Director Richard Twyman has taken this much loved, well trodden play and given it a pep in its step! The reflections on modern society are clear, giving the audience much to think about. The cast is drawn from talent across the globe giving it another dimension that Shakespeare is unlikely to have experienced.
Alex Austin (Macbeth) moves with ease from ambitious, successful soldier and family man to one filled with avarice and murderous intent. The playful interaction with the audience Austin introduces is new and offers a lighthearted interlude from the intense dialogue this play is so famous for.
Lois Chimimba plays the driven, bereft Lady Macbeth with passion. Driving Macbeth (Austin) to carry out heinous crimes has a psychological impact on both their minds. Lady Macbeth’s (Chimimba) slow decline into mental illness is palpable and resonates with elements of modern life.
Ammar Haj Ahmad portrays the loyal soldier and father Macduff with a quiet confidence. Ahmad’s (Macduff) whole body language speaks to the dialogue when he is broken by the news of Macbeth’s (Austin) betrayal.
Sophie Stone gives Ross an energy and dynamic that captivates the audience. Ross’s (Stone) drunken interaction with the audience is a genius move by the director.
The cast are a well rehearsed ensemble that expertly engage the audience in this tragedy from start to finish. Shakespeare can sometimes feel inaccessible to the uninitiated. This production is a great introduction for young students and anyone experiencing The Bards more serious work for the first time.
The use of video on stage increased the intensity of the piece at poignant moments and brings a different dynamic to the sense of being watched. If you like Shakespeare you will love this production. Shakespeare wrote for the common people. Newcomers, come see it performed for a modern audience.
“The Book of Mormon,” a musical created by Trey Parker, Matt Stone, and Robert Lopez, premiered in 2011 and has since garnered critical acclaim and numerous awards, including nine Tony Awards. The show is a satirical take on the beliefs and practices of The Church of Jesus Christ of Latter-day Saints, following two young Mormon missionaries, Elder Price and Elder Cunningham (played superbly by Adam Bailey and Sam Glen) , as they are sent to Uganda to spread their faith.
At its core, the show explores themes of faith, belief, and the clash of cultures. The musical juxtaposes the idealistic views of the missionaries with the harsh realities faced by the Ugandan villagers, who are dealing with issues such as poverty, disease, and oppression. The humor is often irreverent, tackling sensitive subjects with a perfect mix of satire and sincerity.
This was our second time seeing this show, unlike lots of the audience who did not know what was coming and could be seen with lots of laughing faces mixed with shock! We still found it outrageous but irresistably hilarious, employing a blend of absurdity, shock value, and clever wordplay. The creators are known for their work on “South Park,” and their style is evident throughout the musical. While some may find the humor offensive, others appreciate its boldness and the way it encourages audiences to question their beliefs and assumptions.
The score, composed by Lopez and the creators, features catchy and memorable songs that range from upbeat and comedic to poignant and reflective. Numbers like “Hello,” “Two by Two,” and “Hasa Diga Eebowai” showcase the fantastic talents of the cast and creatives. The choreography and staging are also fabulous, contributing to the overall energy and impact of the production.
Overall, “The Book of Mormon” is a bold, entertaining, and thought-provoking musical, certainly not for the easily offended but ‘I Believe’ is both hysterical and very memorable.
WILTSHIRE CREATIVE AND MERCURY THEATRE COLCHESTER ANNOUNCES FULL CAST FOR RACHEL WAGSTAFF AND DUNCAN ABEL’S ADAPTATION OF THE DA VINCI CODE
Wiltshire Creative and Mercury Theatre Colchester today announces full cast for Rachel Wagstaff and Duncan Abel’s stage adaptation of Dan Brown’s best-selling thriller novel The Da Vinci Code. Chelsea Walker – making her Salisbury Playhouse debut – directs Sherry Baines (Sister Sandrine), Joe Bannister (Robert Langdon), Philip Bretherton (Teabing), Richard Clews (Jaques Sauniere), Joshua Griffin (Remy/Philip/The Clerk), Georgia-Mae Myers (Sophie Neveu), Louise Mai Newberry (Collet/Vernet/Volunteer), Anthony Ofoegbu (Bezu Fache) and Joe Pitts (Silas).
