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HAMPSTEAD THEATRE SUFFERS A 100% CUT IN ARTS COUNCIL FUNDING 

Hampstead Theatre announced today that, in the light of the 100% cut in its Arts Council grant of £766,455, the theatre will need to change direction and can no longer continue solely as a new writing theatre.  As a consequence, very sadly, Roxana Silbert has decided to step down as Artistic Director. 

Hampstead has long been one of the UK’s foremost new writing theatres, with a 60-year track record of commissioning, developing and producing new plays.  It is tragic that a leading writers’ theatre, having launched so many careers over the years and created work that has been enjoyed across the UK, should be treated in so summary a manner. 

Going forward, Hampstead’s Executive Producer, Greg Ripley-Duggan, will be responsible for the transition to a new model. 

Roxana Silbert said: “Due to financial constraints, which are well documented, and after thorough reflection, it feels appropriate for me to resign my post at Hampstead Theatre. This has not been an easy decision.  Hampstead will have to recalibrate and change in order to go forward and I wish it every success. I’d like to extend heartfelt thanks to all the staff, freelancers, writers and artists – onstage and backstage – for their wonderful contributions to the work on our stages and beyond. And, of course, to our audiences who have made everything worthwhile.” 

Irene Dorner, Chair of Hampstead Theatre, said: “Obviously, we have all been devastated by the cut to Hampstead’s grant, and we will all be very sad to see Roxana go. She has been an inspirational leader for Hampstead and has directed some truly wonderful productions on both our stages.  As part of our new strategy, we trust that she will often be able to return to Hampstead as a visiting director.” 

FULL CAST ANNOUNCED FOR NO LIMITS COMING TO LONDON NEXT YEAR!

●    TIK TOK AND WEST END STAR HANNAH LOWTHER JOINS THE CAST OF NO LIMITS BY SAM THOMAS.

Sam Caldwell He/Him for Paper House Productions is pleased to announce the full cast of No Limits – A Song Cycle by Sam Thomas He/Him.

Directed by Dean Johnson, He/Him, (BKLYN, LIFT), this exciting new production will open in London at the Turbine Theatre on 15^th February 2023. 

Joining Natalie May Paris (SIX The Musical), She/Her, in the role of #DREAMER will be, Owen Clayton (Julie: The Musical and It’s In The Air), They/He, as #ROMANTIC, Hannah Lowther (Heathers The Musical, Millennials, Emojiland), She/Her, as #CATFISH, Michael Mather (Soho Cinders and But I’m a Cheerleader), He/Him as #FIGHTER, Mary Moore (Grease and Little Women) She/They, #FUNEMPLOYED, Saffi Needham (Recently graduated and making her professional debut),  She/Her as SWING.

West End and Tik Tok star Hannah Lower said She/Her said “I’m so excited to be joining the original London cast of No Limits, the team have been working so hard and we’re all so excited to finally share the show with an audience!”

Producer, Sam Caldwell He/Him said, “I am delighted to reveal the cast for our upcoming production of No Limits – A Song Cycle at the Turbine Theatre. I can’t wait to see this talent take to the stage and bring a fresh take to this wonderful material in this brand new, exciting production. This show has been a long time coming and I am looking forward to seeing how audiences connect with it in February.”

Joining Director Dean Johnson, He/Him, is Musical Director Ella Ingram She/Her, Associate Director Liv Byrom She/Her, Choreographer Rhys Wilkinson He/Him. No Limits – A Song Cycle also has set design by Justin Williams He/Him, lighting design by Alex Musgrave and stage management by Jack Evans He/Him.

No Limits – A Song Cycle deconstructs the concept of falling behind in life. It follows a diverse cast of characters from all walks of life as they dare to believe in themselves and strive for a brighter future.

This powerful collection of songs sees characters let go of their anxieties, take leaps of faith, and fight for who they truly are, from confessing their dreams of becoming a rockstar to catfishing their attractive neighbour.

No Limits – A Song Cycle features heartfelt and queer stories. This brand-new production emphasises that we are all in the same boat, and that with enough self-belief, we can always overcome our setbacks. There truly are No Limits to your journey.

