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Southampton Mayflower – until 29th January 2023

Reviewed by Lucy Hitchcock

5*****

A multi award winning show, from the direction in Bartlett Sher has come to Southampton and you would be a fool to miss it!!

Charlotte Kennedy as Eliza Doolittle is outstanding. Her incredible depiction of the well loved role is excitingly fresh-with clever quick wit and a voice to knock your socks off, she never misses a single beat. Her character arc is so clearly laid out, that you can physically feel yourself willing her to adapt and get her vowels right. In the presence of Henry Higgins (Michael D Xavier) this is a perfect duo. The 2 are encapsulating, bouncing off of each other like magnets and are able to change the tone In The theatre with a single look. At some points, you could hear a pin drop as the audience were in anticipation. Xavier has an enthralling voice, which, when mirrored with his impeccable comic timing and fantastic facial expressions, creates a wonderful show. Adam Woodyatt and John Middleton also join the cast as Eliza’s father, Alfred, and Colonel Pickering respectively. These two were perfectly cast, with Middleton being the perfect gentleman and Woodyatt embodying the perfect drunkard! During the song ‘Get me to the Church on Time’ we really saw the extent of Woodyatt’s talent, as he commanded the stage with ease-and a smashing voice. Lesley Garrett, as Mrs Pearce, was the perfect ‘housemaid’ type character. Her stunning vocals were a joy to listen to and she was a sterling member of this cast. Every single member of the company should be proud, as the show could not run with any of them. 

Micheal Yeargen’s sets were unfalteringly breathtaking. It felt as though the stage had been picked up from London it was that impressive. When we first saw the office of Professor Higgins, I could not believe my eyes-my jaw was dropped. The sets are magnificent and it was a privilege to see the intricacies and opulence shown. At some points, I didn’t even notice the scene changes-it was that slick and well rehearsed. I was in awe. Catherine Zuber’s costumes were also exquisite-perfectly placed and each costume told a story-a feast for the eyes. 

This astounding production of Lerner and Loewe’s phenomenal show will excite and enthrall you. With its stupendous cast and visually tantalising set, this truly is “loverly”

Bristol Hippodrome – until 21 January 2023

Reviewed by Lucy Hitchcock

3***

From the minds of Marshall Brickman, Rick Elice and composed by Bob Gaudio with lyrics from Bob Crewe, comes Jersey Boys.

The wonderfully toe tapping spectacle depicting the conception and rise to fame of ‘Frankie Valli and The Four Seasons’ has a great cast with some amazing talent.

Starting with a narration from Dalton Wood as ‘Tommy Devito’, this is a piece that will have you wiggling in your seat from the very start. All members of the Four Seasons (including Dalton Wood) Blair Gibson as ‘Bob Gaudio’, Christopher Short as ‘Nick Masai’ were great and showed real passion for their roles. It was a joy to hear their voices blend as a group and during some highly emotive moments, such as the eventual break up of the band, encapsulated the audience. When coupled with Ryan Heenan as ‘Franki Valli’ this was a true likeness of the band, with Hennan grasping Valli’s quintessential high, nasal qualities.

The cast was a standout, but a particular mention must go to Damien Winchester, who played a variety of roles. Every scene he was in, he stole the focus with his quick wit and great voice-even managing to do so during the Finale!!!

This is a great piece that will truly have you wiggle and jiggle in your seat as you hear some blasts from the past. With the wonderful red blazers, lights and vocals, you will be the closest you can be to the real thing!

New Wimbledon Theatre – until 14 January 2023

Reviewed by Philip Brown

5*****

The Commitments ride once again!   Get ready ladies and gentlemen, to put your working class hands together, to pinch a phrase, and applaud a fervent feast of feel-good.  And while you’re at it, prepare those working class feet for action.  Based on a debut novel by Roddy Doyle, The Commitments has been entertaining audiences across 5 decades, spawning a Bafta award winning film in the 90s along with 2 hit (platinum and gold) soundtrack albums, a successful, long running musical in the 2010s and, on this evidence, a stonking revival of the stage show to brighten up the 2020s..  For any hermits who may have missed out on all all this history, the story is simple  – young working class youths from the north side of Dublin form a band.  But it’s all about the way you tell ‘em and this is told exceedingly well.

It’s really a show of 2 halves.  The first necessarily sets the scene and the band’s early development, whilst the second has more songs and sees the band in full-on gig mode building the intensity to an exhilarating finale that did have the audience out of their seats dancing.  

