Home

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster
@222AGhostStory #222AGhostStory

Runaway Entertainment is delighted to announce that Jake Wood will reprise  his award-winning role of Ben in 2:22 A Ghost Story, after Hugo Chegwin has sadly had to withdraw from the production due to illness during the rehearsal period. Jake Wood will perform from 26 January until the end of the run, and previews up until that performance will be covered by understudy Ben Cutler.

The Producers have said: ‘Due to illness during the rehearsal period, Hugo Chegwin has sadly had to withdraw from the production. We are delighted to welcome Jake Wood back to the 2:22family.’

Jake Wood was one of the original cast members of 2:22 A Ghost Story when it opened in summer 2021 at the Noel Coward Theatre, along with Lily Allen, Julia Chan and Hadley Fraser. Jake won the What’s On Stage Award for Best Supporting Actor for his performance.

Jake Wood said: “It was an honour to originate the role of Ben at the Noel Coward, winning the What’s On Stage best supporting performer in a male identifying role in a play Award for 2021, and I am so excited to be rejoining the cast until the end of April. Danny Robins’ script is funny, touching, and so entertaining and easily the best play I have ever read. If you’ve seen the show before, come back and see it again and I promise that you will enjoy it just as much as I know I will the second time around.”

Hugo Chegwin said:‘I’ve had the flu. Due to being poorly during the rehearsal period, I’ve had to pull out of the play. I’m absolutely gutted about this and I wish everyone involved in the play the best of luck. The cast are truly amazing’

This is the fourth West End transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 – A Ghost Story. The Lyric is the show’s biggest house to date and follows two hugely successful seasons at the Criterion. Last year 2:22 A Ghost Story had Olivier Nominations including Best New Play, and won the Best New Play category in the Whatsonstage awards.

The production began its life in the summer of 2021 at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there, starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher, completed its run on 12 February 2022. The first cast at the Criterion Theatre featured Tom Felton, Mandip Gill, Beatriz Romilly, Sam Swainsbury and the current Criterion Theatre cast Tamsin Carroll as Lauren; Felix Scott as Sam, Matt Willis as Ben and Laura Whitmore as Jenny, ended its run on 8 January. The US premiere of 2:22 A Ghost Story at the Ahmanson Theatre, Los Angeles opened on 29 October and ended its run on 4 December 2022.

2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline-fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?

“There’s something in our house. I hear it every night, at the same time.”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Matilda James, CDG, illusions by Chris Fisher, and associate direction by Matt Hassall.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

TICKETS ARE ON SALE NOW FROM WWW.222AGHOSTSTORY.COM

Leeds Grand Theatre – until 2 March 2023

Reviewed by Dawn Smallwood

5*****

Puccini’s Tosca returns to Opera North’s repertoire in their 2023 Winter Season. This well-known opera is set to Giacomo Puccini’s music, Giuseppe Giacoso and Luigi Illica’s libretto and is based on Victorien Sardou’s play. This production, premiered in 2018, eagerly returns and is directed by Edward Dick. Tosca is tense, passionate, political, and powerful – themes which one can resonate with today’s current affairs. Tosca, like many stories, there is a villain, courtesy of Baron Scarpio who is Chief of Police, and a hero, Flora Tosca who is a singer.

Tosca explores the unrequited love between Floria Tosca (Giselle Allen) and Mario Cavaradossi (Mykhailo Malafii). The narrative is complicated with the arrival of Cesare Angelotti (Callum Thorpe), a political prisoner and escapee, and the unwelcome arrival of Scarpia (Robert Hayward) and his agents who are on the hunt of Angelotti.

The narrative unfolds with Scarpia’s abuse of power and with the support of his agents, Cavaradossi is unlawfully arrested, and the insurmountable interrogation begins. Scarpia’s misuse of power turns to passionate lust for Tosca, and he emotionally blackmails her for Cavaradossi’s release. This only leads to tragedy and the final opportunity for both Tosca and Cavaradossi to requisite their love.

