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LEICESTER’S CURVE TO STAGE NEW PRODUCTION OF TIM RICE AND ANDREW LLOYD WEBBER’S

EVITA

27 NOVEMBER 2023 – 13 JANUARY 2024

Directed by Nikolai Foster

CURVE ALSO ANNOUNCES MADE AT CURVE CO-PRODUCTIONS OF

ROAD

18 – 20 May 2023

COME FROM AWAY

1 – 9 March 2024

Leicester’s Curve theatre will stage a brand-new production of Evita, running 27 November 2023 to 13 January 2024.

Tim Rice and Andrew Lloyd Webber’s iconic musical will be directed by Curve’s Artistic Director Nikolai Foster, whose recent acclaimed productions include Billy Elliot the Musical(winner of Best Musical Production at the UK Theatre Awards), The Wizard of Oz, A Chorus Line, West Side Story and Sunset Boulevard.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“Evita stands as one of the definitive musicals of all time and we are beyond excited to be presenting a brand-new Made at Curve production of Tim Rice and Andrew Lloyd Webber’s masterpiece later this year. Eva Perón has now acquired legend status; her profoundly moving story is fascinating and remains intensely relevant to the world in which we live today.

“We’ve always tried to offer our audiences here in Leicester bold and visually arresting productions of the great musicals and Evita promises to continue this tradition, as we aim high and try to match the original ambition Tim and Andrew had when they first created this extraordinary piece of musical theatre.

“All of us at Curve look forward to delivering a brand-new production of this astonishing musical to our stage.”

Tickets for Evita at Curve will be on sale later in February.

This year Nikolai Foster directs an unmissable new Made at Curve production of Tim Rice and Andrew Lloyd Webber’s legendary musical, Evita.

As Eva Duarte, a child born into poverty, she followed her dreams of becoming an actress. As Eva Perón, she captured the hearts of Argentina’s working classes, broke new ground for women in politics and became the most powerful woman in Latin America.

Follow the wild days and mad existence of one of history’s most glamorous, glorified and divisive figures in this multi-award-winning musical, which features countless unforgettable songs including ‘Buenos Aires’, ‘Another Suitcase in Another Hall’, ‘’Oh What a Circus’ and the anthemic ‘Don’t Cry for me Argentina’.

News of the Made at Curve production of Evita was announced at Curve’s Season Preview event on Monday 6 February, where it was also revealed multi award-winning musical Come From Away will open its UK and Ireland tour in a Curve co-production at the theatre from 1 to 9 March 2024.

Winner of Best New Musical across the globe, Come From Away shares the incredible real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland community that invited these ‘come from aways’ into their lives.

A Junkyard Dog Productions and Smith & Brant Theatricals production, the tour of Come From Away will be co-produced by Curve.

Curve also shared details of its annual co-production with De Montfort University, which gives performing arts students the opportunity to work with professional teams at the theatre. From 18 to 20 May 2023, students will perform Jim Cartwright’s Road. Originally staged at London’s Royal Court Theatre in 1986, the drama gives voice to community members living on a street in northern England in the 1980s.

The theatre also revealed plans to welcome the stage adaptation of Markus Zusak’s best-selling novel The Book Thief. Following an acclaimed try-out season at Bolton’s Octagon Theatre last year, the musical will come to Leicester 29 September to 14 October 2023. With libretto by Jodi Picoult and Timothy Allen McDonald, music and lyrics by Elyssa Samsel and Kate Anderson, The Book Thief follows the story of a young German girl who learns the power of words in the shadow of the Nazi regime.

Tickets for Come From Away, Road and The Book Thief will be on sale to Curve Friends 7 February, Curve Supporters Wednesday 8 February, Curve Members, Groups and Access Register customers Thursday 9 February and on general sale Monday 13 February, all at 12noon.

Tickets can be purchased by visiting www.curveonline.co.uk, calling 0116 242 3595 or by visiting Curve’s Box Office in-person.

Festival Theatre, Malvern – 5th February 2023

Reviewed by Courie Amado Juneau

5*****

I was fortunate enough to catch several Ellen Kent Productions last year and absolutely loved all of them. So, with enormous anticipation, I awaited their first of 2023; Verdi’s Aida.

Set in Biblical times, Rademès (an Egyptian military commander) has fallen in love with Aida (a captured Ethiopian Princess) who returns his affection. The Pharaoh’s daughter is also in love with Rademès, further complicating things and (to make matters far worse) the Ethiopian King is about to invade Egypt…

The curtain opened to a set of impressive grandeur. It was grande yet also cleverly economical in its minimalism (transforming into different spaces with the addition of a few props). Equally sumptuous were the lush costumes conveying the opulence of the Pharaoh’s palace.