Things kick off with a powerful ensemble number (Proud Mary) before switching focus to the main story – a couple of buskers Outspan (played by Michael Mahoney) and Derek (Guy Freeman) who give up on their current band in disgust at the lack of impact their “art school shite” is making.  (Get used to the word – it and others are well used in the show).  They consult local musicologist Jimmy Rabbitte (James Killeen looking uncannily like a young Stephen Mangan) about their lack of success.  In an imaginatively and comically choreographed scene at Jimmy’s house with his unreconstructed Da (Nigel Pivaro – lovely cameo), they audition recruits, who qualify by having soul as well as not coming from the south side, for the world’s hardest working band.  Meanwhile, Jimmy expounds on how to be different, soul, and what’s “in”. According to Jimmy, what’s “in” is real sex (not mush), so “the time has come to put riding back into rock ’n’ roll”.

Enter lead singer Deco (quite brilliantly played by Ian Macintosh), followed by the rest of the band which memorably includes the much older Joey the Lips Fagan (a beautifully enigmatic Stuart Reid) – a trumpet player full of biblical attitude, libidinous intent and the dubious claim he has  played with all the soul greats in the States.   Jimmy tutors the newly assembled band in his philosophy – songs should be about where you’re from and the people you come from – with the Irish being the Blacks of Europe, Dublners the Blacks of Ireland, and the north side the Blacks of Dublin, “Say it aloud, I’m Black and I’m proud” (to quote the great James Brown).  The Commitments along with the wonderful trio of female backing singers – the Commitmentettes – take to the rehearsal room, their first gig at the local Community Hall and then hit the road with a repertoire of some of the greatest 60s and 70s soul music ever written.

There were many notable moments – too many to single out each and every one.  The writing is excellent – very funny with memorable, realistic and sharp dialogue.  The performances are well honed with precision timing – every punchline delivered to the millisecond.  The two leads, James Killeen (as Jimmy), and Ian McIntosh (as Deco) excelled.  Ian McInstosh in particular has a wonderful voice for soul music and is a spectacular performer.  The musicianship was exemplary.  The Commitmentettes – Imelda (played by Ciara Mackey), Natalie (Eve Kitchingman) and Bernie (Sarah Gardiner)  played the backing vocalist role to perfection but each also shone taking lead vocals on some songs.  Ronnie Yorke (playing Mickah/Ray) had an amusing/threatening cameo as doorman/security and then showed his versatility by taking over the drum stool as the inevitable personality clashes over Deco’s timekeeping splintered the band.  For me, one of the revelations of the evening was the beautiful performance of “It’s a Thin Line Between Love and Hate” originally by the Persuaders

The Commitments is a thoroughly uplifting show that will linger long in the memory, but there is also something pleasingly recursive about its timing.  Roddy Doyle was right about authentic Motown and Memphis soul music being timeless.  The original story is about the “saviours of soul” reengaging an audience brought up on anaemic “art school shite” with genuine, gutsy music that goes beyond musical fashion.  Every revival of the story serves to reintroduce a superb catalogue of music to a new audience, and judging by the New Wimbledon Theatre last night, it’s going down a storm.

Vaudeville Theatre – booking until 29 October 2023

Reviewed by Claire Roderick

5*****

The phenomenal pop-concert musical about Henry VIII’s wives continues to be fantastic fierce fun, changing history into HERstory with flair and attitude. The new cast of Queens taking their thrones are an incredible ensemble with boundless energy and attitude – and talent that blows the roof off the theatre.

Everybody remembers the divorced, beheaded, died, divorced, beheaded, survived rhyme, but in Six the wives get to step into the limelight and decide to tell their sob stories so that the audience can vote for the wife that has suffered the most to become the lead singer of the group, accompanied in style by the Ladies in Waiting of the wonderful onstage band (Lauren Hopkinson, Alice Angliss, Emma Jemima and Kelly Morris).

Toby Marlow and Lucy Moss’s exuberant celebration of the women in the shadow of the king gives a sassy twist to everything we think we know about these women, in a glorious range of styles inspired by female musical icons with wise and witty lyrics. Rhianne-Louise McCaulsky is a total diva as Catherine of Aragon, demanding to know what exactly she did to deserve Henry’s shoddy treatment of her in a barnstorming number, followed by Baylie Carson’s comedic take on Anne Boleyn as a girl who just wanted to have fun in the hysterical “Don’t Lose Ur Head”. Linking the numbers is some bitchy banter between the queens that could be a little hit and miss with a weaker ensemble, but these Queens nail every line. There are some cracking one-liners, mostly from the younger wives, Anne and Katherine Howard, and the other Queens’ reactions are sublime.

