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Arcola Theatre, London – until 15 July 2023

Reviewed by Alun Hood

4****

The ongoing mania in theatre to make everything shorter – hence a 2 hour interval-free Romeo And Juliet at the Almeida, Tom Stoppard’s sprawling masterpiece Leopoldstadt returning as a (still powerful) one act drama post-pandemic and recently picking up the Tony Award for Best Broadway Play – means that occasionally a play can feel too brief to really flesh out the challenges it sets for itself. A case in point is Sasha Hails’s ambitious new piece Possession, which is so close to being a really great play but doesn’t give itself enough time and space to explore the fascinating and multitudinous issues it throws up. The list of trigger warnings almost feels longer than the second act of Oscar Pearce’s production.

I’m exaggerating of course, but there is a frustrating sense here of wonderfully rich seams of theme and story being sped up or under-explored just to bring the whole thing in at less than two hours total playing time. Hails’s characters are so engaging, her dialogue so real and riveting, that I could happily have spent up to another hour in their company.

According to a note in the published text, the play was borne from a sense of guilt the writer felt about wanting to continue to work after having a baby, and a further realisation that this was less a personal issue than a societal one. That alone is the basis of meaty drama but Hails goes further…much further. The play centres on four mothers: Kasamabayi, a Congolese immigrant who gives birth to her daughter Hope, who in turn becomes a mother before finishing school, on a London Transport bus, foreign correspondent Alice who is juggling single motherhood with a career on the most dangerous fringes of journalism, and another (non-fictional) Alice, the missionary Alice Seeley Harris, forced to leave her own children at boarding school in England at the beginning of the twentieth century while she and her husband worked in Congo, and whose photographic records of the atrocities and traumas inflicted on the native people by the colonising Belgian King Leopold form one of the earliest examples of a human rights campaign.

The play makes the intelligent equation between the rubber plantations where disobedient Congolese workers were randomly murdered or mutilated under the Belgians, and the present day cobalt mines in the region, where the rush for the blood mineral used in the manufacture of the phones, laptops and so on that keep the western world running, results in heinous human rights abuses to which big corporations seem happy to turn a blind eye. “We feed the world while we go hungry” cries justifiably angry Kinshasa-based young journalist David (Nedum Okoniya, playing multiple roles in a blazingly impressive professional debut). There is a rich and bitter irony in having modern day Alice (a devastatingly powerful Dorothea Myer-Bennett) deliver an impassioned to-camera speech about the injustice and accountability of the situation only to be interrupted by the sound of her own mobile going off.

The play goes on to consider rape as a method of weaponry in war, the legacy of human behaviour down the ages, collective responsibility, the potential conflict between religion and living an authentic life …it’s all here, and it’s vital, important stuff. It’s just too much for one short play to bear. I feel like Possession needs to go big, or go on the screen. Personally I could have lived without the soap operatic almost-romance between the two war zone journalists. Although beautifully played by Myer-Bennett and Milo Twomey, it adds little to the play as a whole and feels incongruous. Similarly, the sections where one of the characters, now dead, pontificates on the nature of life and living feel strangely undernourished yet overwritten.

Hails’s script switches between present day and nineteenth century Congo and London, and between the earthly plane and a higher one, with a refreshing boldness, matched by Pearce’s confident, dynamic direction, that feels part filmic and part ritual. The almost wordless opening section, which sees a distressed, displaced Kasambayi (Sarah Amankwah, utterly brilliant) going into labour atop a bus at Victoria while a kaleidoscope of London lives rushes around her, is a brilliant piece of staging (movement director: Tian Brown-Sampson), and the simple but striking set (by Sarah Beaton) of saffron coloured sheets (useful as screens for some unsettling examples of Alice Seeley Harris’s actual photographs) suspended over terra cotta coloured earth gives a credible impression of both heat and other-worldliness.

The cast are all superb, but it’s the women that get the greater opportunities to shine. Diany Samba-Bandza projects an innate niceness as well as a sense of frustrated wonder as the pivotal Hope, and also doubles exquisitely as Mercy, the child who tears apart many of Seeley Harris’s beliefs and preconceptions with that matter-of-fact carelessness kids can have. Ms Samba-Bandza looks like a star waiting to happen. Amankwah is so convincing as the fierce yet resigned, and ultimately totally admirable, Kasambayi, that it barely feels like acting. Myer-Bennett is equally astonishing, giving each Alice a rich inner life, and she movingly conveys the conflicts between being a mother and a relevant citizen in the world. The showdown (actually more of a walk-over) scene between Amankwah’s Kasambayi and Myer-Bennett’s modern Alice is quite something to witness.