Tickets for No Limits at the Turbine Theatre are on sale now

Aylesbury Waterside Theatre – until 2 January 2023

Reviewed by Sue Portman

4.5****

Let’s be honest, you cannot really go wrong with a good old traditional Panto, and you simply shouldn’t be there if you don’t think this way.

Aladdin is one of the favourites on the Christmas circuit, and the Waterside Theatre in Aylesbury pulled out the stops for an extravaganza par-excellence.

So, what do we all want from a Panto? Plenty of colour, innuendo, gags and laughs. We demand a flamboyant dame, improbable costumes, a baddie to boo every time they appear on stage and some great music and stage props to boot. Did I forget the cast and crew? The good news is, this production has it all. Aladdin has been presented in so many ways over the decades – is there a new way to present this classic? Well, clearly yes there is.
Here is the official advertising…

We are delighted to announce that the devilishly good Davood Ghadami (EastEnders, Casualty, Holby City, Strictly Come Dancing) will be joining us as the evil Abanazar in Aladdin this Christmas!

Starring alongside the hilarious Andy Collins (BBC 3 Counties Breakfast Show) as Wishee Washee and the fabulous La Voix (Britain’s Got Talent, Queen of the Universe) as Widow Twankey, this is going to be a carpet ride to remember!

Expect fun by the lamp-load, stunning costumes, sensational song and dance numbers, and an adventure full of memories to treasure.

Rub the magic lamp and book your tickets now if you haven’t already!

The first half of the show began with Jenny O’leary (Spirit of the ring) singing so impressively that I wondered if this could be bettered by anyone else. In my view, it wasn’t, but fine vocal performances from the likes of La Voix and Andy Collins were also very impressive.

The storyline of course is that the poor commoner Aladdin falls in love with Princess Jasmine and has to navigate his way to her. Her father the Emperor (played proficiently by Vas Constanti) and the evil magician Abanazar (Davood Ghadami) wish to prevent their marriage. The Emperor wants someone with a better social standing for his daughter and Abanazar rather fancies her for himself – the villain! Aladdin, played with gusto by Kian Zomorodian was energetic and professional in his craft, but I would like to have seen him come to the fore a little more as the main character. In a way I felt the same of Melanie Elizabeth, ably playing the Princess Jasmine but it must be nigh on impossible to outshine the likes of Collins and La Voix.

Whilst all of the cast were excellent, for me the performances of Andy Collins (Wishee Washee) and La Voix as Widow Twankey were the most impressive. In this confusing technological age, it was amazing to witness how a simple scene with two people and a few balloons could produce raucous laughter from the audience. The choreography set to classical music was hugely memorable and a brilliant concept.

I felt that these two had the best rapport with the audience, but in fairness this was probably due to the roles that they played. La Voix was absolutely brilliant and knew how to squeeze every last drop from the enthralled onlookers, with prepared lines and ad-libs alike. And what of the audience? The Waterside was packed, stuffed to the gunnels as it was with children and adults. True, some of the innuendo was very close to the bone for youngsters but Panto is Panto and it caters for everyone. That’s what makes it work.

The youngsters in the ensemble gave their all and never let anyone down – credit to their passion and hard work in rehearsing for this memorable production.

I must mention the other aspects of Panto – the interaction with the audience. I was belly laughing at the water pistol fights as ‘Wishee Washee’ duked it out with the audience and he got as good as he gave when he waded into the gleeful and expectant crowd.

Then there was a gorgeous moment towards the end when he pulled four young lads out to help sing ‘Old Macdonald had a Farm’ and they made various animal noises. I have not laughed so much for ages. Those kids stole our hearts and Collins was a master at getting the best out of them.

The music was perfect for the scenes, and indeed the songs were contemporary and older in number. The stage props, costumes, and scene changes were excellent and the lighting created the necessary atmosphere in the theatre. Credit must be extended to the director and technical staff for that.

We have all endured some tough years what with Covid-19 and lockdowns, as well as the current recession and cost of living crisis. There have been many times when we all needed to laugh, to forget our troubles. If we could have rubbed a lamp, summoned a genie and simply disappeared on our own magic carpet to another place, we would have. Well for one night, you can. You cannot go wrong with Panto; it is a colourful, happy medicine in a sometimes ailing world.