There is a complete change in tone as Jane Seymour tells her story, with Claudia Kariuki showing her impeccable vocal skills and stage presence in her power ballad, Heart of Stone, that allows the audience to breathe, and some to sob, before the tempo reaches fever point again as Anne of Cleves takes centre stage. Let’s face it, we all know the story of the Holbein portrait, but not much about Anne’s life after divorce. Six has a wonderfully bonkers number “Haus of Holbein” showing the selection of a wife from her “profile picture” before Anne sings about her “terrible” life as a divorcee – the gleeful “Queen of the Castle” showcases her life of wealth and privilege in Richmond with loads of swagger. The West End has always found an insanely charismatic Anne in each cast change, and Dionne Ward-Anderson is possibly the best yet, full of sly looks and fierce attitude that win the audience’s heart instantly. Koko Basigara’s Katherine Howard is a brilliantly imagined teenage hedonist whose understanding of the appalling way older men use her becomes clearer with each “romance” and chorus until she stands alone and numb at the end of her song.

The roster of fierce characters somehow pale into insignificance when the survivor, Catherine Parr tells her story. Roxanne Couch quietly and calmly describes her life of widowhood and lost love as she is chosen by Henry, and her number begins as a letter to her love before morphing into an angry wail against Henry and the misogyny of the Tudor age. This is where the feminist message truly leaps to the fore, making the previous girl power moments in the show seem very flimsy and vacuous, which is exactly as it should be. This was a Queen who entered the marriage with eyes open and tried to use her position to change things for the better. The faux bitchiness and competitiveness of the wives plays with societal expectations and norms that reality TV and dramas portray, with the message of sisterhood, support, diversity and freedom of choice shining through in the final section.

The energy of the cast is phenomenal, and this carries the audience along on a huge wave of enthusiasm and joy. Six is an unbeatable night out – a true jewel in the crown of musical theatre.

Lyceum Theatre, Sheffield – until 24th January 2023

Reviewed by Sophie Dodworth

4****

Drag arrives at Sheffield Theatres with this superbly funny production. A rip off of Sister Act the musical and with an all drag-star cast; smut, humour and energy awaits! As part of the UK tour, this West End treat is unique and a refreshing piece of theatre.

Living the simple life in the convent of St Babs are the four nuns, Mother Superior (Victoria Scone), Sister Mary Berry (Cheryl Hole), Sister Maria Julie Andrews (River Medway) and Sis Tits (Alex Roberts). The don’t really have that much of a connection with the church and tend to live life in the convent and stay in the convent at all times. Then everything is turned upside down with the arrival of Father Alfie Romeo (LoUis CYfer). Romeo is investigating a multitude of things – reports of sinful phenomena and unholy apparitions, finding out what happened to Father Reginald Spanking (a Vatican emissary that went missing) and finally he is looking for any valuable relics which he can take back to Rome. The nuns find his presence annoying and a distraction and make no secret that he is unwelcome there.

The script (written by Rob Evans) is well written and leaves gaps for the actors to make some comical local references throughout. It also gives opportunity for the drag artists to ad-lib if needed, which is great for getting some extra gags in. The set (designed by Peter McKintosh) is quite simple but super effective when needed, it has a macabre feeling which is perfect for the horror-like references that are made during the show.

Missing Kitty Scott-Claus on this performance was felt! She really would have made the show extra special, however the cast (and her understudy, Roberts) were really strong. These are not classically trained actors and you would not have a clue. All of them completely warranted being in a West End performance and shone brightly in their own way. An extra bow needed for the wonderful LoUis CYfer, what a talent! Perfect comedic timing and got laughs consistently throughout. Roberts had one of the only songs towards the end and what a beautiful singing voice.

There is room for more music in this show for sure, with all the actors being drag stars, they are so competent and regular music performers that this would surely be welcomed and would add some extra dynamics.

NEW CASTING ANNOUNCED

AIMEE LOU WOOD, JOHN McCREA

AND NATHAN IVES-MOIBA

TO JOIN

THE MULTI AWARD-WINNING AND CRITICALLY ACCLAIMED PRODUCTION OF

CABARET

AT THE KIT KAT CLUB

FROM 13 FEBRUARY UNTIL 27 MAY 2023

The producers of the multi award-winning, critically acclaimed production of CABARET at the KIT KAT CLUB in London’s West End are delighted to announce that BAFTA Award winner Aimee Lou Wood will play ‘Sally Bowles’, Olivier Award nominee John McCrea will play ‘The Emcee’ and Nathan Ives-Moiba will play ‘Cliff Bradshaw’ from 13 February 2022 until 27 May 2023. kitkat.club

Aimee Lou Wood said today “I’ve wanted to be Sally Bowles since I was around 10 so this is really special. I’m unbelievably excited and having the greatest time in rehearsals. The production is so wonderful and I feel honoured to be stepping into this beautiful team of people!”

John McCrea said today “I’m thrilled to be taking on the iconic role of the Emcee in this ground-breaking production of Cabaret.  It’s an absolute honour to be joining this amazing company of artists.”