The production opens at Salisbury Playhouse on 15 April, with previewsfrom 10 April. and runs until 3 May, ahead of its run at the co-producing venue, Mercury Theatre Colchester, from 7 – 24 May.
Chelsea Walker said today, “I’m thrilled to be directing The Da Vinci Code for Wiltshire Creative and the Mercury Theatre, Colchester. This brilliant adaptation captures perfectly the fast-paced thrill and intrigue of Dan Brown’s bestseller. We’ve assembled an excellent cast and creativeteam to bring it to life onstage and we can’t wait to share it with audiences.”
Wiltshire Creative and Mercury Theatre Colchester present
THE DA VINCI CODE
Adapted by Rachel Wagstaff and Duncan Abel From the novel by Dan Brown
Thursday 10 April – Saturday 3 May 2025
Director: Chelsea Walker; Designer: Alys Whitehead;
Sound and Composition Designer: Alexandra Faye Braithwaite;Lighting Designer: Ryan Day;
Video Designer: Daniel Denton;Casting Director: Arthur Carrington
Dan Brown’s best-selling thriller novel comes alive in a way you’ve never seen before, in this electrifying stage adaptation written by Rachel Wagstaff and Duncan Abel, the same writers who adapted the smash hit The Girl on the Train which played at Salisbury Playhouse in 2023.
Professor Robert Langdon and fellow cryptologist Sophie Neveu embark on a pulse-pounding quest across Europe. When a brutal murder in the Louvre Museum uncovers hidden clues within Leonardo da Vinci’s masterpieces, the duo must unravel a web of intrigue that could alter the course of history…
Uncover the twists and turns of ancient secrets, relentless rivals and coded messages in a quest to protect a secret that could change the world forever.
Chelsea Walker is an award-winning director, having won the Sir Peter Hall Director Award in 2017. She has twice been a finalist for the JMK Directors Award, winning the runner-up prize in 2016, has twice been nominated for an Off West End Best Director Award and twice nominated for a UK Theatre Award. Her directing credits include All’s Well That EndsWell (Shakespeare’s Globe), Visit From An Unknown Woman, This Much I Know, Yous Two (Hampstead Theatre), On The Beach (Sheffield Theatres), Missing Julie (Theatre Clwyd), Hedda Gabler (Sherman Theatre), Cougar, Low Level Panic (Orange Tree Theatre), P’yongyang, Chicken Dust (Finborough Theatre), Klippies (Southwark Playhouse), A Streetcar Named Desire (UK tour) and Lean (Tristan Bates Theatre).
Sherry Baines returns to Salisbury Playhouse to play Sister Sandrine, Marie and Docent – she previously appeared in One Last Push, How The Other Half Loves, and Before The Party. Her other theatre credits include The Mousetrap (St Martin’s Theatre), Other People, Countdown (The Other Palace), Much Ado About Nothing (Stafford Festival Shakespeare), I am a Camera (Southwark Playhouse) and A Small Family Business (Theatr Clwyd). Her television credits include Doctors, A Touch of Frost, Ralph & Katie, The A Word and Call the Midwife.
Joe Bannister plays Robert Langdon. His theatre credits include Trouble in Mind, As You Like It, The Confessions (National Theatre), The Lion in Winter (Theatre Royal Haymarket), Much Ado About Nothing (Cambridge Arts Theatre), Chariots of Fire (Gielgud Theatre/Hampstead Theatre), Titus Andronicus, The Witch of Edmonton, The Arden of Faversham, The Roaring Girl (RSC), Wild Honey (Hampstead Theatre), Hobson’s Choice (Vaudeville Theatre), Ramona Tells Jim (Bush Theatre) and The Watsons (Chichester Festival Theatre/Menier Chocolate Factory). His television credits include Lockerbie, Screw, This England, Finding Alice, The Singapore Grip, Curfew and Howards End.
