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WINNERS ANNOUNCED FOR THE

23^RD ANNUAL WHATSONSTAGE AWARDS

1. WOMEN DOMINATE THE PERFORMING CATEGORIES WITH WINS FOR JODIE COMER, COURTNEY BOWMAN, LAUREN DREW, LUCIE JONES AND GWYNETH KEYWORTH
2. MY NEIGHBOUR TOTORO LEADS THE STRAIGHT PLAY CATEGORIES WITH 5 WINS INCLUDING BEST DIRECTION FOR PHELIM McDERMOTT
3. PRIMA FACIE WINS BEST NEW PLAY
4. BONNIE & CLYDE WINS BEST NEW MUSICAL AND BEST MUSICAL REVIVAL GOES TO OKLAHOMA!
5. NICA BURNS RECEIVES THE AWARD FOR SERVICES TO THEATRE

At a ceremony tonight at the Prince of Wales Theatre hosted by Courtney Bowman, Laurie Kynaston and Billy Luke Nevers, the winners of the 23^rd Annual WhatsOnStage Awards were announced – the only major theatre awards decided entirely by the theatregoers themselves and the first theatre awards to establish gender-neutral performance categories. Award presenters on the night included Jake Shears, George Takei, Bonnie Langford, Tracy-Ann Oberman, Arlene Phillips and Lisa Scott-Lee.

WhatsOnStage’s Sarah Coleman and Alex Wood said today, “Today’s awards demonstrate that our theatre industry is going from strength to strength, and with the continued support of our wonderful audiences, there has been another vibrant year of productions across the UK. We are proud to be the first theatre awards to introduce gender-neutral performance categories to honour our world-leading on-stage talent, and it is heartening to see the ongoing prevalence of new work in our theatres. Our thanks as ever go to the audiences who have remained with us, who have bought tickets, who have seen shows and who have decided our award winners from such a wellspring of creativity. All of us at WhatsOnStage look ahead with anticipation to another year of stories brought to life in our theatres.”

For the first ever gender-neutral performance categories, female performers triumphed with Courtney Bowman and Lauren Drew winning for Best Performer in a Musical and Best Supporting Performer in a Musical respectively for Legally Blonde, and Jodie Comer receiving Best Performer in a Play for her solo tour-de-force in Prima Facie. Best Supporting Performer in a Play went to Gwyneth Keyworth for her performance of Scout in To Kill a Mockingbird and Lucie Jones won Best Takeover for her turn as Elphaba in Wicked. For his performance in The Trials at the Donmar Warehouse, Joe Locke scored with Best Professional Debut.

The big winner of the night was the enchanting My Neighbour Totoro with 5 awards from 9 nominations, receiving Best Direction for Phelim McDermott, Best Set Design for Tom Pye and Basil Twist, Best Lighting Design for Jessica Hung Han Yun, Best Musical Direction or Supervision for Bruce O’Neil and Matt Smith and Best Sound Design for Tony Gayle.

The Best New Musical Award went to Bonnie & Clyde the Musical, while Rodgers & Hammerstein’s Oklahoma!, which previews in the West End from this week, won Best Musical Revival for its sell-out run at the Young Vic, while also winning Best Video Design for Joshua Thorson. In the straight play categories, the critically acclaimed Prima Facie, which opens on Broadway in the spring, won the prized Best New Play award, and Best Play Revival went to the West End première of Cockat the Ambassadors Theatre.

In the year that saw the opening of @sohoplace – the first new-build West End theatre in 50 years – producer and theatre owner Nica Burns was honoured with the Services to Theatre Award, in recognition of her extraordinary career and her unfailing commitment to the health of the theatre industry.

Homegrown hit musical SIX triumphed yet again in the Best West End Show category, picking up the prize for the third time; Curve Leicester’s production of Billy Elliot the Musical earned Best Regional Production, and Best Off-West End Production went to But I’m A Cheerleader: The Musical at The Turbine Theatre.