I implore you to go and see it for yourself. Ticket prices are very reasonable and you (and the kids) will be guaranteed a laugh, to kickstart your Christmas.

Arts Theatre, London – 4 December touring until April 2023

Reviewed by Claire Roderick

4****

The fabulous Queenz tour came to London on their UK tour and blew the roof off the Arts Theatre. The five drag Queenz are fierce and funny, with vocals to die for. The show’s biggest selling point is that the Queenz amazing vocals are live, with incredible versions of uplifting anthems.

The five Queenz Belle DuBall (Ben Sell), Dia Monte (Jaymi Hensley), Billie Eyelash (Luke Hall), Candy Caned (Josh Hanson) and ZeZe Van Cartier (Lew Ray) have beautiful voices and share some great schtick in the first sections, with faux battles for the spotlight as they belt out songs by Whitney, Cher and Tina Turner. Their Spice Girls medley has the audience on their feet and the party atmosphere is intoxicating.

Dia Monte takes care of most of the audience interaction, roasting willing victims with glee so that it’s hard to tell who’s enjoying it more. Each Queen gets her big solo in the latter part of the show, getting the chance to showcase their vocals and individual style. The wonderfully poignant finale begins with a gorgeous version of True Colours (with a proper boyband style key change as they abandon their stools) in a heartfelt message of tolerance, solidarity and love for the LGBTQ+ community. After such emotion, the night has to end with another joyous medley of hits from the Queenz that leaves the audience screaming for more and dancing out of the theatre as they wait for a photo with the Queenz.

This sequinned spectacular is one hell of a night out – grab your glow sticks and have a ball.

For tour dates and venues check queenztheshow.com

Kings Theatre Portsmouth- until 31 December 2022.

Reviewed by Lorna Hancock

4****

It was such a pleasure to have the opportunity to review this years ‘Pompey Panto’ at the stunning Kings Theatre. When I got this chance, I thought who better to assist me with their opinions on this ‘family panto’ than my 9- and 11-year-old daughters, and they were thoroughly excited and more than willing to help. From the moment we entered the foyer, the decoration filling the beautiful Grade II listed proscenium arch theatre made it immediately apparent we were in for a magical evening. 

Directed by Will Kenning with an original script by Paul Henry, adapted by Jack Edwards and Paul Woolf. The Kings pride themselves on their ‘local’ panto, from their regional jokes to this years ‘Search for Cinders’ campaign trawling the community for local talent to take the title role. This is the 88th pantomime produced at the theatre, so there is no doubt they are experts in the genre.

The show begins with a bang, as extremely talented Jack Edwards appears on stage as the Fairy Godmother, Fairy Twinkletoes. The self-acclaimed ‘fat man in a dress’ with his witty quips and silly humour, he quickly set the tone of the evening and had the audience laughing out loud, especially with his attempt at flirting with a poor unsuspecting dad in the front row.

The show quickly moves on to introduce the other characters, with an impressive vocal entrance from Michelle Antrobus as Cinderella, to Queen’s ‘Don’t Stop Me Now’ surrounded by the casts gifted dancers. It was lovely to see the children back on stage dancing again showcasing more local talent, after having to stop due to the pandemic. Unfortunately, there was a small technical issue, causing the show to halt briefly, however the cast dealt with it very well making light of the matter, and the audience didn’t seem to mind. If anything, it added to the natural chaos of pantomime.

Lovestruck Buttons was magnificently played by Joe Rowntree, his comical expressions and impersonations were hilarious. We absolutely loved his comical sleigh sketch, and along with Fairy Twinkletoes his ‘wheelbarrow of pun’ was one of my 9-year-olds highlights.

Julia Worsley and Harry Howle are perfectly boo-able as Cinderella’s stepsisters Polyfilla and Nutella, with their frightfully fabulous outfits. As a contrast the charming camaraderie between Prince Charming (Grant Urquhart) and Dandini (Phats and Small’s Ben Ofoedu) was delightful to watch. After much refusal we were even treated to a live performance of Ofoedu’s debut single ‘Turn Around’.