Puccini’s powerful and melodramatic musical score is done under the musical direction of Garry Walker and the well-known arias are sung such as the energetic Te deum, the soulful Vissi d’arte and the poignant and tragic E lucevan le stelle. Excellent and evocative portrayals of Cavaradossi, Scarpia and Tosca by Malafii, Allen and Hayward (who the latter two played the characters in the production when it premiered in 2018). They are supported by a strong and talented cast and the chorus of Opera North and with Maxine Braham’s choreography.

What must be mentioned is Tom Scutt’s eye catching and captivating set which is staged versatility for its different spaces and positions throughout the opera. The golden dome and the colourful and attentive fresco of Mary Magdalene, who is immortalised, works ever so well with the characters and plots. The staging compliments with Lee Curran’s lighting which the light and obscurity transpires to the narrative’s general moods and Fotini Dimou’s haute couture’s costumes are exclusive for the characters. `

This popular opera was certainly written ahead of its time and whenever it’s played as a new production or a reprisal, it resonates to everyone and everywhere now as much as when it did. Tosca reminisces dramatically and powerfully now and in the future.

Forum Theatre, Malvern – 19th January 2023

Reviewed by Courie Amado Juneau

5*****

Last year I was fortunate enough to review The Johnny Cash Roadshow and loved it. So it was with great anticipation that I jumped at the chance of catching the gang again this year. And man oh man, did they warm this old heart on one very cold night in frosty Malvern!

The lights dimmed, the massive video wall gave us a snippet of The Man in Black talking about his music and the band soon tore into a trio of hits from the great man’s early days of Sun Records, including “Hey Porter”. This year’s show is a tour through the years and each era and significant milestone was covered.

Clive John is a wonderful Cash, not an impression – more an inhabitation. He sounds, looks and dresses like him and has his mannerisms. And he has a warm, funny, personable stage presence that I could very happily spend hours in the company of. But, of course, his principle job is to pay homage to the man and his music and he does this with commendable artistry and obvious affection.

Meghan Thomas is the band’s June Cash, performing on Autoharp (when do you ever get the chance normally to hear one of those?), dancing and providing backing vocals. Just like the original Mrs Cash, she is an integral and most welcome part of this show.

There are so many classic country songs in the set that it would take forever to list them, but the climax of the first half is indicative of the evening’s entertainment. “City of New Orleans” (complete with horns) a song that Cash wasn’t known for – the show mixing it up, keeping it fresh for those who’ve seen the show before. “Long Black Veil” is an emotional ballad, both haunting and tender. And then there’s “I Still Miss Someone” (one of the best songs ever written, a veritable anthem to the jilted and lonely).

After the break more of the same – rightly so, why change something working so well? “Folsom Prison Blues”, into a Gospel section, into a fantastic Clive John original “September” which showcased his songwriting talent (I loved his original from last year’s set too) and then into some songs from Cash’s last years “Rusty Cage” and his last hit “Hurt”. Powerful stuff! And that’s not even mentioning the price of admission worthy “Ghost Riders In The Sky”…

Mark Knopfler’s “Next Time I’m In Town” echoed how we were all undoubtedly feeling – awaiting the Roadshow’s return before they had even finished tonight’s show, which they did in epic style with (naturally) “Ring Of Fire”.

Some nights everything comes together to produce the perfect evening – a songbook that spans decades, a band that is well drilled, performers who command the stage and an eager audience there to appreciate the spectacle on offer. Tonight was one such night. Thank you all concerned and here’s to next year. Ladies and gentlemen, “he’s Johnny Cash” (and so are his band).

Criterion Theatre – until 16 April 2023

Reviewed by Claire Roderick

4****

Steven Moffat’s hilarious new comedy of manners has killer jokes and a cast to die for. Based on an incident that actually happened to his friend, Moffat has taken a ridiculous situation and amped the cringe factor up to 11.