Philip Bretherton returns to Salisbury Playhouse to play Teabing, he previously appeared in How The Other Half Loves and Before the Party. His other theatre credits include Tony’s Last Tape (Omnibus Theatre), Twilight Song (Park Theatre), The National Joke, Skylight (Stephen Joseph Theatre), Much Ado About Nothing (Stafford Festival Shakespeare), Somewhere in England, The God of Carnage, As You Like It, Blackthorn, Pygmalion, Noises Off, Blithe Spirit (Theatre Clwyd), The League of Youth, Breaking the Silence (Nottingham Playhouse), Life After Scandal (Hampstead Theatre), Who’s Afraid of Virigina Woolf?, Six Degrees of Separation (Royal Exchange Theatre). His television credits include Coronation Street (as series regulars Ian Davenport, Robert Weston and Rod), As Time Goes By (as series regular Alistair Deacon), Footballers’ Wives (as series regular Stefan Hauser), Casualty (as series regular Andrew Bower), Real Women, Wing and a Prayer, Holding On Doctors, Young Dracula, The Londoners; and for film, The Fifth Estate and Dark Floors.
Richard Clews returns to Salisbury Playhouse to play Jaques Sauniere, he previously appeared in Waiting for Godot and Journey’s End. His other theatre credits include The Secret Garden (Regent’s Park Open Air Theatre), The Taming of The Shrew, As You Like It, Julius Caesar, Two Gentlemen of Verona, Wendy & Peter Pan (RSC), The Country Wife (Southwark Playhouse), Babette’s Feast (Coronet Theatre), King Lear (Duke of York’s Theatre/Chichester Theatre), The Government Inspector (Birmingham Rep/UK tour) Dr Faustus, God of Soho, A Midsummer Night’s Dream, Timon of Athens (Shakespeare’s Globe) and Rebecca (UK tour). His television credits include The Trip, The Last Kingdom, Altantis and A Touch of Frost; and for film, The Trip to Greece.
Joshua Griffin plays Remy/ Philip/The Clerk. His theatre credits include Atlantis (Theatr Clwyd), Henry V (Shakespeare’s Globe/ UK tour), Dear Elizabeth (Gate Theatre), The Mousetrap (St Martin’s Theatre). His television credits include Doctors and Father Brown; and for film, Reach, Boys on Film 23: Dangerous to Know and Magic Mike’s Last Dance.
Georgia-Mae Myers plays Sophie Neveu. Her theatre credits include All’s Well ThatEnds Well, Titus Andronicus (Shakespeare’s Globe), Frankenstein (UK tour), Dismissed (Soho Theatre), Wars of The Roses, Henry VI: Rebellion (RSC) and There May be a Castle (Little Angel Theatre).
Louise Mai Newberry plays Collet, Vernet and Volunteer. Her theatre credits include Metamorphosis (UK tour/Lyric Hammersmith), The Whitby Rebels (Stephen Joseph Theatre), The Good Person of Szechwan (Sheffield Theatres/Lyric Hammersmith), The Climbers (Theatre by the Lake), The Smeds and The Smoos (UK tour), Romeo and Juliet (Regent’s Park Open Air Theatre), Much Ado About Nothing, Love’s Labour’s Lost, The Two Gentlemen of Verona, Pericles (Shakespeare at Tobacco Factory Theatre), Plenty (Chichester Festival Theatre), All’s Well That End’s Well (Shakespeare’s Globe), King Lear (Orange Tree Theatre), Lampedusa (Soho Theatre/Citizens Theatre), The Sugar-Coated Bullets of the Bourgeoisie (Arcola Theatre), Any Means Necessary (Nottingham Playhouse), The Snow Dragon (UK/US tour), The Gruffalo (UK/Ireland tour), Not The End Of The World (Bristol Old Vic) and Transmission (Birmingham Rep). Her television credits include Doctor Who, Blacklist and Goal!;and for film, her credits include My One and Only, Fluid and Christie.
Anthony Ofoegbu plays Bezu Fache. His theatre credits include Conundrum (Young Vic Theatre), Barber Shop Chronicles (National Theatre/UK, US and Canadian tour), Circle Mirror Transformation (HOME Manchester), The Lion and The Jewel (Barbican), The Beatification of Area Boy (Leeds Playhouse/international tour), Antony and Cleopatra, Julius Caesar, Titus Andronicus (RSC/Barbican Theatre) and Death and the King’s Horseman (National Theatre). For television, his credits include Spooks, Moonfleet and Meet the Adebanjos; and for film, his credits include Escape and DarkGame.
Joe Pitts plays Silas. His theatre credits include The Wind and The Rain (Finborough Theatre) and Spring Awakening (Almeida Theatre). His television credits include FBI: International, The New Look and Bodies.