There is so much I could say about this dazzling performance I couldn’t possibly fit it all in, so I’ll move on to a few of our highlights. The flying carriage scene, along with snow and sparkly dancers, accompanied by the powerful vocals of Edwards singing ‘Pure Imagination‘ from one of the boxes, was absolutely spectacular and magical to watch. We also completely loved Ofoedu’s ‘Boom! Shake the Room’, with Rowntree leading the dancers with attitude in their wild party scene at the ball. 

As the 2nd act draws towards the end, hearing the instrumental intro to the King’s trademark panto song; their own version of the ‘Twelve Days or Christmas’, I looked at my children and saw the elation on their faces knowing that the bit they had been waiting for was about to begin… Soon toilet rolls were flying, the entire audience was singing and clapping along whilst getting ‘lightly’ splattered by water pistols, to adapted lyrics I’m sure I’ll be hearing at home long into the new year.

Packed with all of the pantomime ingredients you would expect, it was a thoroughly fantastic evening…. “Oh yes it was”.

Everyman Theatre, Cheltenham – until 8th January 2023

Reviewed by Josie Armand Smith

4****

Dick Whittington is a Gloucestershire hero. Join him and his feline sidekick Tweedy on their journey to London and beyond.

There are all of the Everyman favourites; including Sam Holmes as Fairy Bow Bells, Kevin Brewis as Sarah The Cook, who has the most fabulous costumes. Phoebe Samuel-Gray as Alice Fitzwarren. The Queen Rat is played by Lara Denning who has a suburb voice. Then of course there is Tweedy who is Gloucestershires favourite clown who delivered laugh after laugh. He even brings along Keef whose role gets bigger and bigger…

There are many clever puns. Lots of jokes the children laughed at and many more that the adults laughed at (that thankfully went over the heads of the children!). This was a hugely enjoyable and laugh out loud pantomime.

So what do Bea (aged 10) and Emmie (7) say about the performance:
“It was excellent. We really enjoyed it. The part where Tweedy did the mouthing with the singing, telling the story of his date, was so funny. Me and my sister loved it. The singing and dancing was incredible. Some of the actors laughed at the jokes other actors said. The audience participation was fab. It is a must watch panto”

Tickets are selling fast but there are still some available. There are also these special performances:
AUDIO DESCRIPTION: Friday 16th December at 2pm
BRITISH SIGN LANGUAGE INTERPRETED PERFORMANCE: Monday 2nd January at 2pm
RELAXED PERFORMANCES: Wednesday 4th January at 10.30am and 4.30pm.

Reading Rep Theatre – until 31 December 2023

Reviewed by Joanna Huggett 

5***** 

My friend and I went to see the show to kick off Christmas. The production made excellent use of the small space and the use of the moving set as props was very clever. The costumes were simple but effective, they needed to be given that there are only 5 cast members in the first half and 6 in the second. They were all on stage for most of the show which left very little time for costume changes! 

Each cast member gave their all and was excellent throughout, I really couldn’t pick a stand out member.  The lighting and sound were used to great effect.  The theatre seats weren’t the most comfortable but the warm welcome from everyone at front of house made up for that. 

In terms of performances, they really were all great. Jeremy Drakes transformed himself from the mean, imposing Scrooge at the beginning of the show through being scared by what he saw to the happy and kind character at the end. Charlie Warner as his long suffering assistant Bobbie Cratchit was both strong in standing up to him in places and vulnerable when being Tiny T’s worried mother. Nathalie Codsi as Belle showed Scrooge what his life could have been had he made different choices but their connection never left and was clear to see. Elijah Ferreira as Fred and Rick Romero as Hopkins both brought expertly timed humour to the production as well as drama. The young actress who played Tiny T has a bright stage future. She already has stage presence at a young age and that will only develop further with productions like this. 

The story line was unchanged from the original but setting it in Reading at Huntley and Palmers biscuit factory was a stroke of genius. We really enjoyed the references to Reading Gaol and the local areas. It felt like the performance whizzed by and before we knew it it was over. We thoroughly enjoyed our night out and now Christmas has officially started.

