’s first victim, the film fan Heather Leigh, and David Partridge as Heather’s husband Cyril Leigh. Their story is highlighted in a way I hadn’t seen before in other productions.
The clever set by designer Adrian Linford really stood out for me too. Its cunning design facilitated the portrayal of “flashbacks” and location changes as the witnesses tell Inspector Craddock and Miss Marple the story and what they saw. The choreography and direction of the show, created by Philip Franks, deserves applause in itself. The slick use of freeze frame, clever blocking and lighting means that the story moves easily back and forth through time shifts and across locations. It’s a clever and sophisticated production indeed.
Original Theatre’s production of The Mirror Crack’d is an entertaining whodunnit at its best.
Michael Harrison and David Ian are delighted to announce full casting for the forthcoming UK and Ireland tour of their smash hit production of the musical ANNIE opening at Curve, Leicester on Saturday 25 February 2023. Joining the previously announced Craig Revel Horwood and Paul O’Grady, will be Scottish BAFTA winner Elaine C Smith and Jodie Prenger, all starringas ‘Miss Hannigan’ at various venues. Alongside them will be Alex Bourne as Oliver Warbucks, Paul French as Rooster, Amelia Adams as Grace Farrell, and Billie-Kay as Lily St. Regis. The title role of Annie is shared by Zoe Akinyosade, Harlie Barthram and Poppy Cunningham. They are joined by three teams of young performers who play the residents of Miss Hannigan’s orphanage.
Completing the cast will be Emily Barnett-Salter, Alistair Beattie, David Burrows, Sergi Ibanez, Rosalind James, Belle Kizzy Green, Ellie May-Wilson, Martin McCarthy, Phoebe Roberts, Lukin Simmonds, Matthew Sweet, Dawn Williams, and Tommy Wade-Smith.
*Full tour dates, including details of at which venues Craig Revel Horwood, Paul O’Grady, Elaine C Smith and Jodie Prenger star, are in the listings below. www.anniethemusicaltour.uk
Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom the Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act the Musical, as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.
BAFTA Award winning television, radio and stage star Paul O’Grady returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Elaine C Smith is perhaps best known for playing Mary Doll in the BBC comedy Rab C Nesbitt, as well as her role as Christine in the BBC sitcom Two Doors Down, for which she won a Scottish BAFTA for Best Actress in 2018. On stage she consistently headlines major pantomimes, having just finished her 13th year at Glasgow King’s Theatre. She played Cora in the original UK Tour and West End run of Calendar Girls as well as playing Susan Boyle in the UK tour of I Dreamed A Dream which she co-write with Alan McHugh.
Jodie Prenger recently joined ITV’s Coronation Street as Glenda Shuttleworth. Her West End credits include A Taste of Honey at the Trafalgar Studios. Oliver! at Theatre Royal Drury Lane, One Man Two Guvnors at Theatre Royal Haymarket and Spamalot at the Playhouse Theatre. On tour she has appeared in Abigail’s Party, Shirley Valentine, Annie, Fat Friends, Tell Me on A Sunday and Calamity Jane. On television she has appeared in the BBC’s Shakespeare & Hathaway, Years and Years, Casualty and Waterloo Road.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role both in the West End, Toronto and the UK Tour. His other theatre credits include Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and Lex Hogan in Eugenius! at The Other Palace. On film he can be seen in Sony Pictures’ Cinderella.
Paul French was most recently seen as TinMan/Hickory in The Wizard of Oz at Curve, Leicester. His other theatre credits include Kenickie in Grease at the Dominion Theatre and in the production’s UK Tour and Double J in Saturday Night Fever at the Peacock Theatre. On film he can be seen in Visualize Films’ Tomorrow Morning.
Amelia Adams has most recently been seen in the UK Tour of Friends! The Musical Parody. Her previous theatre credits include Lois Lane/Bianca in Kiss Me, Kate for Welsh National Opera, Mary Delgado in Jersey Boys at the Piccadilly Theatre and on tour, Martha Burelli in The Rat Pack at the Haymarket Theatre and on tour. She has also appeared in the UK Tour of Hairspray and Spamalot both in the West End and on tour.
Billie-Kay recently appeared as Angel in Anything Goes at the Barbican and its UK and Ireland tour. She has also appeared as Dale Tremont in Top Hat at The Mill at Sonning and in 42nd Street at Theatre Royal Drury Lane. On film she has appeared in Disney’s Dis-Enchanted and Beauty and the Beast, and Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
The producers of Annie cannot guarantee the appearance of any particular artist, which is always subject to illness and holidays.