Aida (Olga Perrier) soared. Not just performing, she was living the role – her acting was that good. And, of course, opera is both singing and acting. She conveyed all the anguish, heartbreak and visceral ordeal of her situation with breathtaking assurance and authenticity. From her fist solo aria “Return a conqueror!” to her final scene, she absolutely shone. What a star and what a voice!!!

Her rival, Princess Amneris (Natalia Matveeva), was wrought with both a sinister charm and tender longing in a highly nuanced performance. I enjoyed this detailed portrayal. She was extremely affecting in the aria “Alas .. I feel death”, in which you truly felt for her; being torn between duty and love.

Our leading man, Rademes (Vitalii Liskovetskyi) had a commanding presence coupled with just the right level of tenderness to portray this military figure in all situations. The scenes with him and each love rival were thoroughly believable and I really loved those with Aida.

A sublime cast gave their all, including every superb soloist. The chorus is to be marveled at; both male and female choruses blending to perfection to produce a sonorous beauty which heightened every scene they graced.

Verdi threw everything but the kitchen sink into this opera and tonight’s production did not disappoint in presenting a spectacle. You don’t often see ballet in operas and tonight’s was both lovely and provided some light counterpoint to relieve the tension. You also don’t expect to see a glitter cannon (kitchen sink indeed).

The Ukrainian Opera orchestra were deftly conducted with power and precision by Vasyl Vasylenko, giving us a sparkling reading of the score. They had a light touch when needed and a weight when the action demanded, carrying the onstage action along on gloriously emotional sonic waves.

Verdi’s music was used by Italian nationalists to fight for the freedom of their land from under an oppressive invading overlord so (after this barnstorming performance) it was inevitable that the Ukrainian National anthem should be sung even more heartily than usual (and not just from the stage) and the national flag should receive rousing applause. Emotional times.

A standing ovation and thunderous applause was exactly what this fantastic performance deserved. Another absolute triumph from this magnificent company! I cannot wait for their next visit (with La Boheme). Do yourself a favour and don’t miss it.

A West End Gala night of
‘Theatrical Consequences’
at the Savoy Theatre
Monday May 15th

7 playwrights, 15 actors, only one day to rehearse.
What could possibly go wrong?

The fifth annual Platform Presents West End Gala
has seven writers creating separate scenes
for an hilarious new play-about-making-a-play

The game of Consequences – drawing an image, turning over the page to hide it and passing it on – often ends in astonishing and eye-wateringly funny results.

Now inspired by this “what will happen next?” children’s game, and for a one night only fundraising gala evening at the Savoy theatre on Monday 15 May, 2023, Oliver Chris (‘Trying’, ‘Motherland’, ‘The Office’, ‘One Man Two Guvnors’) will direct a play-about-making-a-play where everything that can go wrong does.

“Last year was hilarious. We blew the roof off the Savoy theatre.  This year we’re gonna take the walls out as well!” – director Oliver Chris

Seven writers working in isolation will collaborate on one script. They will be briefed on the entire plot, the characters and what happens in their scene – but will not be able to read the scene before
or after theirs!

Confirmed writers so far are:
Peter Fellows (‘Veep’, ‘Avenue 5’, The Death of Stalin’),
Helen Kingston (‘Half Bad’, ‘The Flood’),
David Mumeni (writer of ‘I’m Not That Kind of Guy’, Cem in the multi-BAFTA winning Channel 4
comedy series, ‘Stath Lets Flats’),
Isaac Tomiczek (Time Out Runner Up, Playwright’s Prize 2022)
Manjinder Virk (‘Midsomer Murders’, ‘Out of Darkness’, ‘Glow’)

with two more to be announced.

The cast will be announced in the coming months. Previous actors for the Platform Presents Gala have included Bessie Carter, Denise Gough, Dougray Scott, Genevieve O’Reilly, Iwan Rheon, Jack Farthing, Juliet Stevenson, David Mumeni, Indira Varma, Lizzy Connolly, Nicholas Pinnock, Nicholas Burns, Oliver Chris, Pearl Mackie, Pippa Bennett-Warner, George Mackay, Robert Bathurst, Ronni Ancona, Tuppence Middleton, Tobias Menzies, Jade Anouka, Rosalie Craig, Sally Phillips, Tamzin Outhwaite, Tracy Ann Oberman.