Uptight middle class couple Peter (Reece Shearsmith) and Debbie (Amanda Abbington) meet the gregarious American Elsa (Frances Barber) on a cruise, and begrudgingly end up giving her their contact details, expecting her to do what all decent holiday acquaintances do – promise to keep in touch but never, ever make contact again. They haven’t reckoned with the force of nature that is Elsa, and she arranges to come and stay with them. Belatedly worrying about who exactly they are welcoming into their home, Debbie googles Elsa and discovers that she has probably murdered 6 people, but there is lack of evidence to prosecute. However, as it is too late to “unfriend” Elsa on Facebook, Elsa arrives and the couple are too polite to confront her, and their feeble attempts to broach the subject end effectively when they don’t want to upset her. Elsa’s presence in the house elicits a remarkable transformation in their two teenage children. The couple’s relationship with their children is slightly bizarre – this is a man who has forbidden his son from farting downstairs, instead banishing him to a less public area. Elsa is soon playing computer games with Alex (Gabriel Howell), and encouraging him to leave the house and exercise, while Rosie (Maddie Holliday) stops prowling around eavesdropping and begins to chat happily with her parents. “She’s Murder Poppins!”

The laughs come fast and regularly, with Barber chewing the scenery as the brash and uninhibited American and Shearsmith brilliantly squirming as he must deal with increasingly embarrassing and uncomfortable situations. The second act scene where he is trying to ascertain whether a policeman has been poisoned by Elsa is a masterclass in physical comedy as Shearsmith squirms and stutters through the excruciating situation. Abbington has a less showy role, but is wonderful as the equally uptight Debbie. “It’s been 6 days and no murders” says Peter at one stage. The couple’s almost pathological avoidance of embarrassment and conflict (except with their children) allows Elsa to settle in and get to know the neighbour (Michael Simkins nailing the passive aggressive bore) before she finally moves on after Debbie finally speaks her mind, but not without leaving an unusual parting gift. The comedy of manners is a delight and asks light-hearted questions about the emotional intelligence of traditional middle-class manners.

This isn’t a ground-breaking comedy, and has the comfortable feel of the farces of the 70s and 80s, but with a contemporary sharpness and wit. Moffat knows how to tell a story, and director Mark Gatiss knows how to sell a story. The Unfriend is fast, funny and full of cracking one liners.

Southwark Playhouse – until 4 February 2023

Reviewed by Claire Roderick

3***

Let’s face it – a 100 minute Hamlet is going to upset Shakespeare purists, but Lazarus never shy away from exploring and interpreting classic plays in their own contemporary, sometimes challenging, style.

Lazarus’s Hamlet began as an actor in training production, and it hasn’t lost that raw edge as designer Sorcha Corcoran’s Elsinore is a performance space that could be a drama studio, therapy room or gym. Director Ricky Dukes has dispensed with the adults in his adaptation, leaving only the younger characters in the spotlight. This obviously leaves huge chunks of plot – and plotting – out of the play, but Dukes has form using a disembodied voice of authority to stop characters in their tracks and inserts vital information and orders from Claudius or Gertrude using Micha Colombo’s vocal skills. Familiarity with Hamlet will either annoy or help audience members follow the plot, but this pacy production tells the story with an undeniable freshness and energy that it serves as an intriguing introduction to Shakespeare that could act as a gateway into classic plays for new audiences.

Summoned by a bell, the cast assemble in a circle around a microphone and are asked who will begin, before introducing themselves and the characters they play. When it is Michael Hawkey’s turn to introduce himself as Hamlet the cast scatter and they begin the play. The cast’s reactions to the bell, and their stance as they freeze, looking up to the ceiling as they listen to and converse with Micha Colombo’s mysterious voice, creates a disconcerting power dynamic and sense of subjugation, raising lots of intriguing questions and possibilities to mull over after the performance. Stuart Glover’s lighting and Jovana Backovic’s sound design are bold and brash, perfect for this production. The characters use torches and fight to be heard over a giant fan at times, but it all fits together to keep the audience slightly on edge and never comfortable with what they are watching. We certainly had lots of conflicting ideas but came back to one (although we may have been influenced by our love of schlocky TV shows!). The cast are all dressed in what could be a team or institutional uniform, and instantly comply with the voice and the bell – so could this be part of a young offenders or psychiatric programme? The way the play ends makes it seem as if this therapy/punishment has been repeated many times and the characters are revisiting/trying to change their reactions to the voice’s manipulations in a twisted Squid Games style experiment. Whatever the intention – any play that can make people argue that much is worth the ticket price.