10 April – 3 May Tickets from £12 Age Guidance: 14+ BSL/ Captioned performance Tuesday 29 April at 7:30pm Audio Described & Touch Tour Thursday 1 May at 2:15pm and 7:30pm
Tanya Moiseiwitsch Playhouse, Sheffield – until 15th March
Reviewed by Carol Crann
4****
Malorie Blackman’s Pig Heart Boy tells the tale of 13-year-old Cameron who – because of a virus – has a diseased heart and will die if he doesn’t get the transplant he needs. No human heart is available, so he is given the option of having groundbreaking surgery, one that will see him receive a pig’s heart instead.
Cameron is left to consider all the implications, and to make a decision on whether this is the right thing to do in order to save his life… He chooses to go ahead – despite the risks of a previously untried procedure. He didn’t, however, anticipate the backlash that he would receive from some of his peers and – more worryingly – animal rights activists.
On walking into the theatre the sound of a heartbeat sets the scene. The set, designed by Paul Wills, is incredibly effective throughout the show, and utilised brilliantly by using TV screens, speakers and LED light tubes to resemble a cardiovascular system. Andrew Exeter, the lighting designer, had these ‘veins’ change colour constantly throughout the performance to accurately reflect the location and mood of the scene.
Although the children are played by adults, it’s something that by no means distracts from the performance. All the characters are believable – and enhanced by some of the childish humour portrayed throughout. Cameron, played effectively and with real emotion, by Immanuel Yeboah, used black humour excellently, and his occasional interaction with the audience worked well.
Once he had decided to go ahead with the controversial, but potentially life-saving operation, he decides he wants to actually meet the donor. The portrayal of Trudy (Chia Phoenix) is entertaining, but in many ways, in my opinion, trivialises one of the major discussion points of the play.
This play is primarily aimed at nine to thirteen-year-olds, but the lively production of a sensitive subject matter kept my attention throughout. Although it might lose more of the gravity of the situation than the writer possibly intended, it is definitely a good starting point for some of the difficult conversations that this subject matter will generate. I definitely recommend a visit to the Playhouse to go see it.
Chitty Chitty Bang Bang flies into Birmingham Hippodrome for one week only, and judging by the crowd’s reaction last night, Brum definitely loves this amazing car! Based on the 1964 Ian Fleming book, which was then adapted for the big screen by Roald Dahl for the 1968 movie. The stage show made its world premiere at the London Palladium on April 16th 2002, before making its Broadway debut in 2005. This production is directed by Thom Southerland, adapted for the stage by Jeremy Sams and features music and lyrics by the Sherman Brothers.
The story follows eccentric inventor Caractacus Potts (Ore Oduba) and his two children, Jeremy (Roshan Thomson) and Jemima (Gracie Cochrane), who discover an old race car in a local scrapyard and try to save it from being destroyed. Along the way, they meet the kind-hearted Truly Scrumptious (Ellie Nunn), who encourages Caractacus to raise the funds for the car’s renovation. They soon discover its extraordinary magical properties, including the ability to fly and float on water. Unbeknownst to the Potts family, the villainous Baron and Baroness of Vulgaria (Martin Callaghan and Jenny Gayner) also want to get their hands on Chitty. They send their bumbling spies Goran (Michael Joseph) and Boris (Adam Stafford) to England to steal the car. They mistakenly think Grandpa Potts (Liam Fox) is the inventor and kidnap him, so the family heads off to Vulgaria to rescue him. Vulgaria is a peculiar land where children are outlawed, and the creepy Child Catcher (Charlie Brooks) soon hunts down Jeremy and Jemima. With the help of the kindly Toymaker (John Macaulay) and the children secretly hidden away from the clutches of the Child Catcher, Caractacus and Truly embark on a daring plan to save the children and Grandpa.
The set design by Morgan Large is often minimal, it uses movable crates to create backdrops for many scenes. Clever multipurpose props are used such as the Coggins scrapyard sign that doubles up as the Potts Family Windmill home. The smaller touches such as tiny versions of Chitty and Grandpa’s shed being moved around the stage just add to the humour of the show, while being cleverly used to portray scenes that would otherwise be very hard to achieve. This minimalist approach just makes Chitty’s first appearance feel even bigger and bolder. Audible gasps rose from the auditorium as we saw her newly renovated for the first time. When she eventually takes to the air, the crowd were captivated by the stage magic needed to make such a scene a reality.