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THE NOMINEES IN FULL – WINNERS IN BOLD:

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 the Musical, 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

Forum Theatre, Malvern – 10th February 2023

Reviewed by Courie Amado Juneau

5*****

If you’re thinking “Tim Rice, I know him so well” you are in for a treat in this fascinating show.

The hits began with “Any Dream Will Do” from Joseph and just kept coming. What a way for any artist to kick off a retrospective of their career. Half the joy of the evening was hearing about the journey these works took to get to the stage or screen. Although the music will be familiar and enormously loved, those moments of “wow, I never knew that” will be a delicious revelation.

The introduction billed him as a very nice man and so he was! A charming, modest, genuinely funny host with a gentle storytelling style, I loved his self deprecating manner. We hung on his every word and could have listened well into tomorrow night. To give you a flavour of the evening (as I don’t want to spoil the show), I didn’t know that “I Don’t Know How To Love Him” (one of the most fabulous stage songs ever in this writer’s humble opinion, from Jesus Christ Superstar) had different words put to it to attempt to have a pop hit. Mr Rice was kind enough to give us a rendition (“I Love The Kansas Morning”) complete with tongue planted firmly in cheek (it was a self acknowledged flop). I was particularly glad that Judas’s “Heaven On Their Minds” was included from Superstar – that opening guitar part sends a shiver of delight down my spine. It was interesting to hear these tunes in the classic rock band lineup of guitar, bass, keyboards and drums. Without the full orchestral grandeur one might think they would lose something in the translation – not a bit of it, they sounded magnificent. It was a pleasure to hear them in their new guise.

The Duncan Waugh Band & Singers were fantastic with tight playing, giving us the full drama of these most theatrical of pieces. It takes a good voice to hit the notes these tunes demand and tonight we had four of them – all exceptional.

Back to the music – everything (and more) is represented: Evita, something with David Essex, a Bond theme tune (I know), a song recorded by Elvis! Something for everybody. And it was all capped off with an Oscar medley – including an honest to goodness Oscar! There were 3 other major awards brought on stage tonight, which were almost as impressive, but I’ll let you discover those yourself … Another personal favourite was belted out too, “Anthem” from Chess: “My lands only borders lie around my heart”. Not the first tear brought to my eye this evening. A very fitting appreciation of a remarkable life and career that few could emulate but all will enjoy. It’s not often the Oscars come to Malvern (well one of them anyway) but tonight was special in very many ways! Even buffed to perfection and spotlit, little Oscar still paled into comparison to the genuine star on stage – Mr Tim Rice. Well done that man and thank you.

Gillian Lynne Theatre – until 20 May 2023

Reviewed by Claire Roderick

5*****

The multi-award winning Lehman Trilogy returns to the West End with an exciting new cast. Packing 164 years of history into a 3-hour play, Ben Power’s adaptation of Stefano Massini’s Italian original charts the rise of the Lehman brothers’ business from newly arrived immigrants owning one store in Alabama to financial giants.

Ben Power’s masterful adaptation uses the rhythms and repetitions of folk tales, with the actors skilfully and charismatically telling the story in the third person creating a stunningly intelligent play that feels both epic and like a sophisticated episode of Jackanory.

The assimilation of the brothers and their families into American culture is made clear by the erosion of accents and traditions brought from the homeland as they expand and create new roles in business. This is history seen through their eyes, so the wars and social upheaval affecting the US are mentioned in passing in terms of the impact on the company. As the generations of Lehmans die and no longer control the board, the events leading to the fall of the bank in 2008 are shown with quiet and fatalistic detachment, contrasting with the visceral portrayal of the Wall Street Crash that the Lehman’s experienced themselves.

Sam Mendes, and West End director Zoé Ford Burnett deliver pacy and intricate action, with the cast moving around Es Devlin’s brilliant set with immaculately choreographed precision. Devlin’s stark glass office and boardroom set revolves as the cast move file boxes to represent everything from carriages to shop counters to the tower of Babel. Projected onto the huge curved wall behind are Luke Halls eerie and atmospheric videos depicting the fields in Alabama, the buildings of New York and unsettling dreamscapes that combine with the spinning set to create fabulously disconcerting and disorienting sequences. Pianist Yshani Perinpanayagam sits at the front of the auditorium like an old fashioned cinema organist and accompanies the play with delightful music that adds further layers to the atmosphere on stage.