Given the immensity of the drama and the themes, it’s surprising perhaps how much humour Hails has managed to weave into this already intricate tapestry. It’s a very welcome addition. All in all, a play this ambitious is unlikely to be without its flaws and purple patches, but it’s an impressive achievement, and gives audiences much to think about after. I just wanted more of it!

Almeida Theatre – until 29 July 2023

Reviewed by Claire Roderick

5*****

Rebecca Frecknall’s magic touch continues to find fresh wonder in classic plays. Her production of Romeo and Juliet is a feast for the eyes, ears and soul. The 2-hour running time with no interval may sound daunting, but the time flies past as the story of the young lovers builds to its tragic conclusion.

The prologue is not spoken, instead projected onto a sandy wall that the cast pushes over to become their stage and the action starting with a fight between the warring factions. Frecknall includes the glorious Prokofiev ballet music throughout, with extraordinarily moving and detailed choreography that enhances the idea of the characters as puppets without resistance or agency trapped in the unending cycle of violence and vengeance in Verona.

Shakespeare’s beautiful text is delivered naturally and fiercely by the younger cast, with the older generation appearing less hot-headed but the hatred seeping through each generation onstage. A world-weary Friar Lawrence (Paul Higgins – magnificent) and Nurse (Jo McInnes – wonderfully exasperating and emotional) become more of a focus in this production with their well-meaning but deadly plans for Romeo and Juliet. The adaptation is masterful, with the cuts made enabling the plot to feel like an unstoppable plummet towards doom. This Romeo and this Juliet are both modern and completely timeless.

The characters sometimes freeze in their dance poses or fall to the floor as a scene takes place around them. Characters also sit watching at the side of the stage or wander across stage during a scene, creating a dreamlike, but still urgent atmosphere. Isis Hainsworth is heart-breaking as Juliet in a spellbinding performance. A true teenager, shouting and railing against her lot. This fierce and furious outlook dissolves into a lost and lonely child as she sits silently between scenes, and her grabbing her chance of love and joy with Romeo has never been more understandable. Toheeb Jimoh’s Romeo is sweet and funny, a decent, loyal lad being pulled inextricably into the gang warfare and ruining his life with one act of fatal violence. Jimoh impresses with a finely nuanced performance.

Jamie Ballard’s manages to be vile and pathetic at the same time – his Capulet is the poster boy for fragile-egoed alpha males, monstrous and vicious to his child when she dares to defy him and his reputation is in danger. Jack Riddiford’s fantastic Mercutio is suitably mercurial, with impish charm and fatalistic mockery in every word and gesture.

One of the best plays you will see this year, Romeo and Juliet is fresh, smart and moving with a breathtakingly moving climax that will haunt you. The must see show of the summer.

Gielgud Theatre – booking until 2 September 2023

5*****

Reviewed by Claire Roderick

Another brilliant transfer from the National Theatre, The Crucible is as relevant and thought provoking as ever. Director Lyndsey Turner evokes the claustrophobic, isolated atmosphere of Salem on Es Devlin’s imposingly stark set with its rain curtain, and Tim Lurkin’s lighting design ominously marking the passing of time.

The Salem witch trials are ingrained in American history. The accusations of witchcraft and testimonies of a group of young girls saw 19 people hanged and many others imprisoned and the mood of paranoia and truth twisting was raw when Arthur Miller wrote the play surrounded by the damage done by McCarthy’s Anti-Communist campaign.

Miller frames the origins of the girls’ accusations around the jealous longings of a young girl spurned by her married employer, but the adults seize on the idea of witchcraft and soon petty rivalries and feuds become the driving force, with the girls merely a haunting silent presence at the back of the stage. In this production, it is very clear that the children have become handy instruments in the persecution of anyone not conforming to the Salem elders’ standards. The court scenes are wonders of cyclical thinking as Deputy Governor Danforth (Matthew Marsh) and the court officers issue warrants for anyone speaking out against the trials, as they must surely be against God.

The actors playing the girls are a wonderful ensemble, childlike and side-lined individually, but spellbinding and eerily powerful as a group. Milly Allcock is a sympathetic Abigail Williams, old enough to love John Proctor, but still a child emotionally and relishing her newfound voice and power. Allcock stands statue-like, used to being ignored, as Abigail listens to the men, and her sudden physicality when under stress or “enchantment” is marvellously affecting. Brian Gleeson is wonderfully tortured as John Proctor, the guilt of his affair with Abigail hanging over his head in every interaction with his wife (Caitlin FitzGerald). The pivotal confession of his sin with Abigail and the “my name” scenes are gut wrenching as Gleeson physically unravels onstage in a magnetic performance. Tilly Tremayne, Colin Haigh and Karl Johnson are delightful as the older townspeople caught up in the witch trials, providing much of the humour and common sense in the play. Fisayo Akinade also impresses with his finely nuanced performance as Reverend John Hale, dedicated and sure of his cause when he first comes to Salem, but a broken man as he realises what he has helped put in motion.