Although the sensitivity and tenderness of some scenes are lost in the dizzying pace of the production, the tone throughout is consistent, with every character appearing and acting like a teenager trying to navigate a brutal, unforgiving and confusing world. Polonius’s accidental murder just about makes sense, but the idea that Hamlet could be capable of random violence at that point rings true regardless. Michael Hawkey’s Hamlet is stroppy and showy at first, but the insecurity and instability emerges gradually to replace the early showy mask of ladishness Hamlet employs. An impressive professional debut. Lexine Lee as Ophelia portrays a quiet and dignified descent into despair, hauntingly capturing the almost serene determination once she has decided to kill herself (in a beautifully stark scene filmed parading through the corridors of the Playhouse.) The wonderful Kalifa Taylor gives the most traditional rendition of Shakespeare as the first player performing for Hamlet, nicely contrasting the more natural choices of the cast with our ideas of what Shakespeare should sound like. The Mousetrap is played for laughs in broad physical comedy and a stream of tortured rhymes by Kiera Murray and Juan Hernandez – a welcome chance to catch a breath and have fun amongst all the angst. The young cast all impress, and their ensemble work as the voice of Hamlet’s father is wonderfully atmospheric.

Lazarus’s Hamlet is mean, moody and very modern – an exhilarating and intriguing adaptation with an exciting young cast.

Riverside Studios – until 4th February 2023

Reviewed by Heather Chalkley

5*****

Jemma Khan’s off the wall solo performance covers all the deadly sins, through clever story boards and often anarchic dialogue. Khan uses Kamishibai (“paper play”), a form of Japanese street theatre and storytelling that was popular in Japan until the advent of television.

This combines with Khan’s physical presence, her gaze holding your attention, as she morphs into each character with the slip on of a necklace, jacket or trousers. Just as impactful the slipping off of the same and much more. The random smashing of fruit and vegetables serves as a short interval!

You are captivated throughout the 70 minute rollercoaster full of humour, shock and sauciness! It is a joy to watch an accomplished silver tongue suffuse the air with such unshackled abandon.

Charing Cross Theatre – until 8 April 2023

Reviewed by Claire Roderick

4****

The forcible relocation of 120,000 Japanese Americans from the West Coast following the Japanese attack on Pearl Harbour is a stain on the country’s history, and one that George Takei has ensured will not be forgotten through his advocacy and this wonderful musical. When Takei was only 5 years old, his family were taken at gunpoint and spent the rest of the war in camps far from home. Although Allegiance doesn’t tell the story of the camps through the eyes of a child, the fictional Kimura family and their experiences still take the audience on a rollercoaster of emotions. After runs in California, Broadway and an online, it is high time London gets to see this heart-warming musical live on stage.

It’s a shock when George Takei walks on as gruff war veteran Sam Kimura, as we are so used to seeing the veteran actor and social media maestro beaming from ear to ear. In that brief first scene where Sam’s decades-long estrangement from his sister is established, Takei effortlessly reminds the audience of his serious acting chops before the action goes back to 1941 and he reappears playing Sam’s grandfather, Ojii-Chan. In this role, he has a permanent twinkle, gleefully clapping along with musical numbers and offering sweet words of wisdom to the fiery younger generation.

The incredible Telly Leung plays Sam as a young man, with soaring vocals and a magnetic stage presence. Aynrand Ferrer is phenomenal as Sam’s sister, Kei, who has raised him since their mother died. Ferrer’s impeccable voice and her searing emotion make for an unforgettable performance as Kei finally finds her independence, and love, in captivity. As the prisoners follow their elders’ advice and keep the gaman spirit – enduring the seemingly unbearable with patience and dignity – Sam is angry and wants to enlist to fight for his country, but is refused. As time passes, the prisoners must fill in a loyalty questionnaire, answering whether they would be willing to enlist and fight for the US and renounce the Japanese emperor. The men who said yes joined up and those that answered no were sent to a segregation camp. The tensions and fractured relationships as the men must choose their allegiance set events in motion that lead to tragedy.