The cast are remarkable, playing the three brothers, their children and wives, and assorted businessmen with only the addition of glasses or the flick of a collar. The scenes where various Lehmans woo the women in their lives are a joy, and all three actors are a scream as infants . Nigel Lindsay is wonderful as the solid and confident Henry Lehman, grounding the play with his opening monologue before taking on the more showy and whimsical roles of wives and the almost robotic Philip Lehman. Michael Balogun is equally impressive as Emanuel Lehman, full of fiery gravitas, and Hadley Fraser gives a comedy masterclass as peacemaker Mayer and Philip’s mother. Together the stellar cast weave the intricate story – from gossipy asides and explanations of financial services to gruesome accounts of suicides – with style and charm, keeping the audience in the palms of their hands from beginning to end.

A welcome return for this remarkable play – The Lehman Trilogy is not to be missed.

Duke of York’s Theatre – until 10 February 2023

Reviewed by Claire Roderick

4****

The National Youth Theatre REP Company’s 10th anniversary production of Much Ado About Nothing, remixed by Debris Stevenson, moves the scheming, flirting and revenge to a reality TV show – Nothing Island. The Shakespearean villainy and prejudices sadly don’t seem out of place in the cutthroat world of wannabe celebrities, and Stevenson has a ball setting familiar characters in modern jobs. Screens above the stage show the contestants’ introductory videos – Benedick (Daniel Cawley) is a stand-up comic, Beatrice (Isolde Fenton) is a psychiatrist, Don Pedro (Jack D’Arcy) is a brand ambassador, while Leonarto (Jessica Enemokwu) is now the executive producer of the show, giving orders to runners and trying to ramp up the drama and viewing figures.

Instead of returning from war, the boys are first seen returning from the Messy Villa, with the girls anxiously waiting to see if they have brought new girls back with them. Benedick and Beatrice’s sparring becomes a rap battle, and their heartfelt pondering on love takes place in the diary room – of course. The setting and energy of the production is irresistible, with the impressive young cast nailing the humour and silliness. The show runners attempting to remain off camera are comedy gold.

The plotting against Hero is a means to win the prize money for Borachio (Dalumuzi Moyo) egged on by the crew. In a swift 90 minutes, director Josie Daxter doesn’t have the characters linger over the darker moments of the plot – Claudio’s denouncement of Hero is instead commented on by the TV show’s viewers on social media, with their messages popping up on the screens above the stage. These became like an extra character – at times funny, but often cruel and offensive – that was completely recognisable to the young audience, eliciting exasperated sighs and gasps. The effects of social media pile-ons is shown beautifully as Don John (Jasmine Ricketts) reads what the world thinks of her in the final scene where the islanders come back to reality.

The shallowness and masks worn on reality TV are portrayed wonderfully in this production, but the quiet intensity of Hero and Claudio (Thuliswa Magwaza and Jez Davess-Humphrey) when they are together, and the banter of Beatrice and Benedick ensure that these relationships appear sincere in this production and as solid as any Shakespearean romance can be. A fantastic celebratory show.

Richmond Theatre – until Saturday 11^th February 2023

Reviewed by Carly Burlinge  

4**** 

Richmond brings you When Darkness Falls, written by James Milton and Paul Morrisey also the director. The story is set on the Island of Guernsey regarding its History of folklore and the paranormal tales that have been told over the years. 