Powerful and urgent, The Crucible is a sublime production.

Theatre Royal, Windsor – until 22 July 2023

Reviewed by Joanna Huggett

5*****

We had the pleasure of watching ‘Frank and Percy’, written by Ben Weatherill, at the
Theatre Royal Windsor, a comedy about friendships, relationships, reflection,
confrontation, and everywhere in between.

Whilst out walking their dogs, Frank, played by Roger Allam, a widower and straight
Yorkshire man, dry and passive, chances upon Percy, played by Ian McKellen, proudly gay,
very much provocative and full of conflict. Frank’s dog Toffee, a Spaniel, and Percy’s dog
Bruno, a Labrador (previously known as David), feature in the dialogue and support the
comedy seamlessly.

The play rotates wonderfully between the park, a restaurant, Percy’s flat, and a GP
surgery – and back again – using the same stage and a mixture of backdrops and lighting
changes.

Throughout their many dog-walking meets, we learn that Frank is not as straight as we
originally thought, and Percy is not as confrontational as he tries to behave, while the two
reflect on the past and deal with the present, a romance begins to develop.

McKellen provides the comedy and extravagant LBGTQ representation while Allam is dry
and deadpan. A couple portraying such a wide contrast of opinions, backgrounds and
perspectives, you could not imagine any common ground between them, but they are so
much more alike than we could ever imagine.

A superb duo, exemplary acting, and an altogether enjoyable evening out in Windsor, go
see it you will love it, but leave Fido at home.

Tour dates announced for Hope Mill Theatre’s new production of punk rock musical LIZZIE

• Show premieres in Manchester from Friday 1^st to Saturday 30^th September 2023 before selected Autumn/Winter regional dates

• Includes Off West End run at Southwark Playhouse Elephant from Thursday 26^th October to Saturday 2^nd December

• Lauren Drew, Maiya Quansah-Breed, Shekinah McFarlane & Mairi Barclay to star alongside just announced covers Ayesha Patel and Emma Louise Hoey

Tour dates have been announced for Hope Mill Theatre’s eagerly-anticipated new production of the punk rock musical LIZZIE, whichwill premiere in Manchester this September before touring.

LIZZIE explores the life of Lizzie Borden, who was accused of murdering her father and stepmother with an axe in the late summer of 1892.

The punk rock musical, which premiered in New York in 2009, delves into Lizzie’s complex psyche and speculates on the motivations she may have had: loss of inheritance, history of sexual abuse, oppression, and madness. Lizzie, along with her older sister Emma, maid Bridget, and neighbour Alice, bring to life the infamous story supported on stage by an all-female band.

LIZZIE will be directed and choreographed by Hope Mill Theatre co-founder William Whelton, and has music by Steven Cheslik-DeMeyer and Alan Stevens Hewitt, lyrics by Steven Cheslik-DeMeyer and Tim Maner and a book by Tim Maner.

The show will premiere at Hope Mill Theatre from Friday 1^st to Saturday 30^th September before touring to Dukes Lancaster from Thursday 5^th to Sunday 8^th October, Junction Goole from Thursday 12^th to Saturday 14^th October, Trinity Arts Centre from Tuesday 17^th to Saturday 21^st October and New Theatre Peterborough from Wednesday 6^th to Saturday 16^th December.

Lizzie will also have an Off West run at Southwark Playhouse Elephant from Thursday 26^th October to Saturday 2^nd December

Lauren Drew (SIX, Legally Blonde, The Voice) will play Lizzie, Maiya Quansah-Breed (SIX, Rent)is Alice, Shekinah McFarlane (SIX, Parade, The Voice) will play Emma, and Mairi Barclay (Pippin, Mother Goose) will take the role of Bridget. Joining the cast is Ayesha Patel (Broken Wings) as cover Bridget and Emma, and Emma Louise Hoey (Club Mex) as cover Lizzie and Alice.

LIZZIE will perform at West End Live on Saturday 17^th June.

Lizzie is Rage! Sex! Betrayal! Bloody Murder!