This evening of comedy is the fifth annual fundraiser to raise money for the Ambassador Theatre Group Playwright’s Prize in association with Platform Presents, with five Runners Up prizes supported by Time Out. It promises to be one of the best fun nights out in the West End

The Playwright’s Prize
The Playwright’s Prize was founded in 2018 by non-profit Platform Presents CIC to nurture and
provide more opportunities for playwrights.  In the first year 176 scripts were submitted. Last year, in its fourth year, 1,174 scripts were submitted and Platform Presents partnered with one of the leading live entertainment companies in the world, Ambassador Theatre Group, on the prize re-naming it the Ambassador Theatre Group Playwright’s Prize in association with Platform Presents. Also in 2022 international city media brand Time Out partnered with Platform Presents and Finite Films to announce five new £1,000 cash prizes for runners-up. Ambassador Theatre Group and Time Out are confirmed to partner again this year.

The annual prize and fundraiser is co-produced with Finite Films & TV, founded by Amy Gardner, and judged by a high profile group of industry experts. The winner receives £5,000 and mentoring to bring their play to stage and or screen. The five runners up each receive £1,000.

Mark Cornell, CEO of Ambassador Theatre Group said: “Storytelling is our craft, visceral experiences is our area of expertise. This prize and the ‘Theatrical Consequences’ Gala are the perfect vehicles to raise funds to support rising star talent.”

Writers who wish to enter the prize can submit full or partial scripts of up to 10,000 words directly onto the website www.platformpresents.com * until midday on May 15th 2023. LISTINGS INFO

THEATRICAL CONSEQUENCES

Savoy Theatre
Savoy Court
Strand
London
WC2R 0ET

Monday May 15th
at 7.30pm

Tickets: from £20

Tickets on sale through
ATG Tickets at www.ATGTickets.com

For Access please go to www.help.atgtickets.com or call the free phone number on  0333 009 5399 

THE WORLD PREMIERE PRODUCTION OF 

NEW MUSICAL

THE BOOK THIEF

BASED ON THE BEST-SELLING NOVEL BY MARCUS ZUSAK

TO PLAY IN COVENTRY AND LEICESTER

FROM 11 SEPTEMBER 2023

DEM Productions are delighted to announce that the stage adaptation of best-selling novel The Book Thief, with libretto by Jodi Picoult and Timothy Allen McDonald and music and lyrics by Elyssa Samsel and Kate Anderson, will be presented at Coventry’s Belgrade Theatre and Leicester’s Curve Theatre in autumn 2023.

THE BOOK THIEF had an extremely well-received initial presentation at the Octagon Theatre, Bolton in 2022 for which it has been nominated for a WhatsOnStage Award for Best Regional Production. 

Casting to be announced.

THE BOOK THIEF begins at a snow-covered graveside in 1930s Germany, as an illiterate girl steals an abandoned book – Liesel Meminger’s first act of book thievery. As her appetite for books grows, as does the Nazi regime – with the shadow of death never far away. When her foster family hides a Jewish boxer in their basement, he teaches Liesel the power of words and together they plant seeds of kindness in a world set against them.

The new musical, based on Markus Zusak’s 16 million-copy global best-seller, is adapted by award-winning best-selling author Jodi Picoult (My Sister’s Keeper & Small Great Things) and Timothy Allen McDonald (adaptor of Roald Dahl’s Willy Wonka & James and the Giant Peach) with music and lyrics by Kate Anderson and Elyssa Samsel (Apple TV’s Central Park & Olaf’s Frozen Adventure).

Co-Librettists Jodi Picoult and Timothy Allen McDonald said “It was an honour to adapt Markus Zusak’s historical novel, The Book Thief, as a musical, and we are thrilled to present it in Leicester and Coventry. In a time when history seems intent on repeating itself – when hate crimes throw a spotlight on the differences between us; when words are being used to harm, rather than heal; when lies are being used to fuel a war – we feel that this story is more relevant and powerful than ever. It is our hope that this beautiful, moving show reminds the audience that the past has a nasty habit of not staying in the past – and that it is up to us to change that.”

Author of the novel Markus Zusak said: “A writer always worries about an adaptation of their work, but The Book Thief musical has been a revelation and a joy. Everyone involved has respected the novel beyond my expectations, and I’ve loved watching it grow. Most importantly, when I saw it for the first time, I knew that it felt like the book, which is the hardest thing to achieve. The characters truly are the characters I loved when I was writing it all those years ago, and the songs are just amazing. I can’t wait to see it in its newest incarnation later this year.”