The play opens on a very stormy and chilling evening where John Blondel (Tony Timberlake) a local Historian who is preparing to do his first pod of all the supernatural sighting and happenings, of many ghost stories that have occurred over time and haunted the island.  He has a guest that has come forward offering him his insight about the unknown and to share his many stories as a writer and a paranormal researcher named The Speaker (Thomas Dennis). John being a sceptical historian with the views that Ghost are not real but the Speaker entices him with his five stories over the evening. Will they agree to disagree with such different opinions? or will John be pulled into the stories of the speaker, who as the night progresses become more believable by the minute. Turning John’s so-called confidence in his beliefs into a thought-provoking tension and bundle of nerves. 

As John and the Speaker interact within the four walls of his unorganised, cluttered office with the storm outside, that’s clearly raging, detectable to the audience’s ears. This adding to the atmosphere of spine-chilling superstition. 

The story further unfolds when elements begin to make themselves known with their spooky presence of lights going out, filing cabinets opening, lights flickering, books falling from shelves, with the occasional knock at the door, but is there anyone there!  

I enjoyed how both actors jumped into different characters whilst the Ghost stories were being told.  Although the stage appearance did not change, small props were used to enhance the tales whilst being told. All this gave it a slightly believable notion, which came across scary and eerie within the process. 

With thunder blazing through the audience as a very sharp and noisy effect, scaring and making us all jump in our seats.  

I really enjoyed some of the sound effects that were used throughout the show of pouring rain and also the terror of John’s heartbeat pound louder and louder. 

The sound effects and lighting were done extremely well throughout the production 

This show may not be to everyone’s taste, due to the theme, however I thoroughly enjoyed myself and would recommend a watch. 

I must say it was very funny and entertaining watching everyone in the audience jump a few times throughout, also producing nervous laughter within the rest of the audience. 

New Wimbledon Theatre – 9th February (and touring)

Reviewed by Antonia Hebbert

3***

This is a ballet of two contrasting halves. The first act has scenes of village life and lots of mimed storytelling. Beautiful, beloved-by-all peasant girl Giselle falls love with Albrecht, a nobleman who is in the village incognito in order to pursue her. She thinks he is going to marry her, but he is already engaged to Countess Bathilde, who turns up in the village on an aristocratic hunting party. When Albrecht’s deception is revealed by Giselle’s jealous local admirer Hilarion, Giselle goes mad, dances wildly and falls dead.

The very different second act is set around around Giselle’s moonlit grave. This is the haunt of the Wilis (‘veelees’) – the ghosts of young women who take revenge on men by dancing them to death. (Fleur Delacourt, the Veela in the Harry Potter books, must be a relation.) They emerge around Hilarion when he goes to visit Giselle’s grave, and frighten him away. Then a repentant Albrecht arrives, and Giselle’s spirit dances with him. But instead of dancing him to death, Giselle protects Albrecht from the Wilis and thereby saves her own soul. In the meantime, the Wilis chase down Hilarion and destroy him instead.

Katerina Petrova made a very delicate and graceful Giselle, who shone throughout her transformation from happy innocence, through grief to ghostliness. Tsetso Ivanov was not so convincing as Albrecht in the first act – Pierre Gaston’s dashing, athletic Hilarion looked a better bet – but was much stronger in the second, with fine, impressive jumps. Petrova and Ivanov together gave us some really beautiful moments in this second act. The village dancing in the first act had charm, but the corps de ballet came into its own as the Wilis – this was a big group of dancers, and lovely to watch. They were led by Francesca Busquet (Queen of the Wilis), Pauline Faget and Megan Reid (excellent). Giulia Visali didn’t get to dance as Countess Bathilde, but had imposing presence and carried the story forward well.

The scenery was traditional in style. Act 1 had village houses and a backdrop of scenic landscape. Act 2 suggested forest, with a backdrop of graves out of which we see a film of Wilis appearing. This seemed ludicrous to me, but my partner liked it as a linking device that helped explain the Wilis. It was great to have a sizeable orchestra for Adolphe Adam’s 1841 music for this ballet, but the sound seemed thin, perhaps because the orchestra pit is so deep at this grand Edwardian theatre.

Varna International Ballet is an offshoot of Varna State Opera, which was founded in 1947 in Varna, Bulgaria. It draws dancers from all over Europe, including the UK, and they’re on tour with Giselle, Swan Lake, Coppelia and The Nutcracker for several more weeks.