LIZZIE has swung her axe in over 60 cities, in 6 countries, in 5 languages, across 4 continents and has been honoured with dozens of awards including 8 Best Musical Awards! (and she’s still swinging…)

Produced by Hope Mill Theatre, Director/Choreographer William Whelton, Set and Lighting Design Andrew Exeter, Musical Supervision Katy Richardson, Associate Choreographer Yandass Ndlovu. Video Design Dan Light, Musical Direction Honor Halford-Macleod, Costume Design Rachel Tansey, Sound Design Adam Fisher and Casting by Pearson Casting CDG CDA CSA.

Music by Steven Cheslik-DeMeyer and Alan Stevens Hewitt

Lyrics by Steven Cheslik-DeMeyer and Tim Maner

Book by Tim Maner

Additional Music by Tim Maner

Additional Lyrics by Alan Stevens Hewitt

Based on an original concept by Steven Cheslik-DeMeyer and Tim Maner

Orchestrations by Alan Stevens Hewit

LIZZIE is presented by special arrangement with Broadway Licensing, LLC. (www.broadwaylicensing.com).

LISTINGS

Hope Mill Theatre Manchester

Tuesday 1^st to Saturday 30^th September 2023

Dukes Lancaster

Thursday 5^th to Sunday 8^th October

https://dukeslancaster.org/whats-on

Junction Goole

Thursday 12^th to Saturday 14^th October

Trinity Arts Centre, Gainsborough

Tuesday 17^th to Saturday 21^st October

https://trinityarts.co.uk/whats-on/

Southwark Playhouse (Elephant)

Thursday 26^th October to Saturday 2^nd December

New Theatre Peterborough

Wednesday 6^th to Saturday 16^th December

KARIS ANDERSON & ELESHA PAUL MOSES TO PLAY TINA TUNER

OKEZIE MORRO TO PLAY IKE TURNER IN

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

FROM WEDNESDAY 28 JUNE 2023

The hit West End production TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and was produced in association with Tina Turner herself, announces new cast members joining the musical, which has been running in the West End for 5 years. TINA – THE TINA TURNER MUSICAL is a global success with 8 productions having opened worldwide since 2018.

Karis Anderson, who is currently in the ensemble, will share the role of Tina with Elesha Paul Moses who continues in the role. Okezie Morro will join the show to play Ike Turner.

Mark Anderson joins to play Record Producer Phil Spector and Lyricist Terry Britten, Jonathan Carlton will play record company Marketing Manager Erwin Bach, current ensemble member Vanessa Dumatey will playTina’s sister Alline Bullock, Irene Myrtle Forrester continues as Tina’s Grandmother, Earl Gregory joins to play Tina’s father Richard Bullock, Harry Harrington joinsas Tina’s Manager Roger Davies, Emma Hatton joins to play Ike and Tina’s manager Rhonda Graam, Jarius McClanahan joinsas Tina’s first love Raymond Hill and Carole Stennett joins to play Tina’s mother Zelma

Ensemble members are Lauren Allan as Toni, Turrell Barrett-Wallace who continues to play Tina’s son Ronnie, Joey James who continues to play Tina’s son Craig and Thomas Sutcliffe who continues to play Carpenter, the Ikettes are played by new cast members Morgan Broome, Amara Campbell and Abiola Efunshile and swingsare Richard Appiah-Sarpong, Jenna Bonner, Ana Cardoso, Junior Delius, Livvy Evans, Ewan Grant, Imogen Rose Hart, Llewellyn Jamal, Amy Punter, Ellie Seaton and Samuel J Weir.

Children’s casting includes Shaniyah Abrahams, Seikemi Okotore and Shyanne Ononiwu as Young Anna Mae Bullock, Eden Butcher, Adisa Richards and Ezmai Robinson as Young Alline Bullock and AJ Aboiralor, Ayden Beale and Philip Kamau as Young Craig.

Karis Anderson’s theatre credits include Diana Ross in Motown (UK Tour), PP Arnold in All Or Nothing (Ambassadors) and Genie of the Lamp in Aladdin (Jordan Productions). In January 2011 Karis joined the girl band Stooshe and after a year in development they broke on to the UK music scene with the release of their first pop single, Love Me, featuring American rapper Travie McCoy. Stooshe achieved rapid success with their monster song, Black Heart spending over 16 weeks in the Official UK Charts and receiving a nomination for “Best British single” at the 2013 BRIT Awards, up against some of the biggest names in the industry such as Adele. They went on to tour with female super houses such as J-Lo and Nicki Minaj and made various TV appearances including The Jonathon Ross show & Top of the Pops.