Aimee Lou Wood is best known for her portrayal of Aimee Gibbs in all three series of the Netflix series Sex Education for which she won the BAFTA Award for Best Female Comedy Performance. She recently starred in the critically acclaimed film Living opposite Bill Nighy. Her stage credits include Sonya in Uncle Vanya at the Harold Pinter Theatre in the West End and Downstate at the National Theatre.

John McCrea created the role of Jamie New in the smash hit musical Everybody’s Talking About Jamie at both the Sheffield Crucible Theatre and the West End’s Apollo Theatre. For his performance he was nominated for the Olivier Award for Best Actor in a Leading Role in a Musical and won the Most Promising Newcomer at the Critics Circle Theatre Awards, the WhatsOnStage Award for Best Actor in a Leading role in a Musical and the UK Theatre Award for Best Musical Performer. He recently appeared as Max in Daddy at the Almeida Theatre and his film credits include Artie in the hit Disney film, Cruella.  

Nathan Ives-Moiba’s many theatre credits include As You Like It at the National Theatre, My Children My Africa at Trafalgar Studios, Our Country’s Good for Out of Joint, A Midsummer Night’s Dream, And Did Those Feet and Tull, all at the Octagon Theatre. For his performance in Tull, Nathan was nominated for the Best Newcomer at the Manchester Theatre Awards.

At certain performances, the role of Sally Bowles will be played by Emily Benjamin.

As a member of the original cast of this production, Emily has been a swing and understudy to the role of Sally Bowles since the show opened.Her other West End theatre credits include Bat Out of Hell The Musical at the London Coliseum and The Lion, the Witch and the Wardrobe at the Bridge Theatre.

The final performance for Callum Scott Howells as ‘The Emcee’ and Madeline Brewer as ‘Sally Bowles’ will be Saturday 28 January 2023. Sid Sagar’s final performance as ‘Cliff Bradshaw’ will be Saturday 11 February 2023.

Between 30 January 2023 – 11 February 2023 the role of ‘The Emcee’ will be played by Matthew Gent and the role of ‘Sally Bowles’ will be played by Emily Benjamin. At certain performances the role of ‘Sally Bowles’ will be played by Sally Frith.

Matthew Gent’s West End theatre credits include Sweeney Todd at the Adelphi Theatre, The Phantom of the Opera at Her Majesty’s Theatre and Les Misérables at the Queen’s Theatre. His other theatre credits include Rags at the Park Theatre, The Queen of the Mist at Charing Cross Theatre, The Water Babies at Leicester Curve, The Carnival of the Animals at Riverside Studios and Taboo at Brixton Club House.

The cast also includes Vivien Parry as ‘Fraulein Schneider’, Richard Katz as ‘Herr Schultz’, Danny Mahoney as ‘Ernst Ludwig’ and Michelle Bishop as ‘Fraulein Kost’. The cast is completed by Gabriela Benedetti, Charles Croysdill, Laura Delany, Sally Frith, Matthew Gent, Ying Ue Li, Ela Lisondra, Chris O’Mara, Grant Neal, Hicaro Nicolai, Adam Taylor, Toby Turpin, Patrick Wilden and Sophie Maria Wojna.

The Prologue Company currently includes Rachel Benson, Ami Benton, Laura Braid, Reuben Greeph, James Hastings, Samantha Ho, Emma Holt, Liz Kamille, Andrew Linnie, Aine McLoughlin and Callum Sterling.

This unique production of CABARET opened in December 2021 to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April 2022 the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history. The production has also won three prestigious Critics Circle Awards and most recently the Evening Standard Theatre Award for Best Design for designer Tom Scutt.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben Ferguson with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.

HOSTS ANNOUNCED FOR THE

23^RD ANNUAL WHATSONSTAGE AWARDS

WhatsOnStage today announce that Courtney Bowman, Laurie Kynaston and Billy Luke Nevers will host the 23^rd Annual WhatsOnStage Awards on 12 February 2023 at the Prince of Wales Theatre. Bowman, herself a nominee for last year’s smash-hit Legally Blonde, will team up with Kynaston who starred in the heavily nominated 2021 revival of Spring Awakening, and her Legally Blonde co-star and current & Juliet cast member Nevers. The annual Awards ceremony is the only major theatre prize-giving decided entirely by the theatregoers themselves. Further details of the ceremony, including the performances at the event, will be announced shortly. Voting for this year’s awards closes tomorrow, 10 January.

Courtney Bowman: “The talent is already oozing! It’s gonna be a nice celebration of theatre, as always. I’m getting a great vibe from my co-hosts – they’re very, very silly – and we’ve got each other for support as well.”

Laurie Kynaston: “The fact that the Awards are publicly voted for shows the power that audiences hold… without them we wouldn’t be here at all! It’s also going to be gorgeous to be back in a room packed with the cream of British theatre royalty, having a right old knees up. What can you expect? The unexpected! Costume changes? Surprise guest appearances? Me forgetting my lines? Who knows! It’s going to be great fun, and it’s an awards ceremony for all of us. See you there on the 12th!”