CASTING ANNOUNCEMENT

FAYE BROOKES TO JOIN

KEVIN CLIFTON

IN THE CAST OF

2023 UK TOUR

DIRECTED BY CRAIG REVEL HORWOOD

Dancing on Ice finalist and Coronation Street star, Faye Brookes, joins the cast of Baz Luhrmann’s Strictly Ballroom The Musical from 27 March, starring in the lead female role of Fran.* She will join Kevin Clifton, who stars as Scott Hastings, in the all-singing, all-dancing extravaganza as it makes its way across the UK & Ireland as part of its huge 10-month tour.

The musical, based on the award-winning global film phenomenon of the same name, inspired the world to dance and spawned the smash-hit TV series Strictly Come Dancing. Directed by Craig Revel Horwood, who co-choreographs with Strictly’s creative director Jason Gilkison, the tour kicked off in Portsmouth on 26 September and culminates in Bristol on 15 July. Tickets are on sale now from strictlyballroomtour.co.uk

Faye, who takes over the role of Fran from Maisie Smith who leaves the show on 25 March, is no stranger to musical theatre, having previously starred as Roxie Hart in Chicago, Princess Fiona in Shrek and Elle Woods in Legally Blonde. She became a household name when she joined Coronation Street in the role of Kate Connor, from 2015-2019, and was involved in some of the biggest storylines the show has seen. In 2017 Faye won the National Television Award for Best Newcomer, while in 2021 she made it all the way to the final of ITV’s Dancing on Ice.

Faye Brookes said: “I’m thrilled to be joining the tour of Strictly Ballroom and can’t wait to work with Craig Revel Horwood, Kevin Clifton and the hugely talented cast. I’m so excited to be playing the role of Fran and making it my own. Bring it on!“

Kevin Clifton said: “It’s very exciting news that Faye is joining the cast of Strictly Ballroom and I’m looking forward to singing and dancing my way across the UK & Ireland with her!“

Craig Revel Horwood said: “I am delighted to be directing the sensational Faye Brookes as she joins Kevin Clifton and the super talented cast of Strictly Ballroom The Musical. I know that she’ll be nothing short of FAB-U-LOUS!”

Strictly Ballroom The Musical tells the beguiling story of Scott Hastings, a talented, arrogant and rebellious young ballroom dancer – played by former Strictly Come Dancing professional and 2018 champion, Kevin Clifton. When Scott’s radical dance moves see him fall out of favour with the Australian Federation, he finds himself dancing with Fran (Faye Brookes), a beginner with no moves at all. Inspired by one another, this unlikely pair gather the courage to defy both convention and their families – and discover that, to be winners, the steps don’t need to be strictly ballroom.

Featuring a show-stopping book by Baz Luhrmann & Craig Pearce, together with a sublime cast of over 20 world class performers, Strictly Ballroom brings to life iconic songs, including Love is in the Air, Perhaps Perhaps Perhaps and Time After Time with dynamic and joyous verve. This tour will also feature some amazing new songs by internationally acclaimed artists including Sia, David Foster and Eddie Perfect. The show’s scintillating singing, dazzling dancing and eye-popping costumes combine to bring audiences a story of heart, comedy and drama, and promises to be an unforgettable night under the glitterball.

This uplifting and courageous musical originated as a stage play that Baz Luhrmann devised with a group of classmates at Sydney’s National Institute of Dramatic Art in 1984. Eight years later he made his screen directorial debut with ‘Strictly Ballroom’, the first instalment in Luhrmann’s acclaimed Red Curtain Trilogy. The vibrant film enjoyed staggering success, winning three awards at the 1993 BAFTA awards and a 1994 Golden Globe nomination for Best Picture, going on to become one of the most successful Australian films of all time, earning more than $80 million at the box office. In April 2014 Strictly Ballroom The Musical had its world premiere at the Sydney Lyric Theatre.