Elesha Paul Moses joined TINA – THE TINA TURNER MUSICAL in the West End in 2022. Her credits include Whitney – Queen of the Night (Cuffe and Taylor) and Tina: What’s Love Got to Do With It (Cuffe and Taylor). Elesha has had a career in the music industry for over 25 years. She was mentored by Matthew Knowles, as well as will.i.am and Tom Jones while appearing on The Voice on ITV 1. Elesha has written and performed with the likes of house production duo Ku De Ta, superstar Lionel Richie and industry steadfast Nicky Graham, and has backed Andy Abraham on his Eurovision performance.

Okezie Morro’s theatre credits include Moon on a Rainbow Shawl (Talawa/National Theatre), To Kill a Mockingbird (Manchester Royal Exchange), Damned by Despair (National Theatre), Romeo & Juliet (Headlong), As You Like It (Rose Theatre Kingston), The Riots (Tricycle Theatre/Bernie Grant), Innocence (Arcola Theatre), Ruined (Almeida Theatre), Rum and Coca Cola (English Touring Theatre), and This is How it Goes (The King’s Head). His film credits include World War Z (Paramount/Plan B), Red Tails (Lucas Film), Gulliver’s Travels (Electric Dynamite/FOX), Antisocial Behaviour (Echelon Studios) with his TV credits including The Nevers (HBO), The Mist (Paramount TV/Netflix), Whitstable Pearl (Acorn TV/Amazon), Silent Witness (BBC), New Tricks (BBC), Dr Who (BBC), Shuga (MTV), Outnumbered (BBC/Hat Trick Productions), Placebo (BBC), The Bill (ITV), World War I Project (BBC Jam).

The critically acclaimed production of TINA – THE TINA TURNER MUSICAL received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre.

Discover the heart and soul behind the Queen of Rock ‘n’ Roll at TINA – THE TINA TURNER MUSICAL, the undeniable mega hit in London’s West End. Set to the pulse-pounding soundtrack of her most beloved hits, experience Tina Turner’s triumphant story live on stage as this exhilarating celebration reveals the woman that dared to dream fiercely, shatter barriers, and conquer the world—against all odds.

TINA – THE TINA TURNER MUSICAL can currently be seen on tour in North America, in Australia and at Theatre Royal Sydney. In March 2019, the German production opened at Stage Operettenhaus in Hamburg and is currently running in Stuttgart at the Apollo Theater. The Broadway production opened in November 2019 and was nominated for 12 Tony Awards including Best Musical. The Dutch production opened at the Beatrix Theater, Utrecht, in February 2020 and a third European production opened in fall 2021 at the Teatro Coliseum in Madrid, Spain.

Produced by Stage Entertainment and Ghostlight Records and featuring the original London cast, TINA – THE TINA TURNER MUSICAL: Original Cast Recording is available worldwide on CD, both online and in stores. The CD features a 20-page booklet, which includes liner notes, synopsis, and production and studio photography. The album was recorded in February 2019 at Angel Studios and RAK Studios, produced by the show’s Music Supervisor Nicholas Skilbeck and Kurt Deutsch, and co-produced by Tom Kelly. To download or stream the album, or order the CD www.ghostlightrecords.lnk.to/riverdeep-tinaturnermusical

Directed by Phyllida Lloyd and written by Pulitzer Prize-winner Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg, orchestrations by Ethan Popp, wigs, hair and makeup design by Campbell Young Associates, casting by Pippa Ailion CDG and Natalie Gallacher CDG and fight direction by Kate Waters.

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.

TINA – THE TINA TURNER MUSICAL is dedicated to the memory of Tina Turner, who sadly passed away in May 2023.

LISTINGS INFORMATION

Theatre:                           Aldwych Theatre, Aldwych, London WC2B 4DF

Dates:                              now booking to 11 February 2024

Performances:Tuesday at 7pm, Wednesday, Thursday, Friday and Saturday at 7.30pm, Thursday and Saturday at 2.30pm and Sunday at 3pm

Box Office:                       0845 200 7981

Website:                           www.tinathemusical.com

Facebook:                         TinaTheMusical

Twitter:                              TinaTheMusical

Instagram:                        TinaTheMusical

Original Theatre in association with New Wolsey Theatre presents 

THE TIME MACHINE – A Comedy  

Available to stream online from Thursday 22 June 2023 at 7.30pm  

Starring Dave Hearn, Michael Dylan, Amy Revelle

Written by Steven Canny & John Nicholson(Very) loosely adapted from the novel by HG WellsDirected by Orla O’Loughlin  

Following the recent stage premiere of Steven Canny & John Nicholson’s play, THE TIME MACHINE – A Comedy, starring Michael Dylan (Wilf), Dave Hearn (founding member of the Olivier Award-winning Mischief Theatre, The Goes Wrong Show) and Amy Revelle (Offside), a filmed version of the live show will be available to stream online for two years from Thursday 22 June 2023 at 7.30pm.   