Katy Lipson to host Aria Entertainment’s first Open Pitching Day for writers of new stage musicals
Aria Entertainment was founded in 2012 by Producer Katy Lipson and over 10 years she has produced more than 80 productions in the West End, Off-West End and across the UK.
Since the beginning of her career, Katy has proudly championed new musicals, from producing the hugely successful From Page To Stage festival for six years, showcasing the best international new musicals to premiering many new musicals all around the country, most recently ‘Claus’ at the Lowry in Salford. She also recently co-launched The Chamber Musical Award, commissioning two new musicals and producing a concert of 15 shortlisted shows at the Garrick Theatre.
On Monday 13th and Tuesday 14th March 2023, Katy will be hosting an open pitching day in central London to give writers the chance to present their new musical, at whatever stage of development it may be, in person to Katy and Aria’s Literary Manager Tom Ramsay. This will be the first of a twice-yearly opportunity for writers to directly connect with the team and share their writing.
Sign up for 15-minute slots can be found at bit.ly/ariapitchingday and will operate on a first-come, first-served basis. On the pitching day, you can have as much or as little of the show written as possible, as long as you can share at least one original song.
Please note there is no need to bring performers – we ask that writers perform themselves or play demos in the room. Pitches should be a maximum of 10 minutes long to allow for at least five minutes of feedback and conversation.
The Aria Entertainment team look forward to making new connections and learning about your work.
Aria Entertainment was founded in 2012 by Producer Katy Lipson. In 10 years, she has produced over 80 productions in the West End, Off-West End and across the UK. Her most recent credits have included ‘Cruise’, which received an Olivier nomination for Best New Play and is now being developed as a film after two sell-out runs at the Duchess Theatre and Apollo Theatre, and the critically acclaimed transfer of ‘The Last Five Years’ to the West End. She is also a producer of several major UK tours including ‘The Osmonds’, ‘The Cher Show’, ‘Hair’, ‘The Rise and Fall of Little Voice’ and ‘The Addams Family’.
For several years, Katy was the Producing Artistic Director of the renowned Hope Mill Theatre in Manchester, creating and producing productions, many of which transferred to London. During her tenure she worked with Stephen Schwartz on creating a re-imagined version of ‘Rags’ and presented the first production of Jerry Herman’s ‘Mame’ in the UK for over 50 years.
In 2017, Lipson was awarded the Best Producer award by the Off-West End Awards and in 2019 was nominated for International Producer of the Year by the League of Professional Theatre Women in New York. She is a recipient of the Stage One Bursary and Start Up Award and works as a mentor on their Bursary and Bridge the Gap programmes. In 2018 she was included in “The Stage 100” list and in 2019 and 2020 for her work at Hope Mill Theatre, Manchester and again in 2021 for her work as a solo producer.
Lipson is at the forefront of new musical development in the UK, having set up the From Page to Stage festival to support new musicals at all difference stages of development. In 6 years, From Page to Stage has given a platform to over 100 new musicals; many of which have gone on to have full productions and be licensed worldwide. It is a keen passion of hers to cultivate new musicals that can have a long lasting legacy in the West End, on Broadway and all around the world.
Lyceum Theatre Sheffield – until 4th February 2023
Reviewed by Carol Crann
4****
Steel Magnolias opens with an accurate recreation of a hair salon in the 80s, complete with furniture and posters reminiscent of the era. It was designed in such a way as to include the audience in the performance, and for that reason made them feel immediately invested in the dialogue that was taking place on stage.
We see six friends, who all have strong characters independently, but together they interact on a level that gives an excellent understanding of what it was like to live and work in small town America.
In terms of the dialogue, it’s the one-liners that stand out. Throughout the show they are expertly delivered by the all the cast, whether via a playful observation or a sarcastic put-down – each strikes the exact chord you feel it should.
Performance-wise, the optimism of youth from Shelby (Diane Vickers) provides a sharp contrast with the often jaded and acerbic asides from Harriet Thorpe’s Ouiser Boudreaux. Shelby’s Mum, M’Lynn, is played brilliantly by Laura Main, who manages to portray perfectly both the strength and vulnerability needed when dealing with the twists and turns that her life takes. And in Truvy, the hairdresser, Lucy Speed showcases her role as the glue that holds the friendship group together.
As an ensemble they show a real insight into how women interact, and in turn support each other.
The strong bond between the friends becomes more and more apparent as the play evolves and their lives move on, and – with a lovely blend of humour and emotion – it really is a heart-warming tale of friendship and support.
Steel Magnolias has a feel-good factor that I thoroughly enjoyed, and it was evident that the rest of the audience agreed. I’d highly recommend you give the Lyceum a visit for this one