Baz Luhrmann’s Strictly Ballroom the Musical is a fabulous, feel-good evening full of sequins, singing and salsa. This unmissable kaleidoscope of glitz and glamour is a tonic for the soul and will send your heart soaring and toes tapping long after you leave the theatre!

STRICTLY BALLROOM THE MUSICAL – 2023 TOUR DATES

Dates Venue

9th January – 14th January Ipswich, Regent Theatre

16th January – 21st January Reading, The Hexagon

23rd January – 28th January Cardiff, Millennium Centre

30th January – 4th February Plymouth, Theatre Royal

6th February – 11th February Truro, Hall for Cornwall

13th February – 18th February Wolverhampton, Grand Theatre

20th February – 25th February Southampton, Mayflower Theatre

27th February – 4th March Northampton, Royal & Derngate

6th March – 11th March Hull, New Theatre

13th March – 18th March Canterbury, Marlowe Theatre

20th March – 25th March Southend, Cliffs Pavilion

27th March – 1st April Bradford, Alhambra Theatre

3rd April – 8th April Milton Keynes, Theatre

10th April – 15th April Norwich, Theatre Royal

17th April – 22nd April Bournemouth, Pavilion Theatre

24th April – 29th April York, Grand Opera House

1st May – 6th May Newcastle, Theatre Royal

8th May – 13th May Edinburgh, Playhouse

15th May – 20th May Aberdeen, Performing Arts

22nd May – 27th May Derry, Millennium Forum Theatre

29th May – 3rd June Dublin, Bord Gáis Energy Theatre

5th June – 10th June Glasgow, Theatre Royal

12th June – 17th June Aylesbury, Waterside

19th June – 24th June Nottingham, Theatre Royal

26th June – 1st July Salford, The Lowry

3rd July – 8th July Leeds, Grand Theatre

10th July – 15th July Bristol, Hippodrome

* Maisie Smith is performing until 25 March

Listings information:

Website: strictlyballroomtour.co.uk

Instagram: @strictlyballroomtouruk

Facebook: @strictlyballroomtouruk

Twitter: @sbtourUK

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster & Isabel Marr

@222AGhostStory #222AGhostStory 

 

• SMASH HIT 2.22 – A GHOST STORY WILL EMBARK ON A UK TOUR BEGINNING AT BATH THEATRE ROYAL ON 1 SEPTEMBER AND CONTINUING THROUGH TO MAY 2024
   
• NINETEEN FURTHER VENUES CONFIRMED WITH MORE TO BE ANNOUNCED
   
• THE SHOW IS CURRENTLY AT THE LYRIC THEATRE LONDON – IT’S 5TH WEST END SEASON – STARRING CHERYL, JAKE WOOD, LOUISE FORD AND SCOTT KARIM
   
• THE TOUR PRODUCTION IS DIRECTED BY MATTHEW DUNSTER & ISABEL MARR AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS
   
• TICKETS FOR UK TOUR ARE AVAILABLE FROM https://222aghoststory.com/uk-tour-tickets/
   

Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 – A Ghost Story will embark on an extensive UK-wide tour, opening at Bath Theatre Royal on 1 September 2023, and continuing through to May 2024 with the full tour schedule to be announced soon. Also on sale from today is a week-long run at The Lowry, Salford opening on Halloween and the Grand Opera House Belfast from 14 November 2023. The UK tour is announced following the opening at the Lyric Theatre last week. The Lyric  is the fourth transfer and fifth West End season for the show. Going from strength to strength, the Lyric is the biggest house the production has played in to date and the tour will bring the buzz, chills and excitement to audiences all over the UK.
 

The production began its life last summer 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. For the first season at the Criterion (May – September 2022) the cast was Tom Felton, Mandip GIll, Sam Swainsbury and Beatriz Romilly. In late September Laura Whitmore, Matt Willis, Felix Scott and Tamsin Carroll took over. 
 