The show boasts an incredibly talented ensemble that all work well together. Stand-out performances for me were Michael Joseph and Adam Stafford as clumsy, but lovable spies Goran and Boris with their slapstick comedy and hilarious pronunciations of British words (the word “pub” was stuck in my head all the way home!). Although they are the villains of the show, the Baron and Baroness also kept the audience amused, with a few racier jokes thrown in for the adults to giggle at. Ore Oduba has only recently joined the tour during the show’s stint in Sheffield. He gave a great performance as Caractacus and his onstage chemistry with Ellie Nunn as Truly is already evident.
Following the standing ovation during the show’s finale, Liam Fox delivered a heartfelt tribute to The Vivienne/James Lee Williams, who until their death had played the role of the Child Catcher. This was met with prolonged applause, making it a touching and fitting end to an amazing show. More than sixty years on, Chitty Chitty Bang Bang still holds a special place in people’s hearts, and this phantasmagorical production will ensure Chitty’s legacy continues to fire on all cylinders!
FEATURING THE GRAMMY AWARD®-WINNING AND ACADEMY AWARD® NOMINATED MUSIC AND NEW SONGS BY BENJ PASEK AND JUSTIN PAUL
BOOK BY TIM FEDERLE
DIRECTED AND CHOREOGRAPHED BY CASEY NICHOLAW
Disney Theatrical Group -under the direction of Managing Director Andrew Flatt, Executive Producer Anne Quart, and Chief Creative Officer Thomas Schumacher – today announces that the new stage adaptation of The Greatest Showman, based on the 2017 smash-hit film, will première at ATG Entertainment’s Bristol Hippodrome in Spring 2026.
A casting search is underway across the UK and Ireland for this brand-new production, discovering the stage talent who will play the roles originated by the stars of the film. Open auditions will take place throughout March and April in Dublin, Belfast, Birmingham, Cardiff, Glasgow, Edinburgh, Leeds, Manchester, Exeter, Newcastle and London. For more information visit www.thegreatestshowman.co.uk.
The musical will feature the GRAMMY Award-winning and Academy Award-nominated songs by EGOT winners Benj Pasek and Justin Paul (La La Land, Dear Evan Hansen, Disney’s forthcoming film Snow White), including “The Greatest Show,” “A Million Dreams,” “Come Alive,” “Rewrite the Stars” and the Golden Globe® Award-winning “This Is Me,” together with their brand new songs written especially for the musical. The book is by Emmy® nominee Tim Federle (Ferdinand, High School Musical: The Musical: The Series, Tuck Everlasting).
The Greatest Showman will be directed and choreographed by two-time Tony® Award-winning Casey Nicholaw (The Book of Mormon, Aladdin, Mean Girls and the forthcoming production of Disney’s Hercules, opening at Theatre Royal Drury Lane in June).
Based on the 20th Century Fox motion picture, The Greatest Showman, with story by Jenny Bicks,this is the first 20th Century Studios (formerly 20th Century Fox) title to be adapted for the stage by Disney Theatrical Group and The Seelig Group, a producer of the original film. The production continues Disney Theatrical’s long-held relationship with the Bristol Hippodrome where Mary Poppins made its world première, and the UK tours of The Lion King and Beauty and the Beast began their journeys.
Benj Pasek and Justin Paul said, “We are continuously surprised and moved by how much the songs from The Greatest Showman seem to have resonated around the world, and to now have the opportunity to bring them to the stage is truly thrilling.”
Andrew Flatt, Anne Quart and Thomas Schumacher forDisney Theatrical Group added, “It has been decades since an original film musical has been so passionately and broadly embraced as The Greatest Showman, and Benj Pasek and Justin Paul’s songs have found a treasured place in the world’s heart. Audiences responded to the film’s joyful energy, and themes of self-discovery, community, and the families we create. We’re excited to bring it to the stage as a purely theatrical piece and the natural next chapter in its extraordinary life. We cannot wait to see how this incredibly talented team of creatives elevate the beloved work still further. Tim Federle is among the new generation of Disney storytellers, returning to Broadway after remarkable success in film and television. Casey Nicholaw, a longtime key contributor to Disney Theatrical Group’s success, has an unrivalled genius for combining joy and heart in his award-winning stage work. Now we begin the search for the performers who will bring this story to life on stage.”