Watch THE TIME MACHINE – A Comedy brand new trailer: https://youtu.be/HDiasjkpXec.  

Presented by the award-winning Original Theatre in association with New Wolsey Theatre, the production is directed by Orla O’Loughlin and designed by Fred Meller, with lighting design by Colin Grenfell and Sound Design by Greg Clarke.   

From the writers behind The Hound of The Baskervilles and Spyski, THE TIME MACHINE is a madcap adventure exploring life, the universe and time paradox theorems. Fresh from a three-month nationwide tour, this online release made exclusively for Original Online and filmed in front of a live audience at the New Wolsey Theatre in Ipswich now allows audiences from all over the world to begin to grapple with the laws of time travel from the comfort of home in their own time travelling chairs (or sofas). Warning: may contain Cher tunes. Age guidance: 10+.  

To watch THE TIME MACHINE – A Comedy, become an Original Online member from £8.99/month to access all of the streaming shows: https://www.originaltheatre.com/membership.   

The release on Thursday 22 June at 7.30pm will coincide with a ‘watch party’ to celebrate the digital launch. Watch along at the same time as other time travellers, and tag your chat and pictures on social media using #thetimemachine.  

Alastair Whatley, Artistic Director of Original Theatre, said: “THE TIME MACHINE has already been on a journey around the UK reducing audiences from Bolton to Bath to tears of laughter. I am thrilled that the production now finds a berth at Original Online where we can reach even more people with Steve and John’s brilliant adaptation of HG Wells’ genre defining novel.”  

REGENT’S PARK OPEN AIR THEATRE ANNOUNCES FULL CAST AND CREATIVE TEAM FOR ARTISTIC DIRECTOR TIM SHEADER’S NEW PRODUCTION OF

 LA CAGE AUX FOLLES

Regent’s Park Open Air Theatre today announce full cast and creative team for their forthcoming production of the show-stopping classic musical La Cage aux Folles (29 July – 16 September).

Carl Mullaney (Chicago/Les Misérables) will play Albin and Billy Carter (A Moon For The Misbegotten) will play Georges. Further principal casting includes Ben Culleton (Jean-Michel), Julie Jupp (Marie Dindon), Shakeel Kimotho (Jacob), Debbie Kurup (Jacqueline), John Owen-Jones (Edward Dindon) and Sophie Pourret (Anne).

Completing the cast are Jak Allen-Anderson (Hanna), Craig Armstrong (Cagelle), Tom Bales (Cagelle),Taylor Bradshaw (Cagelle), Daniele Coombe (Mme. Renaud), Jordan Lee Davies (Chantal), Nicole Deon (Ensemble), Lewis Easter (Cagelle/Swing/Dance Captain), Harvey Ebbage (Cagelle), Emma Johnson (Ensemble/Swing), George Lynham (Cagelle), JP McCue (Cagelle), Rishard-Kyro Nelson (Cagelle/Swing), Alexandra Waite-Roberts (Ensemble) and Hemi Yeroham (Francis).

Directed by Artistic DirectorTim Sheader with a book by Harvey Fierstein and music and lyrics by Jerry Herman, La Cage aux Folles is based on the play by Jean Poiret, and includes the classic songs ‘I Am What I Am’ and ‘The Best of Times’.

Completing the creative team are: Thyrza Abrahams (Associate Director), Amy Ball (Casting Director), Arthur Carrington (Associate Casting Director), Guy Common (Make Up Designer), Ryan Dawson Laight (Costume Designer), James Hassett (Associate Sound Designer), Howard Hudson (Lighting Designer), Nick Lidster (Sound Designer), Ingrid Mackinnon (Season Associate – Intimacy Support), Stephen Mear (Choreographer), Ebony Molina (Associate Choreographer), Janis Price (Voice & Text Director), Colin Richmond (Set Designer), Tom Slade (Assistant Musical Director), Ben van Tienen (Musical Director) and Jennifer Whyte (Musical Supervisor)

Georges, Albin and their son Jean-Michel re-discover the true meaning of family, and of putting yourself last so that the ones you love can come first.

La Cage aux Folles is presented by arrangement with Concord Theatricals Ltd. www.concordtheatricals.co.uk

Regent’s Park Open Air Theatre’s remaining 2023 season also includes Robin Hood: The Legend. Re-written (until 22 July) written by Carl Grose andcommissioned by Regent’s Park Open Air Theatre with direction by Melly Still. The Tempest re-imagined for everyone aged six and over (30 June – 22 July), revised and directed by Jennifer Tang in a co-production with the Unicorn Theatre. Finally, this summer, Nicoll Entertainment’s Dinosaur World Live (11 August – 3 September) returns to the Open Air Theatre, written and directed by Derek Bond.