2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster and Isabel Marr; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…
 

Danny Robins said: ‘Over the last year I have had so many people asking me on social media when we are going to bring 2:22 out on tour. That moment has finally arrived. We are beyond excited to be taking the show around the UK. It’s a play that will make you laugh, scream, cry, think and jump out of your seat – a proper spooky night out  – and it’s coming to a town near you!!! Do you dare come and watch? We can’t wait to see you!’
 

What do you believe? And do you dare 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 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’re going to stay up… until 2:22… and then they’ll know.
 

“A slick, chilling, romp of a play” The Guardian

‘A modern classic’ Sunday Times
 

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 and illusions by Chris Fisher. Casting by Matilda James.

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

2:22 – A Ghost Story
By Danny Robins
Directed by Matthew Dunster & Isabel Marr

MORE DATES TO BE ANNOUNCED

2023 

Bath Theatre Royal – on sale 20 Feb
1 – 9 Sep 7.30pm; matinees Thur & Sat 2.30pm

The Marlowe Canterbury – on sale 11 Apr
12 – 16 Sep 7.30pm; matinees Thur & Sat 2.30pm

Newcastle Theatre Royal – on sale soon
19 – 23 Sep 7.30pm; matinees Thur 2pm & Sat 2.30pm

Milton Keynes Theatre – on sale 17 Feb
3 – 7 Oct 7.30pm; matinees Wed and Sat 2.30pm

Norwich Theatre Royal – on sale 24 Feb
10 – 14 Oct 7.30pm; matinees Wed & Sat 2.30pm

Southampton Mayflower – on sale 24 Feb
17 – 21 Oct 7.30pm; matinees Thur & Sat 2pm

Brighton Theatre Royal – on sale 17 Feb
24 – 28 Oct 7.30pm; matinees Thur & Sat 2.30pm

Salford Lowry – on sale 20 Feb
31 Oct (Halloween) – 4 Nov 7.30pm; matinees Thur & Sat 2pm

Curve Theatre, Leicester – on sale soon
7 – 11 Nov 7.30pm; matinees Thur & Sat 2.15pm

Belfast Grand Opera House – on sale now
14 – 18 Nov 7.30pm; matinees Thur & Sat 2.30pm

Glasgow Theatre Royal – on sale 17 Feb
21 – 25 Nov 7.30pm; matinees Wed & Sat 2.30pm

Plymouth Theatre Royal – on sale April
28 Nov – 2 Dec 7.30pm; matinees Thur & Sat 2.30pm

2024 

Northampton Royal & Derngate – on sale 8 Mar
5 – 13 Jan 7.30pm; matinees Wed & Sat 2.30pm

Birmingham Alexandra Theatre – on sale 17 Feb
16 – 20 Jan 7.30pm; matinees Wed & Sat 2.30pm

Sheffield Lyceum – on sale 24 June
13 – 17 Feb 7.45pm; matinees Thur 2pm & Sat 2.30pm

Wolverhampton Grand – on sale 13 Feb
20 – 24 Feb 7.30pm; matinees Wed & Sat 2.30pm

Richmond Theatre – on sale 17 Feb
26 – 30 March 7.30pm; matinees Wed & Sat 2.30pm

Woking Theatre – on sale 17 Feb
9 – 13 Apr 7.30pm; matinees Wed & Sat 2.30pm

York Grand Opera House – on sale 17 Feb
30 Apr – 4 May 7.30pm; matinees Wed & Sat 2.30pm

Nottingham Theatre Royal – on sale 20 Feb
7 – 11 May 7.30pm; matinees Thur 2pm & Sat 2.30pm
 

Age recommendation 12+

Ambassadors Theatre – until 18 March 2023

Reviewed by Claire Roderick

5*****

The fabulous Rob Madge returns to the West End with their inspirational award-winning show.

Rob’s parents’ home videos of Rob’s Disney shows became a sensation during lockdown, and Rob’s autobiographical show is a joyful and uplifting celebration of queerness and family that brightens and enlightens the audience.