Audiences are invited to sign up for more information about The Greatest Showman at www.thegreatestshowman.co.uk. Casting, full creative team and the Bristol performance schedule will be announced later this year. Future plans for the show will be determined in due course.
The Greatest Showman is inspired by the ambition and imagination of P. T. Barnum, celebrating the birth of show business and of dreams coming to life. The soundtrack achieved global success, winning the Golden Globe® Award for Best Original Song, a GRAMMY Award and nominated for Best Original Song at the Academy Awards®. It became only the second album in 30 years to achieve 11 consecutive weeks at number 1 in the UK.
Producer Adam Roebuck today announces the return to London of F**king Men by multi award-winning playwright Joe DiPietro. After sell-out performances in 2023 and 2024, the production will return to Waterloo East Theatre for a strictly limited six-week run. Steven Kunis, who returns to direct a new cast, including Rob Alexander-Adams (Leo and Donald), Peter Caulfield (Steve, Brandon, and Jack), Benedict Clarke (John, Kyle, and Ryan), and Sven Ironside (Marco and Sammy).
Inspired by the classic play La Ronde, Tony Award-winning playwright Joe DiPietro reimagines the interwoven tales of sexual power, discovery, and exploration in the context of today’s gay scene.
This hit play opens on 26 March, with previews from 22 March, and will run until 4 May.
Adam Roebuck presents
F**KING MEN
By Joe DiPietro
Cast: Rob Alexander-Adams, Peter Caulfield, Benedict Clarke and Sven Ironside.
Director: Steven Kunis; Lighting Designer: Alex Lewer; Set and Costume Designer: Cara Evans; Composer and Sound Designer: Julian Starr; Movement and Intimacy Director: Lee Crowley:
Voice and Accent Coach: Amanda Stephens
22 March – 4 May
A modern retelling of Schnitzler’s infamous classic La Ronde, F**king Men is a fascinating, funny, and provocative story of sex, love, and connection. This dramatic comedy follows 10 men through a series of erotic encounters that change their lives in small but significant ways. In this raw and updated new version, Joe DiPietro takes a sharp and insightful look at the experiences of modern gay men as they navigate their conflicting desires for the comfort of monogamous love and the thrill of sexual freedom.
Joe DiPietro is an award-winning playwright – the recipient of two Tony Awards, a Drama Desk Award, and three-time Outer Critics Circle Awards. DiPietro’s notable works include Memphis – which won the 2010 Tony Award for Best Musical, Nice Work If You Can Get It (nominated for 10 Tony Awards), The Toxic Avenger (Outer Critics Circle Award for Best Off-Broadway Musical), Ernest Shackleton Loves Me (Off-Broadway Alliance Award for Best Musical), and I Love You, You’re Perfect, Now Change (the longest-running musical revue in Off-Broadway history). His musical Diana is currently streaming on Netflix and had a special concert performance in the West End.
Rob Alexander-Adams plays Leo and Donald. His theatre credits include Macbeth (Donmar Warehouse/Harold Pinter Theatre), A Mirror (Trafalgar Theatre), Brokeback Mountain (Soho Place), The Caretaker, Love’s Labour’s Lost, Racing Demon, Noises Off (Wolsey Theatre, Ipswich), Alice Adventures in Wonderland (Library Theatre, Manchester) and The Sunset Ship (Young Vic).
Peter Caulfield plays Steve, Brandon and Jack. His theatre credits include To Wong Foo The Musical (Hope Mill Theatre), Tammy Faye (Almeida Theatre), Last Easter (Orange Tree Theatre), Jerusalem (The Watermill Theatre), Jesus Christ Superstar (Regent’s Park Open Air Theatre), A Christmas Carol (The Old Vic), The Lion, The Witch and The Wardrobe (Leeds Playhouse), Cinderella (Lyric Hammersmith), One Man Two Guvnors, Man of Mode (National Theatre), Enron (Noël Coward Theatre), Eric’s (Everyman Liverpool) and The Wild Duck (Donmar Warehouse). His television credits include Banana, Cucumber, Doctor Who, Eastenders and Sherlock; and for film, Great Yarmouth: Provisional Figures, After the End and Strangeways Here We Come.