Billy Luke Nevers: “I am so excited to be presenting the WhatsOnStage Awards this year and celebrate all the achievements of this year in the UK theatre industry with two wonderful people. This year is going to be a bit different to what the awards will have seen before…. You’ll have to come and find out why!”

Leading this year is My Neighbour Totoro with 9 nominations – Mei Mac for Best Performer in a Play, Best New Play, Best Direction for Phelim McDermott, Best Musical Direction/Supervision, Best Lighting Design, Best Set Design, Best Sound Design, Best Video Design and Best Graphic Design. The next best nominated straight play is Good with 5 nominations, including 3 acting nominations for David Tennant, Sharon Small and Elliot Levey.

The critically acclaimed Rodgers & Hammerstein’s Oklahoma!,  which transfers to the West End in February, leads the musical categories, with 8 nominations – Best Supporting Performer in a Musical for Marisha Wallace, Best Musical Revival, Best Director for Daniel Fish and Jordan Fein, Best Musical Direction/Supervision, Best Casting Direction, Best Lighting Design, Best Sound Design and Best Video Design. Other top nominees in the musical categories were both Almeida Theatre productions, directed by the company’s Artistic Director Rupert Goold – Spring Awakening with 6 nominations, and Tammy Faye, the most nominated new musical, with 5 nominations.

THE NOMINATIONS IN FULL:

BEST PERFORMER IN A MUSICAL sponsored by TICKX                                  

Courtney Bowman, Legally Blonde, Regent’s Park Open Air Theatre

Katie Brayben, Tammy Faye, Almeida Theatre

Divina De Campo, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

Jordan Luke Gage, Bonnie & Clyde the Musical, Arts Theatre

Frances Mayli McCann, Bonnie & Clyde the Musical, Arts Theatre

Charlie Stemp, Crazy for You, Chichester Festival Theatre

BEST SUPPORTING PERFORMER IN A MUSICAL sponsored by NEWMAN DISPLAYS                         

Jocasta Almgill, Grease, Dominion Theatre

Lauren Drew, Legally Blonde, Regent’s Park Open Air Theatre

Paul French, Grease, Dominion Theatre

Natalie McQueen, Bonnie & Clyde the Musical, Arts Theatre

John Owen-Jones, The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Marisha Wallace, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST PERFORMER IN A PLAY sponsored by SINE DIGITAL                                           

Jonathan Bailey, Cock, Ambassadors Theatre

Jodie Comer, Prima Facie, Harold Pinter Theatre

Carrie Hope Fletcher, The Caucasian Chalk Circle, Rose Theatre Kingston

Mei Mac, My Neighbour Totoro, Barbican Theatre

Rafe Spall, To Kill a Mockingbird, Gielgud Theatre

David Tennant, Good, Harold Pinter Theatre

BEST SUPPORTING PERFORMER IN A PLAY sponsored by EDWARDIAN HOTELS LONDON (Official Hotel Partner) 

Jade Anouka, Cock, Ambassadors Theatre

Gwyneth Keyworth, To Kill a Mockingbird, Gielgud Theatre

Elliot Levey, Good, Harold Pinter Theatre

Natasha Magigi, The Clothes They Stood Up In, Nottingham Playhouse

Sharon Small, Good, Harold Pinter Theatre

Greg Tannahill, Good Luck, Studio, Mercury Theatre, Salisbury Playhouse and Yvonne Arnaud Theatre

BEST TAKEOVER PERFORMANCE sponsored by TANDEM MARKETING                                                 

Lauren Byrne, Matilda The Musical, Cambridge Theatre

Erin Caldwell, Heathers: The Musical, The Other Palace

Joel Harper-Jackson, Cock, Ambassadors Theatre

Lucie Jones, Wicked, Apollo Victoria Theatre

Reuben Joseph, Hamilton, Victoria Palace Theatre

Ben Joyce, Back to the Future: The Musical, Adelphi Theatre

BEST PROFESSIONAL DEBUT PERFORMANCE sponsored by AKA                              

Tomisin Ajani, The Play That Goes Wrong, Duchess Theatre

Joe Locke, The Trials, Donmar Warehouse

Oliver Nicholas, Back to the Future: The Musical, Adelphi Theatre

Aharon Rayner, The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Nadine Shah, A Midsummer Night’s Dream, Shakespeare North Playhouse