The entire cast is charismatic and energetic – Masashi Fujimoto oozes strength and dignity as Tatsuo Kimura, Megan Campbell shines as the white nurse in love with Sam and Patrick Munday lots of fun as Frankie, Kei’s boyfriend, who represents everything that her brother mistrusts.

Mark Acito, Jay Kuo and Lorenzo Thione’s book does get a little soapy, but the pace of the story sweeps you along under Tara Overfield Wilkinson’s sprightly direction. Jay Kuo’s music and lyrics are a joy – with bombastic dance numbers, big band style, haunting ballads and sweet comedy duets. The structure and score aren’t ground-breaking, but the show is a delight – sharing this important story in an unforgettably powerful production.

This glorious show is full of heart, humour and humanity just like George Takei himself – a wonderful legacy.

ACCLAIMED COMEDIAN & IMPRESSIONIST

RORY BREMNER

STARS AS CHRIS TARRANT

IN JAMES GRAHAM’S

SMASH HIT PLAY

TOURING THE UK
FROM 22 SEPTEMBER 2023

*****“Furiously exciting” 
Time Out

**** “Utterly compelling” 
The Times

**** “A thrilling blend of entertainment, politics and justice today” 
Sunday Times

Rory Bremner, Britain’s top satirical impressionist and renowned comedian, stars as Chris Tarrant in James Graham’s thrilling and provocative drama, Quiz. The production explores the real-life story of Charles Ingram, aka the Coughing Major, who conned the world’s most popular TV quiz show, Who Wants to Be a Millionaire out of £1,000,000. Or did he?

Nominated for two Olivier Awards including Best New Comedy, James Graham’s smash hit play, Quiz, transferred to London’s West End with sensational reviews in 2018, following a sold-out run at Chichester Festival Theatre. And in 2020, millions tuned in to see the three-part ITV adaptation starring Michael Sheen, Matthew Macfadyen and Sian Clifford.

Quiz now returns to Chichester Festival Theatre before embarking on a 9-week UK tour from 22 September to 2 December 2023, with press night on 28 September 2023.

Roryis ‘a one-man opposition party’ (Daily Telegraph). As a mimic, he’s provided definitive impersonations of PMs and Presidents from Major, Blair, Cameron and Brown, to Clinton, Bush and Trump. As himself, he’s been a presenter, writer, quiz-show host, actor, translator and even (briefly) ballroom dancer (Strictly Come Dancing, 2011). 

Rory Bremner says “I’m very excited about this; not just the challenge of playing Chris Tarrant in long form but bringing the scandal that really caught the public’s imagination to a live audience every night. What really happened? The jury’s out- and this time it’s you!

I didn’t have to phone-a-friend. It wasn’t even 50/50. This was a role I had to take on, with A: a brilliant director; B: a terrific script; C: a different audience live each night; and D: a story that divides opinion to this day. Final answer? Ask the audience!”

September 2001:

the nation is gripped by a scandal that remains, to this day, a mystery.
In an outrageously audacious heist, Charles Ingram, aka the Coughing Major, and his accomplices duped the world’s most popular TV quiz show, 

Who Wants to Be a Millionaire, out of £1,000,000.

Or did they?

And if they did cheat, how did they really do it?

Uncovering new evidence, it’s time to ask you, the audience, to put fingers on keypads and answer the ultimate 50/50: guilty or not guilty?

Quiz is directed by Artistic Director of Chichester Festival Theatre, Daniel Evans and Seán Linnen with design by Robert Jones, and produced by Jonathan Church Theatre Productions and Wessex Grove, by arrangement with William Village. Lighting by Ryan Day, composition and sound design by Ben and Max Ringham, with video by Tim Reid and casting by Ginny Schiller CDG

QUIZ is a fictional imagination based on real events which took place in 2001 following an episode of Who Wants To Be A Millionaire? It is not in any way connected with the makers of the programme or any of the individuals portrayed. The television programme Who Wants To Be A Millionaire? is produced by 2waytraffic.

Lyceum Theatre, Sheffield – until 21st January 2023

Reviewed by Sophie Dodworth

5*****

On their UK and Ireland tour, this outstanding production stops at the Sheffield Lyceum for a week. Written and directed by Conor McPherson with the story surrounding the songs of Bob Dylan.