Tickets for Regent’s Park Open Air Theatre 2023 Season are on sale www.openairtheatre.com.

 FULL CASTING FOR THE UK PREMIÈRE OF 

 TOM KITT AND BRIAN YORKEY’S AWARD-WINNING MUSICAL

 NEXT TO NORMAL

With Jack Thorne’s When Winston Went to War with the Wireless currently running at the theatre, Donmar Warehouse Artistic Director Michael Longhurst and Executive Director Henny Finch today announce full casting for the Pulitzer Prize and Tony Award-winning musical Next To Normal.

Joining the previously announced Grammy Award nominee Caissie Levy and Trevor Dion Nicholas, Michael Longhurst directs Jack Ofrecio,Olivier Award winner and Tony Award nominee Jamie Parker, Jack Wolfe and Olivier Award winner and BAFTA nominee Eleanor Worthington-Cox. The production opens on 22 August, with previews from 12 August, and runs until 7 October.

NEXT TO NORMAL

Music by Tom Kitt

Book and Lyrics by Brian Yorkey

Directed by Michael Longhurst

12 August – 7 October 2023

Musical Supervisor: Nigel Lilley; Designer: Chloe Lamford; Lighting Designer: Lee Curran; Sound Designer: Tony Gayle; Movement Director and Choreographer: Ann Yee; Video Designer: Tal Rosner; Musical Director: Nick Barstow; Associate Musical Director: Natalie Pound; Casting Director: Anna Cooper CDG.

Original Broadway Production Produced by David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo and Second Stage Theatre.

“It is much more than a feel-good musical; it is a feel-everything musical.” New York Times

Critically acclaimed Broadway musical Next to Normal is an intimate exploration of family and loss. At its heart is Diana Goodman, a suburban wife and mother living with bipolar disorder and haunted by her past. Donmar Artistic Director Michael Longhurst directs the long-awaited UK première of this powerful musical about a far from average family.

Next to Normal is the winner of the 2010 Pulitzer Prize for Drama and three Tony Awards including Best Original Score.

Tom Kitt received the 2010 Pulitzer Prize for Drama, two Tony Awards for Best Score and Best Orchestrations, and the Outer Critics Circle Award for Outstanding New Score for Next to Normal (Second Stage Theater/Broadway). He is also the composer of If/Then (Tony and Outer Critics Circle Award nominations), High Fidelity (Broadway), Bring it On, The Musical (co-composer with Lin-Manuel Miranda, Broadway), Superhero (Second Stage), Disney’s Freaky Friday (Stage Production and Original Disney Channel Movie Musical), Dave (Arena Stage), The Winter’s Tale, All’s Well That Ends Well, Cymbeline (Public Theater’s NYSF), From Up Here, The Madrid (Manhattan Theatre Club), Orphans (Broadway), The Retributionists (Playwrights Horizons), and As You Like It  (Toho Co., Japan). As a music supervisor, arranger, and orchestrator, credits include SpongeBob Squarepants, The Musical (Tony, Outer Critics Circle, Drama Desk Award nominations), Head Over Heels, Jagged Little Pill; Grease Live!, Rise (NBC), and American Idiot. His work with Green Day also includes additional arrangements for their Grammy Award-winning album 21st Century Breakdown and their album trilogy, ¡Uno! ¡Dos! ¡Tré! Tom received an Emmy Award as co-writer (with Lin-Manuel Miranda) for the 2013 Tony Award opening number, Bigger. Other television songwriting credits include a musical episode of Royal Pains, and songs for Penny Dreadful, Sesame Street, and Julie’s Greenroom. As a musical director, conductor, arranger and orchestrator, credits include the Pitch Perfect films, 2Cellos featuring Lang Lang (Live and Let Die), The Kennedy Center Honors, 13, Debbie Does Dallas, Everyday Rapture, Hair, Laugh Whore, Pippin (Deaf West), and These Paper Bullets. Upcoming projects include musical adaptations of the films Almost Famous (premiering on Broadway in October 2022), Magic Mike, and The Visitor.