Djavan van de Fliert, Frozen, Theatre Royal Drury Lane

BEST NEW MUSICAL sponsored by TRAVELZOO                              

Bonnie & Clyde the Musical, Arts Theatre

The Great British Bake Off Musical, Everyman Theatre, Cheltenham 

Identical, Nottingham Playhouse and The Lowry Salford

Tammy Faye, Almeida Theatre

The Band’s Visit, Donmar Warehouse

The Osmonds: A New Musical, UK tour

BEST MUSICAL REVIVAL sponsored by CONCORD THEATRICALS                              

Billy Elliot, Curve, Leicester

Grease, Dominion Theatre

Legally Blonde, Regent’s Park Open Air Theatre

My Fair Lady, London Coliseum and tour

Rodgers & Hammerstein’s Oklahoma!, Young Vic

Spring Awakening, Almeida Theatre

BEST NEW PLAY sponsored by TICKETMASTER                                

A Different Stage, Duke of York’s Theatre and tour

Best of Enemies , Young Vic and Noël Coward Theatre

Eureka Day, The Old Vic

My Neighbour Totoro, Barbican Theatre

Prima Facie, Harold Pinter Theatre

To Kill a Mockingbird, Gielgud Theatre

BEST PLAY REVIVAL sponsored by AUDIENCEVIEW                                                      

Blues for an Alabama Sky, National Theatre

Cock, Ambassadors Theatre

Good, Harold Pinter Theatre

The Caucasian Chalk Circle, Rose Theatre, Kingston

The Crucible, National Theatre

The Seagull, Harold Pinter Theatre

BEST WEST END SHOW sponsored by DEWYNTERS                                       

Back to the Future: The Musical, Adelphi Theatre

Hamilton, Victoria Palace Theatre

Les Misérables, Sondheim Theatre

SIX, Vaudeville Theatre

The Phantom of the Opera, Her Majesty’s Theatre

Wicked, Apollo Victoria Theatre

BEST REGIONAL PRODUCTION sponsored by MUSIC THEATRE INTERNATIONAL                               

Billy Elliot, Curve, Leicester

Crazy for You, Chichester Festival Theatre

The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Rodgers + Hammerstein’s Cinderella, Hope Mill Theatre

The Book Thief, Octagon Theatre, Bolton

The Osmonds: A New Musical, UK tour

BEST OFF-WEST END PRODUCTION                                                     

Anyone Can Whistle, Southwark Playhouse

But I’m A Cheerleader: The Musical, The Turbine Theatre

DIVA: Live from Hell!, The Turbine Theatre

Millennials, The Other Palace Studio

RIDE – A New Musical, Charing Cross Theatre

Ruckus, Southwark Playhouse

BEST CONCERT EVENT                                               

Chess, Theatre Royal Drury Lane

Jeremy Jordan, Theatre Royal Drury Lane

SIX in Concert, Hampton Court Palace

Stephen Sondheim’s Old Friends, Sondheim Theatre

The Witches of Eastwick, Sondheim Theatre

Treason , Theatre Royal Drury Lane

BEST DIRECTION sponsored by LOVETHEATRE                                 

Dominic Cooke, Good, Harold Pinter Theatre

Daniel Fish and Jordan Fein, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Nikolai Foster, Billy Elliot, Curve Leicester

Rupert Goold, Spring Awakening, Almeida Theatre

Phelim McDermott, My Neighbour Totoro, Barbican Theatre

Indhu Rubasingham, The Father and the Assassin, National Theatre

BEST MUSICAL DIRECTION/SUPERVISION                                                         

Daniel Kluger, Nathan Koci and Tom Brady, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Nigel Lilley and Tarek Merchant, The Band’s Visit, Donmar Warehouse

Stuart Morley, Georgie Francis and Elliot Mackenzie, Whistle Down the Wind, Watermill Theatre

Bruce O’Neil and Matt Smith, My Neighbour Totoro, Barbican Theatre

Ted Sperling and Gareth Valentine, My Fair Lady, London Coliseum and tour

Sarah Travis, Steve Sidwell and the company, Beautiful: The Carole King Musical, UK tour

BEST CASTING DIRECTION                         

Pippa Ailion and Natalie Gallacher, Spring Awakening, Almeida Theatre

Stuart Burt, The Seagull, Harold Pinter Theatre

Anji Carroll, Marvellous, New Vic Theatre, @sohoplace

Natalie Gallacher for Poppa Ailion Casting, Legally Blonde, Regent’s Park Open Air Theatre

Jacob Sparrow, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Anne Vosser and Jo Hawes, Identical, Nottingham Playhouse and The Lowry, Salford