From Ramin Sabi and Emily Lunnon, DEM Productions (Producer): “The Book Thief is a gift of a show for us at DEM, bringing together our longstanding commitment to producing new musical theatre and the opportunity to tell one of modern literature’s most beloved stories through this unique artform. We’re delighted to be sharing this spine-tingling score, exquisite storytelling, and the work of this sensational creative team with audiences in Coventry and Leicester at this early stage in the life of what we hope will become a wonderful addition to the 21^st century musical canon.”

THE BOOK THIEF will be Directed by Lotte Wakeham (The Book Thief, Shirley Valentine, A Midsummer Night’s Dream), with Libretto by Jodi Picoult (Breathe, Between The Lines) & Timothy Allen McDonald (Roald Dahl’s James & The Giant Peach and Willy Wonka), Music and Lyrics by Elyssa Samsel & Kate Anderson (Olaf’s Frozen Adventure, Central Park), Choreography by Tom Jackson Greaves (Rent, Whistle Down the Wind, Romeo & Juliet), Orchestrations & Arrangements, Musical Supervision & Musical Director by Matthew Malone (Peter Pan, Carousel), Set & Costume Design by Good Teeth (Little Shop of Horrors, Jack and the Beanstalk), Lighting Design by Nic Farman (Allegiance, The Diary of a CEO Live), Sound Design by Andy Graham (Aladdin, The Wizard of Oz), Video Design by Dick Straker (A Monster Calls, Peer Gynt), Puppet Design by Sam Wilde (A Christmas Carol, The Fir Tree), Casting by Abby Galvin for Jessica Ronane Casting (The Glass Menagerie, Girl from the North Country) and Production Management by Andy Fox and Lee Batty for Setting Line Production Management (Newsies,The Cher Show). THE BOOK THIEF is produced by Deus Ex Machina Productions (Ride: A New Musical, Spring Awakening) with Writer’s Cage, Christopher Ketner, and Andrew Paradis, in association with Belgrade, Coventry. 

Website: www.thebookthiefmusical.com

Instagram: @thebookthiefmusical

Facebook: @thebookthiefmusical

Twitter: @TBT_musical

LISTINGS INFORMATION

THE BOOK THIEF

Coventry

11 – 16 September 

Belgrade Theatre

Corporation Street

Coventry

CV1 1GS

Box office: 024 7655 3055

boxoffice@belgrade.co.uk

Leicester

29 September – 14 October 

Curve Theatre

Rutland Street

Leicester

LE1 1SB

Box office: 0116 242 3595

tickets@curvetheatre.co.uk

Tickets from £15

Age recommendation: 11+

Queens Theatre, Hornchurch – until 25th February 2023

Reviewed by Bobbi Fenton

5*****

Everybody has secrets, some more sinister than others. However, when a dinner party suddenly becomes a murder investigation, everybody is left trying to keep their own secrets covered up, leading to false accusations and some dramatic revelations about some character’s pasts. Inspector Rebus (John Michie), Stephanie Jeffries (Emily Joyce), social media genius and influencer Candida Jones (Emma Noakes) and Husband Jack Flemming (Billy Hartman) are attending a dinner party at hosts Paul and Harriet Godwins’ (Forbes Masson and Rebecca Charles) house. Harriet Godwin has created a very clever murder mystery case for her guests to try to solve, using her own life as inspiration for the characters and story. However, after a rather tense scene in which Jack Flemming talks about the death of his ex-wife, it is revealed that there is a body in the upstairs master bedroom’s en suite. Everybody becomes a possible suspect, turning on one another with accusations of too many cigarette breaks, or toilet trips. By the end of the play, two huge secrets have come to light, and the person responsible for a murder is revealed.

This play is absolutely fantastic, with twists and turns, and tension that emulates a modern day version of a Sherlock Holmes case. The cast are amazing at constantly doing something when in the background, with subtle facial expressions and body tension helping to show their true feelings towards one another. The one character that is impossible to read, which he even says is deliberate, is Inspector Rebus, who seems to have everybody else in the room completely figured out.

This play is truly phenomenal, and will leave you trying to figure out the ending for the whole show. Make sure you don’t miss this spectacular play.