Benedict Clarke plays John, Kyle and Ryan. His theatre credits include Much Ado About Nothing (Cambridge Arts Theatre) and Mewling and Puking: A New Writing Showcase (Hen and Chickens Theatre). His television credits include Murder in Provence; and for film, Blue Abroad, Ouija Castle, Bob Marley: One Love and Harry Potter and the Deathly Hallows: Part 2.
Sven Ironside plays Marco and Sammy. His theatre credits include Fast Love (Theatre503/Lion & Unicorn Theatre). His television credits include The Stand-Up Sketch Show; and for film, Savage House and Marvin?.
Steven Kunis returns to Waterloo East, having previously directed F**king Men and Afterglow. His other directing credits include Hir (Park Theatre), Straight White Men (Southwark Playhouse), Bright Half Life (King’s Head Theatre) and Rocky Road (Jermyn Street Theatre).
The Girl On The Train is based on the book by Paula Hawkins and the film adaptation by the same name. It follows Rachel Watson who is a recently divorced alcoholic woman, who whilst doing her daily train commute sees a couple from the train window who she watches and becomes obsessed with, naming them Jess and Jason. Rachel subsequently learns that the woman she has named Jess is really called Megan Hipwell and has gone missing. Rachel begins to question her hazy memory of her being in the vicinity of where Megan was found and becomes a suspect in the case.
Having read the book many years ago I was unsure how this could be portrayed on stage, but the production of the play was amazing. The set was very simple and the transition from one scene to another was smooth, and you easily knew when they were going from present to past. Smoke effects and lighting helped to create the mysteriousness of the play. The best part for me was the visual effect of the large rotating cube which Rachel finds herself trapped in. The slow-motion scenes were excellent and brilliantly put together. The success of this play is hugely down to the creation of the scenes and visual effects.
Rachel is played by Giovanna Fletcher who some of you will know was the Queen of the Castle winner of I’m a Celebrity in 2020. She portrayed the character well and you definitely could tell the role she was playing.
DI Gaskill was played by Paul McEwan, although I didn’t feel like the characterisation was quite strong enough and came across to me too familiar with the characters rather than showing police professionalism.
Tom Watson was played by Jason Merrells, Anna Watson by Zena Carswell, Scott Hipwell by Samuel Collings, Megan Hipwell by Natalie Dunne and Kamal Abdic by Daniel Burke all of whom gave good performances.
Even though the play is a thriller and showing a deep story there were still times when there were bits of comedy which gave the audience some laughter and light relief.
The play kept you intrigued and interested and in suspense right to the very end.
Hairspray came to Malvern with a large reputation. Originally an 80’s film, it was adapted for the stage soon after and has never looked back. After tonight I’ve certainly fallen in love with it!
The story involves Tracy Turnblad auditioning to be a dancer on her favourite TV show, only to be turned away cruelly due to her size. She soon befriends fellow school detention recipient Seaweed and discovers that he’s a dancer on a rival show. She gets the idea to dance on that rival show but with her being white and he being black, and the times being what they were, the road won’t be easy…
Katie Brace (as lead Tracy) was superb and joyfully carried the entire production along on a frothy, tuneful tsunami! All the cast were equally magnificent and I do mean all of them! With singing, dancing and playing multiple dramatic roles it’s a spectacle in the true sense of the word. So, what to say, with so much talent on show in all departments and a limited word count? Joanne Clifton (arguably the marquee name) was wonderfully hissable as villain of the piece Velma Von Tussle, but it does come down to a special mention for the big, emotional, numbers which blew the roof off the place.
The first half was superb, the second superber! Neil Hurst (as Edna) and Dermot Canavan (Wilbur), as Tracy’s parents, duet on “You’re Timeless To Me” was the absolute highlight of the evening. With perfect chemistry between the actors and some wonderfully (gently) saucy ad-libbing off script, this song was sheer perfection. Worth coming out for that song alone. Even so, Penny (played by Freya McMahon) was my favourite character – brought to 3d life with gusto and aplomb in (incredibly) her professional debut! If this is anything go by I look forward to seeing her again for many years and in many productions!