21 YEARS SINCE IT ALL BEGAN,

THE WORLD’S FAVOURITE ROCK THEATRICAL

RETURNS HOME TO LONDON’S WEST END

2 JUNE – 27 AUGUST 2023 AT THE LONDON COLISEUM

TICKETS ON SALE FROM 10AM ON 6 DECEMBER AT

WEWILLROCKYOULONDON.CO.UK

21 years after it first exploded into the West End, Queen and Ben Elton’s sensational smash hit show ‘We Will Rock You’ returns to London next year for an historic, strictly limited 12-week residency at the London Coliseum – the same iconic stage which saw Freddie Mercury’s Royal Ballet gala performance in 1979.

Featuring 24 of Queen’s greatest hits and a hilarious script by Ben Elton – who returns to the director’s chair for this London homecoming – ‘We Will Rock You’ rivals the scale and spectacle of the band’s legendary live performances. Queen superstars Brian May and Roger Taylor are delighted that the show will soon be wowing London fans once again.

Brian May said: “I’m thrilled we finally have this opportunity to put We Will Rock You back on stage in London, where it was born. The show’s original message of the fight to re-establish individuality in a dystopian corporate world is even more relevant now than when we began. It will be a completely new production that will burst on to the prestigious London Coliseum stage – but the story, the humour, and of course the Queen music, will hit you harder than ever. We WILL Rock You – again!!”

Roger Taylor said: “Bigger, better, faster, funnier! Here we go again… yeaaaaaaaah!”

Ben Elton said: “I hope somebody’s squared this with English Heritage because the fabulous London Coliseum is a Grade II listed theatre and We Will Rock You is gonna blow the roof off.”

First premiering at London’s Dominion Theatre in 2002, ‘We Will Rock You’ was seen by six million people over 4600 performances during an astonishing 12-year run, becoming one of the most successful musicals in West End history and the longest runner at the Dominion by a margin of nine years. It also found unprecedented popularity around the world, playing to a global audience of 20 million across 28 countries.

‘We Will Rock You’ tells the story of a globalized future without musical instruments. A handful of rock rebels, the Bohemians, fight against the all-powerful Globalsoft company and its boss, the Killer Queen; they fight for freedom, individuality and the rebirth of the age of rock. Scaramouche and Galileo, two young outsiders, cannot come to terms with the bleak conformist reality. They join the Bohemians and embark on the search to find the unlimited power of freedom, love and rock!

‘We Will Rock You’ is produced by Phil McIntyre Live Ltd, Queen Theatrical Productions and Tribeca Theatrical Productions.

Website: wewillrockyoulondon.co.uk

Twitter: @WWRYMusical

Instagram: @WWRYMusical

“Magnifico!”

The Sun

“One of the best shows I’ve seen in yonks. An evening of sheer entertainment and enjoyment”

Daily Mirror

“The sheer power of the best Queen numbers strikes hard”

Financial Times

“There was wild applause at the climax of the show…and it only got louder”

Daily Telegraph

“Spectacular”

Daily Express

Theatre Royal Concert Hall Nottingham – until Sunday 8 January 2023

Reviewed by Amarjeet Singh

4****

A pantomime is a traditional fairy tale complete with songs, dances, jokes, exaggerated characters and lots of audience participation. This production of Snow White and the Seven Dwarfs delivers spectacularly on all counts. With a stellar cast bringing the Brothers Grimm story to life, its comedy, costumes and capers were in abundance. With a twist on the traditional tale, you are kept guessing and not allowed to collapse into complacency, only fits of laughter with the never-ending gags.

There was a truly magical mirror, a taxi, a flying car, seven dwarfs, a motorised toilet, a prince, a princess, an evil queen, Muddles and his Dame of a mother, a fair bit of corpsing, and did I mention a lot of laughter? The costumes were stunning, the sets were sublime, and the musical numbers were spectacular. Standouts were a Lizzo remix alongside some of the traditional Disney Snow White songs, and then there was the mother of all endings to any show I have ever been to (calling all Steps fans!)