Leeds Grand Theatre – until 1 April 2023

Reviewed by Dawn Smallwood

4****

Leoš Janáček’s The Cunning Little Vixen is part of Opera North’s 2023 Winter Season repertoire. This production was originally co-produced between Scottish Opera and Welsh National Opera, under the direction of Sir David Pountney, and was first performed at Edinburgh International Festival in 1980. Sir David Pountney returns to directing this production and he is supported by talented cast members and creators.

This three-act opera is based on Rudolf Tĕsnohlídek’s novella and Leoš Janáček’s libretto and is about the folklore tale of Vixen Sharp-Ears (Elin Pritchard) who was captured as a young cub and while in captivity yearns for freedom, and escapism. She eventually escapes to the forest and the narrative unfolds her liberated journey. The sights and sounds of the forest enchant and captivate all to the natural world of dragonflies, squirrels, and other creatures.

Moravian folk music and rhythm is well set into Janáček’s musical composition and energises and enchants the characters on the journeys they make. This is all done under the musical direction of Andrew Gourlay and in song by the artists particularly from Pritchard (Vixen Sharp-Ears), Heather Lowe (Fox) and James Rutherford (Forester).

It is light and innocent in narration but contextually dark with the juxtaposition of both the human and animal worlds and the cycles of life and death from excellent characteristic portrayals from each member of the cast. Being in the present is part of the animal world as transpired on stage however this is reflected differently among the human characters as seen.

The main draw for the opera must be the late Maria Björnson’s set and its exquisite animal costumes designs. The botanical theme set with its forest’s backdrops and Nick Chelton’s lighting works well for the different scenes and plots in the opera and the different spaces and positions are thoroughly well used.

This well projected opera, co-ordinated and choreographed by Elaine Tyler-Hall, is an evening’s treat and delight for everyone of all ages and everywhere. It is heartening that this classic folktale is going to be made accessible to schools and Little Listeners: Mini Vixen, a production targeted for children. The Cunning Little Vixen is enchantingly natural and botanically refreshing.

Vault Festival – until 5 February 2023

Reviewed by Claire Roderick

4****

Carol Murphy’s The Body & Blood is a picaresque rollercoaster of a tale. Described as a 19th century Irish Famine Folk Fable, the adventures of Maggie Murtagh, The Vigilante Cannibal Nun are not for the fainthearted. Originally a series of online videos, this live performance of the story is an exciting and exhausting 70 minutes.

Murphy’s struts onto the stage dressed like a prize fighter, setting the tone for her bravura performance of her own verse. Her face is painted a mask of blue and black, and she is draped in gold chains and dirty bandages under the robe that portray different stages of Maggie’s story. With phrases as extravagant as her mannerisms, Murphy begins with Maggie’s childhood – an indifferent father and an abusive aunt – and her attempts to avoid marriage before becoming a nun in China. As the Famine begins, she is sent back to Ireland, and what she sees stirs the anger (and hunger) inside her as she sees the church’s impotence in the face of the disparity between the English, the landlords and the Irish people. Her murder of a red coat is told in visceral detail, followed by Maggie’s futile flight of fancy about what changes the prostitute she “saved” could make. Maggie’s reassurances that she only eats colonisers are hard to swallow for the terrified woman. As Maggie embraces her fury and becomes wilder, leaving a trail of bodies, her adventures catch the imagination of a journalist who becomes obsessed and wants to tame her as his imagined version is more compliant than the reality. Maggie insists that she remains her own woman ready to die on her terms, in stark contrast to the women around her – but does she truly have agency, lurching from one horror to another with no hope of redemption and escape from the scars of her childhood?

This is a story from a dark time in history, full of bleak themes and serious questions, but it is very funny – full of one liners and asides that take the audience out of the story and give them a chance to breathe. Murphy is a whirlwind of a performer, with magnificent physicality and exaggerating every cliché in Irish speech. Her writing has the same energy – teasing and probing with exciting energy and searing intelligence. I hope we see more of Carol Murphy and Maggie Murtagh in London soon.

Southwark Playhouse – until 25 February 2023

Reviewed by Claire Roderick

4****

Kim Davies’s play transfers the heartless powerplays of Strindberg’s Miss Julie to 2012 New York. During a BDSM party, Julie (Meaghan Martin) finds John (Oli Higginson) smoking in the kitchen. The master/servant dynamic of Julie’s father and John becomes world famous photographer/intern – which isn’t even a proper job according to Julie. They know of each other, and tentatively dance around each other to discover more.