Get whisked into the depression era of the early 1930s and follow the story of Nick (Colin Connor), Elizabeth (Frances McNamee) and their kids Marianne (Justina Kehinde) and Gene (Gregor Milne). They have a complex and difficult set-up, Elizabeth is struggling with dementia, having to live in a house with her husband (and carer) who is having relations with widow Mrs Neilsen (Maria Omakinwa). Their alcohol loving son Gene seems to be stuck in a rut trying to make it in the writing world but not making much progress due to the drink and then their adopted daughter who is pregnant with no father in the picture. Witness romance and sad times, as the storyline unfolds and explores the awful realities of extremely racist times that people lived through then.

To mention all the actors that are great in this show would be impossible as literally every single one is the full package. The strength of these actors is unreal, they leave goosebumps and butterflies and to put into words how polished this is, is quite difficult, you really need to see it. McNamee is electric, her energy on stage is unique and she can make you feel emotionally charged with her sombre, confused state as Elizabeth and then her happy and joyful outbursts when singing and dancing. Omakinwa lights up the stage when she first enters with her beautiful voice and smile. Kehinde is perfect for the role of Marianne and has some superb moments with her solos. The effortless vocals of Eve Norris, during duet I Want You, are just breath-taking. The ensemble are literally the strongest out there, one really standing out was Daniel Reid-Walters, the energy he put into each number did not go unrecognised.

The set and costume design really took this show to the next level, hats off to designer Rae Smith. Every detail was worth it, the lights, the detailed plentiful props and appropriate costumes, all just added such charisma.

Musical numbers that really stood out were almost all of them! Slow Train was just exquisite, a visual masterpiece, well placed cast and a sweet-sounding ensemble. The female group singing at the front at the end of this number was the cherry on top.

A dark, dramatic, romantic and starkly sad at times storyline which will draw you in and keep you there with the actors right until the very end. Mind-blowingly entertaining, emotion-churning and a perfect visual platter! this show will leave a real lick of refreshing artistry with you.

IT’S THE FINAL COUNTDOWN!

FULL CAST ANNOUNCED FOR

THE 2023 FAREWELL TOUR OF

ROCK OF AGES

STARRING

KEVIN KENNEDY AS ‘DENNIS DUPREE’

OPENING AT PETERBOROUGH NEW THEATRE

WEDNESDAY 1 FEBRUARY 2023

The producers of ROCK OF AGES are thrilled to announce full casting for the farewell tour of the production, starring Coronation Street star Kevin Kennedy as Dennis Dupree, opening at Peterboroguh New Theatre on Wednesday 1 February 2023. Kevin is joined by Sam Turrell as ‘Drew Boley’, Gabriella Williams as ‘Sherrie Christian’, Tim Oxbrow as ‘Lonny Barnett’, Cameron Sharp as ‘Stacee Jaxx’, Natalie Winsor as ‘Justice Charlier’, Vas Constanti as ‘Hertz Klinemann’, David Breeds as ‘Franz Klinemann’, Stephanie Chandos as ‘Regina’. The cast is completed by Erin Bell, Adam Strong, Scott Hayward, Darius James, Reece Duncan, Tianna Sealy-Jewiss, Janine Somcio, Rhys West and Phoebe Samuel-Gray.

Following playing Peterborough, the tour will visit Bromley (7 – 11 February), Aberdeen (14 – 18 February), Blackpool (20 – 25 February), Truro (27 February – 4 March), Bradford (7 – 11 March), Manchester (14 – 18 March) and Barnstaple (21 – 25 March). From May the tour visits Llandudno, Crewe, Hull, Wolverhampton, Newcastle, and Swansea. Full casting for May dates onwards will be announced in due course.  Full tour schedule below. www.rockofagesmusical.co.uk

Kevin Kennedy is probably best known for his portrayal of ‘Curly Watts’ in “Coronation Street”. His West End theatre credits include ‘Amos’ in “Chicago” at the Adelphi Theatre and “We Will Rock You” at the Dominion Theatre. Kevin has played both ‘Caractacus Potts’ and ‘The Child Catcher’ in the hit musical “Chitty Chitty Bang Bang”, becoming the first actor to have played both roles. He appeared as ‘Dennis Dupree’ in the 2018 UK Tour of “Rock of Ages” and has also appeared in the national tours of the musicals “The Rocky Horror Show”, “The Commitments” and Kay Mellor’s “Fat Friends”.