Joe Pasquale who played Muddles, was absolutely phenomenal. He truly embodied Panto being controlled mayhem. He served the show, but threw the script out of the window at the same time and adlibbed like a pro, sending his co-stars in to fits of laughter which added to the audiences enjoyment.

Steps singer and West End performer Faye Tozer played the wicked Queen Lucretia to perfection. Funny, engaging and at times a little evil, her vocals were on point.

Playing the dame was David Robbins. His portrayal of Mrs Nelly Nightnurse was a delight. He had more costume changes then we have had cabinet shuffles. Elaborate, garish, horrific at times but so, so amazing and they all added to the mirth of the show.

Jamal Kane Crawford who played the Prince, Lucy Ireland who played Snow White, and Natalia Brown who played the Spirit of Pantomime were fantastic and held their own against the ‘Stars’, and they, alongside the ensemble cast ensured every song and dance performance was executed to perfection.

What kind of a review would this be if I didn’t mention the magnificent 7. The dwarves, played by Simeon Dyer, Karen Anderson, Willie Coppen, Blake Lisle, Andrew Martin, Katarzyna Męczyńska and Alireza Sarebani were brilliant. Their singing, dancing and overall performance brought the show to life.

This performance loses a star because there were no warnings about the flashing lights during the performance for those who have photo sensitivity. Also, there was an excessive amount of smoke coming from the stage at some points which caused audience members to cough.

Other than that, this production of Snow White and The Seven Dwarfs is a rip-roaring romp which will have you rolling in the aisles. Could this be the best pantomime you will ever see, other panto’s might not agree, but repeat after me ‘Oh Yes It Is’!

Newcastle Theatre Royal – until January 15th 2023

Reviewed by Stee Leahy

4****

It’s panto time! My absolute favourite time of the year and what better way to start off panto season 2022 than with this cracker, the Fairy Godmother’s…. Sorry, I mean the Fairy Godfather’s of all pantomimes, the most magical of them all, Cinderella. 

This show started with an absolute bang, in every sense of the word. We were welcomed to the story by an ensemble of fairies, dressed in wonderful costumes and performing perfectly executed choreography led by the Fairy Godfather himself, the show stopping Joe McElderry. Surrounded by glittering sets, Joe’s voice serenaded and entertained every single audience member from the moment he began to sing. 

It was wonderful to see Joe back at the theatre royal for his 2nd year, a tradition I hope continues for many years to come. Joe is possibly one of the most likeable performers I’ve ever seen on the stage. He comes across incredibly well. His charm, whit and charisma make a perfect fit for pantomime, not to mention his perfectly crisp and utterly enthralling vocals are hard to beat. I’d love nothing more than for Joe to become a permanent fixture at the Theatre Royal’s pantomime, along with Danny Adams, Clive Webb and Chris Hayward. 

Speaking of Danny Adams, what is there to say about this incredible performer. From the moment he arrived in his father’s (Clive Webb) pumpkin truck, he had the audience eating out of the palm of his hands. Adams plays Buttons, the lovable, yet very silly sidekick to the leading lady herself – Cinderella, played perfectly by the beautiful Oonagh Cox. 

Britains Got Talent’s ‘Flawless’ were a great addition to this already stellar cast, providing hip hop routines as the Prince Charming’s palace guards. 

Mick Potts was hilarious as usual, playing Dandini, the royal advisor. With nothing more than his physicality and facial expressions, he had the audience in stitches. 

Watching Danny and his father Clive perform together on stage is wonderful. There’s something magically captivating about their relationship, there is no wonder that this is the pairs 17th pantomime at the Theatre royal. I can’t wait to watch Pinocchio next year. 

The Theatre’s resident dame, Chris Hayward took and delivered the role of the wicked Stepmother with conviction and flamboyance. A true pro. 

The set was an absolute spectacle, sparkling from start to finish with glitter and delicate artworks. 

The special effects were like something I’ve never seen before, in particular, Joe McElderry’s Fairy Godfather’s magical painting, literally painting on Cinderella’s ballgown before our very eyes. 

I would definitely recommend Newcastle Theatre Royals ‘Cinderella’, truly one of the most magical story’s ever told.