“I Know Where I’ve Been” sung by Michelle Ndegwa (Motormouth Maybelle) was another sensational number – this time for the power of it’s message as much as the power of Michelle’s voice. A message we can all get behind. Putting up photos of actual civil rights heroes like Martin Luther King gave added impact to the numbers. The other vital message for our time, acceptance and celebration of ourselves in all our “imperfect ” (in societal eyes) glory; is also worth hammering home time and again.
The songbook (music by Marc Shaiman, lyrics by the same and Scott Wittman) is a shining example of that 60’s jaunty golden era, perfectly capturing that blend of dance-hop-pop and emergence of Motown just as the Beatles were about to level everything in their path. The dancing is to die for, the costumes are amazing… it’s hard to explain just how much fun this show is. It’s like having a fine meal in your favourite restaurant with 3 puddings!
This touring production really pulled out all the stops, did the show full justice and the standing ovation they received was richly deserved. One of the best things I’ve seen (on many levels), I’m now a massive fan and encourage everyone to rush to get several tickets asap.
To celebrate its four Olivier nominations, new British musical THE CURIOUS CASE OF BENJAMIN BUTTON has extended booking at the Ambassadors Theatre until Saturday 30 August 2025, releasing 39,000 new tickets which are on sale now.
Also announced today is a new initiative, Anchor Seats’, where 200 tickets are anchored at £40 for every Thursday evening performance. These tickets are on sale now and can be booked via benjaminbuttonthemusical.com.
THE CURIOUS CASE OF BENJAMIN BUTTON is nominated for four Olivier Awards, including Best New Musical, Outstanding Musical Contribution for Darren Clark for Music Supervision, Orchestrations & Arrangements and Mark Aspinall for Musical Direction, Music Supervision, Orchestrations & Arrangements, Best Actor in a Musical for John Dagleish and Best Actress in a Musical for Clare Foster.
These four nominations make THE CURIOUS CASE OF BENJAMIN BUTTON the most nominated new BRITISH musical at the 2025 Olivier Awards.
THE CURIOUS CASE OF BENJAMIN BUTTON stars previous Olivier Award winner and current Olivier nominee for this role, John Dagleish as Benjamin Button. Two-time Olivier Award nominee, most recently for this role, Clare Foster as Elowen Keene. They star alongside Matthew Burns, Jonathan Charles, Oonagh Cox, Katy Ellis, Anna Fordham, Philippa Hogg, Damien James, Elliot Mackenzie, Ann Marcuson, Emily Panes, Jack Quarton and Benedict Salter.
An electrifying journey through the timeless tale of a love that defies all odds, THE CURIOUS CASE OF BENJAMIN BUTTON is an enchantingly beautiful and truly unordinary musical that reminds us to make every second count. The productionfirst captured hearts in 2019, followed by a sold-out Southwark Playhouserun in 2023 – winning Best Musical Theatre Production at the 2024 Off West End Awards. It was recently nominated for two WhatsOnStage Awards – Best New Musical and Best Musical Direction/Supervision.
With a breathtaking soundtrack brought to life by an extraordinary actor-musician ensemble, F. Scott Fitzgerald’s iconic short story is relocated to a fishing village on the north coast of Cornwall by writing team Jethro Compton and Darren Clark.
THE CURIOUS CASE OF BENJAMIN BUTTON is based on the short story of the same name by F. Scott Fitzgerald, author of The Great Gatsby and The Beautiful and Damned. With Book & Lyrics by Jethro Compton and Music & Lyrics by Darren Clark. It is directed by Jethro Compton who also designs the stage, with co-music supervision, orchestration and arrangements by Mark Aspinall and Darren Clark, choreography by Chi-San Howard, costumes and associate stage design by Anna Kelsey, sound by Luke Swaffield, lighting by Zoe Spurr, musical direction by Mark Aspinall and casting by Ginny Schiller.
It is produced by ATG Productions, Gavin Kalin Productions, Gary Beestone Associates, Eilene Davidson Productions, Susan Edelstein & Teresa Tsai, Umeda Arts Theater, Rupert Gavin & Mallory Factor, Winkler & Smalberg, Thomas Steven Perakos and Jethro Compton Productions.