John is a regular on the BDSM scene but this is Julie’s first party, and he begins explaining how things work, and finding out what she likes in an initially reassuring, but increasingly patronising way as he finds out she wants to be dominated. His tales of what other men have done to women without their consent, and how he would never do that begin to sound more and more hollow after he reveals what he likes to do – and at this point the power starts to shift as well. As the pair begin a “scene” it becomes more and more unclear what is real and what is an act as the dynamics shift and swirl like the black sand on stage. Throughout the play, John is repeatedly interrupted by phone calls from Julie’s dad with demands to go to the studio, and this realisation that John is in reality as powerless as Julie wants to be made to feel allows Julie to let rip with a verbal assault that feels as damaging as John’s last power play – a truly shocking sequence that is choreographed and performed with shuddering intensity. Kim Davies’s writing is sharp and funny, leaving so much unsaid for the actors and audience to interpret. Directors Polina Kalinina and Júlia Levai ramp up the intensity and the in the round staging is exquisite as the characters manipulate and manoeuvre around each other.

The blurred lines of consent in this encounter raise lots of questions without resolution, and the bleak ending leaves a nasty taste in your mouth, but rightly so. There is very little physical contact in the play, instead the pit of black sand in which the actors perform is used in haunting imagery. Trickling handfuls of sand represent smoking cigarettes and the sand is used both gently and violently as the pair play. Sami Fendall’s design is stark and cold, with Rajiv Pattani’s lighting changing erratically to signal the discomfort and danger unfolding in the kitchen. Higginson and Martin are exceptional – he switches between lithe prowling and puppy dog confusion in an instant, but always keeps John a little off kilter, especially when he is supposedly reassuring Julie. Martin raises Julie from what could have been a stereotypical bored trust fund brat into a complex character full of contradictions who appears to just need to feel something… anything – and her enigmatic expression in her final moments onstage will leave you wondering.

Slick and darkly funny, Smoke is an intriguing and intelligent play with two brilliant performances. Grab a ticket while you can.

Mayflower Theatre, Southampton – Thursday 2nd February 2023

Reviewed by Joanna Huggett

5*****

My 13-year-old daughter and I went to see the Swan Lake and found it utterly amazing. The set was really effective. The costumes were beautiful, and the music from the live orchestra was spellbinding. The lighting was also effective, especially in Acts three and four when the main characters were illuminated at the back of the stage.

We thought the performance by the principal dancer, Brandon Lawrence, who played Siegfried, was excellent. As was the performance by his equerry, Benno, danced by Tzu Chao-Chou. The performance by Momoko Hirata, who played Odette in Act two, was also excellent. We found the performance by Celine Gittens, who played the black swan, Odile, in Act three to be outstanding. She performed 32 fouetté turns in quick succession, which was quite remarkable.

The performance was split into four acts, which worked well, and gave the audience a chance to breathe and stretch between each section. I’m sure it also allowed the dancers to have a much-needed break from their rigorous dance routines.

My daughter had never seen a full-length traditional ballet before. She described it as ‘inspiring’ and ‘the best show she had ever seen.’ Well done to all involved. A must see.

Theatre Royal, York – until Saturday 4^th February 2023

Reviewed by Katie Brewerton

3***

Around the World in 80 Days is based on  the Jules Verne novel of the same name, following the eccentric Phileas Fogg (Alex Phelps) as he sets out to prove he can make it around the world in 80 days or less, after making a wager with some friends. He takes along Passepartout (Wilson Benedito), a French man who has recently entered his employ. As they set out on their journey, unbeknown to them Detective Fix (Eddie Mann) has also set out on a journey, to hunt down the person responsible for a huge robbery in England, he suspects Fogg and sets out to keep him on English soil while awaiting a warrant for his arrest. Phileas, finds himself having a variety of new experiences and even gains a new friend in Aouda (Genevieve Sabherwal) who joins them on their travels after being rescued in India. 

This adaption sees a group of circus performers re-tell the story as well as the fascinating true story of Nellie Bly, an American journalist who decided to take on Phileas Fogg’s journey herself. Bly became a record holder for her accomplishment, played by Katriona Brown her story is interspersed with Phileas’ throughout the play as true events are mixed with the events of the play. 

Directed and adapted by Juliet Forster this ia a unique, family friendly adaption. The talented group of performers take you around the world with them, from France to Egypt to Hong Kong, Japan and America you are part of the adventure. Using the props and stage well to create various modes of transport including trains, boats and an elephant, this is a play with humour for both adults and children alike with a great cast and a vibrant set. The performers use their skills to include the circus in the production and their skill is clear, this is a light-hearted fun filled show for all the family.