Sam Turrell returns to “Rock of Ages” and the role of ‘Drew’ having performed the show on the UK tour, around the world on the NCL Breakaway cruise ship.

Gabriella Williams theatre credits include ‘Sophie’ in “Mamma Mia!” at the Novello Theatre, “Eugenius!” at the London Palladium, “Carrie The Musical” at the Southwark Playhouse and “Miss Saigon” and “Grease”, both on a UK tour.

Tim Oxbrow’s theatre credits include “Bat Out Of Hell” both in the West End and on the UK and Canada tour. His other credits include “Mythic” at the Charing Cross Theatre, the international tour of “Jesus Christ Superstar”, “Chess” at The Union Theatre and the UK Tour of “Spiderman The Musical”. On television he has appeared in ITV’s “Breaking The Band” and the BBC’s “Tales of the Empire”.

Cameron Sharp has appeared in the UK Tours of “Beautiful: The Carole King Musical”, “Rock of Ages” and “Avenue Q”. His West End credits include “School of Rock”, “Jesus Christ Superstar” and “Rock of Ages”.

Natalie Winsor’s theatre credits include “Abba Voyage” at the Abba Arena, “The Tempest” at Theatre Royal Bath, “King Arthur” at the Roses Theatre, “Fame” at The Shaftesbury Theatre, “Jekyll and Hyde” UK Tour and “Live and Upfront” at the London Palladium.

“ROCK OF AGES” is the hilarious musical comedy lavished with over 25 classic rock anthems, including, ‘We Built This City’, ‘The Final Countdown’, ‘Wanted Dead or Alive’, ‘Here I Go Again’, ‘Can’t Fight This Feeling’ and ‘I Want To Know What Love Is’, played loud and proud by an awesome live band. Leave it all behind and lose yourself in a city and a time where the dreams are as big as the hair, and yes, they can come true!

Now a global smash with hit seasons on Broadway, London’s West End and Las Vegas and a star-studded Hollywood movie version this show promises you the best party night out around.

The crew is made up of Company Manager Emma Eldridge-Doyle, Stage Manager Benjamin Larkin, Deputy Stage Manager Sophie Mason, Assistant Stage Manager Mali-Beth Rose, Technical Assistant Stage Manager Kyle Campbell, Sound 1 Olly Smith, Sound 2 Toby Maiden, LX1 Ben Webster, LX 2/Tech Swing Callum Brady-Temple, LX3 Sofie Mirza, Head of Wardrobe Melissa Hamill and Wardrobe Assistant Nicola Riley.

The band is made up of Musical Director and Keys Liam Holmes, Guitar1 Liam Stevenson, Guitar 2 Alex Ward, Bass Guitar Elliot Mason and Drums Steve Hynes.

“ROCK OF AGES” has a book by Chris D’Arienzo and arrangements and orchestrations by Ethan Popp.

The full creative team includes Nick Winston  (Director of the feature film “Tomorrow Morning”, “MAME”, “The Royal Variety Performance”) who Directs and Choreographs the show, Set and Costume design by Morgan Large (“The Woman in White”, “Joseph and the Technicolour Dreamcoat” and “Tell Me On A Sunday”), Lighting Design by Ben Cracknell (“Sunset Boulevard”, “Pantoland at the Palladium”, “Priscilla Queen of the Desert”), Sound Design by Ben Harrison (“Mame”, “Priscilla Queen of the Desert” and “Fame”) and Video and Projection design by  Duncan McLean (“The Car Man, Nutcracker! and Magic Goes Wrong”). Casting Director is Jim Arnold CDG, Associate Director is Victoria Gimby, Associate Choreographer is Ryan-Lee Seager and Associate Lighting Designer is Chris Vaughan. Costume Supervision by Lee Tassie and Production Management by Phil McCandlish.