BEST CHOREOGRAPHY                                

Fabian Aloise, Bring It On: The Musical, Southbank Centre

Maxine Doyle, The Burnt City, Woolwich Works

Ellen Kane, A Chorus Line, Curve Leicester

Lynne Page, Spring Awakening, Almeida Theatre

Susan Stroman, Crazy for You, Chichester Festival Theatre

Arlene Phillips, Grease, Dominion Theatre

BEST COSTUME DESIGN                                            

Evie Gurney and Richard Mawbey, The 47^th, The Old Vic

William Ivey Long, Crazy for You , Chichester Festival Theatre

Katrina Lindsay, Tammy Faye, Almeida Theatre

Melissa Simon-Hartman, Much Ado About Nothing, Royal Shakespeare Theatre

Gabriella Slade, The Cher Show, UK tour

Catherine Zuber, My Fair Lady, London Coliseum and UK tour

BEST LIGHTING DESIGN sponsored by WHITE LIGHT                                     

Neil Austin, Tammy Faye, Almeida Theatre

Nic Farman, The Book Thief, Octagon Theatre, Bolton

Jessica Hung Han Yun, My Neighbour Totoro, Barbican Theatre

Jack Knowles, Spring Awakening, Almeida Theatre

Tim Lutkin, The Crucible, National Theatre

Scott Zielinski, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST SET DESIGN sponsored by PREEVUE                                          

Jon Bausor, Into the Woods, Theatre Royal Bath

Es Devlin, The Crucible, National Theatre

Robert Jones, Murder on the Orient Express, Chichester Festival Theatre

Morgan Large, Sister Act, Eventim Apollo Hammersmith and tour

Tom Pye and Basil Twist, My Neighbour Totoro, Barbican Theatre

Ben Stones, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

BEST SOUND DESIGN sponsored by STAGE SOUND SERVICES                                   

Neil Bettles, Blood Harmony, Traverse Theatre

Annie May Fletcher, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

Tony Gayle, My Neighbour Totoro, Barbican Theatre

Paul Groothuis, Into the Woods, Theatre Royal Bath

Adam Fisher, The Band’s Visit, Donmar Warehouse

Drew Levy, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST VIDEO DESIGN                                                   

Luke Halls and Zakk Hein, The Book of Dust: La Belle Sauvage, Bridge Theatre

Douglas O’Connell, Identical, Nottingham Playhouse and The Lowry, Salford

Finn Ross, Spring Awakening, Almeida Theatre

Finn Ross and Andrea Scott, My Neighbour Totoro, Barbican Theatre

Joshua Thorson, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Max Spielbichler, Best of Enemies, Young Vic and Noël Coward Theatre

BEST GRAPHIC DESIGN sponsored by HEXAGON PRINT                               

AKA, Tammy Faye, Almeida Theatre

Bob King Creative, My Fair Lady, London Coliseum and tour

Felicity McCabe and National Theatre Graphic Design Studio, The Crucible, National Theatre

Muse Creative Communications, The Book of Dust: La Belle Sauvage, Bridge Theatre

Studio Doug, Prima Facie, Harold Pinter Theatre

Toshio Suzuki and Dewynters, My Neighbour Totoro, Barbican Theatre

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Forum Theatre, Malvern – 7th January 2023

Reviewed by Courie Amado Juneau

5*****

I have been lucky enough to have seen the City of Birmingham Symphony Orchestra many times but always at symphony hall so I was intrigued to hear how they would sound on tour, outside their acoustically near perfect home of Birmingham Symphony Hall. Tonight they did not disappoint. In fact they were as wonderful as ever in a joyous Viennese programme to usher in the New Year.

Suppe’s “Light Cavalry Overture” got proceedings off to a rousing start, setting out tonight’s stall with big brass, sparkling woodwind, lush strings and a busy percussion section. I always love hearing some background to the music and tonight’s introductions from Conductor Christoph Altstaedt were most welcome, presenting us with many interesting and highly amusing facts in areas as diverse as the parallel invention of the telephone, Danish pastry, Eintracht Frankfurt football club and some composer prison stories. A very personable host who I could have listened to all night long, I had not had the privilege to have seen him conduct before but I was about to learn that he is a very fine conductor indeed. He also plays a mean typewriter – played perfectly in time (the sticking keys only adding to the fun) during Anderson’s “The Typewriter”. Humor was a key component throughout the night – like having a popular ringtone “interrupt” at the end of Strauss’s “Telephone Polka”. The percussion section (in particular) was having a rare old time looning it up – for instance during Lumbye’s “Copenhagen Steam Railway Galop” they announced (complete with signalman’s hat and waved flag) that the performance would not proceed as the train to Birmingham had been canceled due to the Conductor being on strike, being pretty typical! Tonight’s singer, Anna Devin, was sensational with an impressive range and incredible technique to make those arias seem so effortless. The finale to the evening, the last trio of pieces, was worth the price of admission all on

its own. First was Lehár’s Giuditta: “Meine Lippen, sie kussen so heiss” in which Ms Devin inhabited her role with impressive sensuousness. I only wish I spoke German so I could have understood the lyrics. Even so I was totally transported! Then probably the most famous waltz; Strauss’s “Blue Danube” and the same composer’s “Radetzky March” rounded things off with aplomb, gusto and panache (the orchestra are so well drilled a musical unit they did not even need the conductor for this encore). Our conductor had reminded us in his final address that we are fortunate to have a truly world class orchestra on our doorstep and how right he is! Their playing was flawless throughout and they looked like they were having a ball – I hope they enjoyed it as much as we did, since they were thrilling us with top notch entertainment. A privilege to see them and one I shall be making less rare this year. A life affirming evening of gorgeous tunes from a first rate orchestra! What more could one ask to celebrate the New Year?