Rob – a self-proclaimed flamboyant monster as a child – was blessed with a family that loved and supported them. As Rob describes their early childhood, there are lots of self-deprecating and self-aware comments amongst the celebrations – with newly added saltiness about a certain West End acting debut. Dad Jon’s attempt at sticking to the binary was buying Rob a Beast costume, but the dream was the yellow Belle dress, and Rob’s parents accepted and loved their child for who they were. The clips of Rob’s Disney parades in homemade costumes are hilarious as the demanding diva rolls their eyes at dad’s tech and demands professional attitudes to their productions. As Rob’s experiences at school crush their spirit and force them out of the imaginative play area, their family’s response will make you cheer at the love and encouragement on display. Honestly, whenever the grandparents show up you will be howling with laughter or ugly crying, nothing in between.

Pippa Cleary’s songs about pivotal moments are gorgeously Disneyesque and heartfelt with just the right amount of tongue in cheek touches in Rob’s delivery to keep things light. Luke Sheppard’s considered direction and Ryan Dawson Laight’s set design – a nostalgic and comforting living room that transforms into the perfect arena for the grand parade – are inspired, making the audience in the Ambassadors feel right at home with this wonderful family.

The joy of losing yourself in characters, of discovering your true self while lost in a character, and of being loved unconditionally comes across in every breath Rob takes in their show. Repeated viewings do not diminish the tears or belly laughs. Rob’s parents become everyone’s heroes and the joy in the auditorium is palpable. This is a show with something for everybody – queers, theatre fans, Disney fans, parents and grandparents. My Son’s a Queer is a lesson in tolerance and love that should be on the school curriculum. Glorious entertainment from a glorious human.

Birmingham Hippodrome – until Saturday 11th February 2023

Reviewed by Amarjeet Singh

5*****

Matthew Bourne has an astounding way of reimagining and recreating stories in ways in which are truly mind-blowing, and his production of Sleeping Beauty does not disappoint. It’s been 10 years since its premiere at Sadler’s Wells, when it became the fastest selling production in the company’s history, and it’s now established as a firm favourite in his New Adventures repertoire. Sleeping Beauty is enchanting and so so clever, and it has now come to sprinkle its magic at The Birmingham Hippodrome.

The basic story is as it should be. A royal couple produce a much longed-for baby girl, but they are then cursed by a spiteful and vengeful bad fairy, Carabosse. The new-born is destined to die by pricking her finger. Some good fairies intervene and lessen the curse to that of a deep sleep rather than death, and the curse can be lifted by true loves kiss. The baby, Princess Aurora then sleeps for 100 years until true love arrives and awakens her with a kiss.

But here’s where Bourne’s brilliance comes into force. In his gothic twist, there is a change of era. The princess pricks her finger on a black rose not a spindle. The good fairies that bestow blessings on baby Aurora and their King, are vampires. Princess Aurora has an established relationship with ‘true loves kiss’ beforehand, so it’s not some creepy guy finding a woman in the woods and planting one on her. And, without wanting to add any spoilers…look out for the baby.

Bourne’s production of Sleeping Beauty is quirky, thought provoking and modern in staging, characterisation and choreography. Ashley Shaw as Princess Aurora was mesmerising. She played the lead with a deeply sensual and playful quality which melded well with her true love, Gardener Leo, played by Andrew Monaghan. They very quickly established their romantic connection, and this continued throughout the performance. Ben Brown played the complicated Carabosse and her son to perfection. Revenge filled and yet wanting Aurora for himself, he was a joy to behold.

This production has the most innovative and effective sets, containing mirrors, moon, forests and movement, these were interchanged seamlessly and never failed to stun. The dancing was sublime. A standout for me was when Aurora refused to die/sleep, prancing and leaping and struggling like a toddler fighting extreme weariness. That was the chorography at its best.

I urge you to watch Matthew Bourne’s Sleeping Beauty as you will be transported into a magical world of fairies and vampires, where what you know of this timeless tale is flipped upside-down, creating a spectacular, supernatural love story that stays with you long after the curtain has come down.