Birmingham Hippodrome – until Sunday 29th January 2023

Reviewed by Amarjeet Singh

3.5***

A pantomime is traditionally a fairy tale complete with songs, dances, jokes, exaggerated characters and lots of audience participation. This production of Dick Whittington is a little different. More reminiscent of a variety performance than a traditional pantomime, it delivers on entertainment, glitz and glamour but is thin on story, plot and originality.

There were some truly wow moments, a flying bus, fire performers, and a giant rat (which sadly only appears once), however, and this was the opinion of my daughter, it was not really aimed at the young.

Main lead, Matt Slack was a brilliant performer, he had the audience in stitches with his sketches, routines, impersonations and general silliness, but a lot of it was borrowed from comedians of yesteryear and was a repetitive cycle of sex and toilet humour (as in the same jokes being told again in the same performance). Being both lead and comedian and being the focus for the majority of the show, Slack left no room for the other cast members to shine.

Marti Pellow appears as the evil Ratman who is hellbent taking over London with his rats and foiling Dick’s achievements. He has a wonderful stage presence, but he was hardly on stage with the other cast members, so it was almost like watching 2 different shows. It would have been great to have seen him interact more with Slack and have a more multidimensional aspect to his character. His vocal talents were amazing but unfortunately the sound levels meant we could hardly hear him over the music.

Suzanne Shaw sporadically appeared as Alice Fitzwarren, the daughter of the dame and potential love interest. Her talent as a singer and dancer was sorely under utilised.

Slack did banter quite well with Dr Ranj as the Spirit of the Bells, the Fairy Godmother-like character, Andrew Ryan as the Dame, and Doreen Tipton’s Doreen the Cat. All three brought the humour and corpsed as they caught each other off guard with innuendos.

There is a lot of adult humour in this production, and at times it teeters on the brink of what goes too far for some families. At 2hrs 40min it can also be a bit long for some. Cutting the children coming up on stage would not be a bad thing.

The sets are stunning, full of colour and character, embodying the streets of London, the inside of the Fitzwarren’s sweet shop, and the Ratman’s Palace. The costumes are sumptuous and spectacular, an obvious standout would be the Dame’s many changes of outfit, but my favourite was a lady dressed as a Jammie Dodger (you have to see it to believe it!)

Overall, Dick Whittington is a fun, festive night out. You will be entertained as it’s a show full of laughter and excitement. Is it a panto in the traditional sense? Oh no it isn’t. Is it a show to be seen? Oh yes it is!

Northern Ballet’s The Great Gatsby swings into

theatres this Spring

Touring nationally 8 March – 20 May 2023

Coming to Leeds, Sheffield and London

northernballet.com/gatsby 

Northern Ballet’s The Great Gatsby is returning to theatres across the UK this March, opening at Leeds Grand Theatre on Wednesday the 8th before touring to Sheffield’s Lyceum Theatre and London’s Sadler’s Wells. 

In their newly released trailer, Northern Ballet give a glimpse of the glitz and glamour audiences can expect, as they reimagine F. Scott Fitzgerald’s infamous 1920s novel on stage.

The Great Gatsby first premiered in 2013 and has since enjoyed four successful UK tours, becoming one of the Company’s most popular productions.

Set in New York’s Long Island during the 1920’s, The Great Gatsby tells the tale of Jay Gatsby, a mysterious millionaire with a secret past and a penchant for lavish parties. As the champagne flows, glamour and romance give way to jealousy and tragedy. Because in Prohibition-era New York, everybody has something to hide…

The Great Gatsby is choreographed by Northern Ballet’s former Artistic Director David Nixon CBE and earned him a nomination for Best Classical Choreography in the 2014 National Dance Awards.  

The production features lavish sets by Jérôme Kaplan and dazzling Chanel-inspired costumes designed by Nixon. Sir Richard Rodney Bennett’s CBE’s unforgettable score completes the backdrop, played live by Northern Ballet Sinfonia.  

Tickets to The Great Gatsby are now on-sale. Please visit northernballet.com/gatsby for more information and to book. Audio described performances are available at each theatre, please visit northernballet.com//audio-described-performances to find out more.