Brian Yorkey received the 2010 Pulitzer Prize for Drama, as well as the 2009 Tony Award for Best Score for Next to Normal (Second Stage Theater/Broadway). He was also nominated for the Tony Award for Best Musical and Best Book of a Musical for Next to Normal, and his work on the show earned him the Outer Critics Circle Award for Best Score. He partnered again with the Next to Normal team on If/Then (Tony Award nominee for Best Score) starring Idina Menzel. He co-wrote the libretto for The Last Ship (Outer Critics Circle Award nomination, with John Logan), with a score by Sting. His musical adaptation of Freaky Friday for Disney Theatricals enjoyed a national tour before being adapted into a Disney Channel Original Movie. Current theatrical projects in development include the original musical Jesus in My Bedroom, with composer Tim Symons, as well as a stage musical adaptation of Magic Mike. Additional theatre credits include Making Tracks, which has played off-Broadway and regionally, the musical adaptation of Ang Lee’s The Wedding Banquet, and the play, Book of Jobs with Alex Glover. Brian was the Executive Producer and Showrunner of 13 Reasons Why for Netflix, Paramount Television and Anonymous Content.

Caissie Levy plays Diana Goodman. Her theatre credits include Leopoldstadt (Longacre Theatre), The Bedwetter (Linda Gross Theatre), Caroline, or Change (Studio 54), Frozen (St James Theatre), First Daughter Suite (The Public Theatre), Les Misérables (Imperial Theatre), Murder Ballad (Union Square Theatre), Ghost The Musical (Lunt-Fontanne Theatre, Piccadilly Theatre, Manchester Opera House), Hair (Gielgud Theatre, Al Hirschfeld Theatre), Wicked (Pantages Theatre, Gershwin Theatre), Hairspray (Neil Simon Theatre and US tour) and Rent (US tour). Her television credits include The Battery’s Down, Creative Galaxy, Gotham, Wishenpoof! And for film; Options and Ms. Bula Banerjee.

Trevor Dion Nicholas plays Dr. Madden/Dr. Fine. His theatre credits include George Washington in the West End production of Hamilton; Preacher in Bonnie & Clyde (Theatre Royal Drury Lane); Disney’s Aladdin – What’s On Stage Award for Best Supporting Actor in a Musical (West End, Broadway & US Tour); Big River (US Tour); The Wiz; The 25th Annual Putnam County Spelling Bee, Ragtime, The Little Mermaid, The Wizard of Oz; Into the Woods; Little Shop of Horrors; Rent; The Exonerated and This is the Life (ETA Hoffman Theatre, Germany). Trevor is the voice of the Ghost of Christmas Present in the Netflix animated film Scrooge: A Christmas Carol. Television credits include: Panellist/Judge on All Star Musicals (ITV); Lester in Moley (Boomerang); The Show Must Go One (Sky Arts); Strictly Come Dancing (BBC); Christmas at the Snow Globe; The Americans, Sunday Night at the Palladium, Royal Variety Performance and Disney’s Broadway Hits at Royal Albert Hall (Emmy Award).

Jack Ofrecio plays Henry. His theatre credits include From Here to Eternity (Charing Cross Theatre), Boys Will Be Boys (Flawstate) and The Merry Wives of Windsor (Shakespeare’s Globe).

Jamie Parker plays Dan. His theatre credits include The Curious Case of Benjamin Button (Southwark Playhouse Elephant); The Doctor (Harold Pinter Theatre); Harry Potter and the Cursed Child – Olivier Award winner for Best Actor and Tony Award nominee for Best Leading Actor in a Play (Palace Theatre/Lyric Theater, Broadway); Guys & Dolls (Chichester Festival Theatre/Savoy Theatre); High Society (The Old Vic); Assassins; Proof (Menier Chocolate Factory); Candida (Theatre Royal Bath); Cat on a Hot Tin Roof (Leeds Playhouse); Henry V, Henry IV Parts I & II, A New World, As You Like It (Shakespeare’s Globe); Racing Demon (Sheffield Crucible); Rosencrantz & Guildenstern Are Dead (Chichester Festival Theatre/Theatre Royal Haymarket); My Zinc Bed (Royal & Derngate, Northampton); Revenger’s Tragedy (National Theatre); The History Boys (National Theatre/Broadway); Singer (Kiln Theatre); Between the Crosses (Jermyn Street Theatre); The Gondoliers (Chichester Festival Theatre); and After the Dance (Oxford Stage Company).Television includes: The Long Shadow, Masters of the Air, Becoming Elizabeth, Des, Treadstone, The Cloud, Jonathan Strange & Mr Norrel, Count Arthur Strong, Lawless, Parade’s End, Silk, The Hour, Burn Up, Horne and Corden, Imagine Van Gogh, Silent Witness, Maxwell, As If, Wire in the Blood and Foyle’s War. Films include: 1917, The Lady in the Van, Le Weekend, Valkyrie and The History Boys.

Jack Wolfe plays Gabe. His theatre credits include Peter in The Magician’s Elephant (RSC); The Snow Queen (Rose Theatre Kingston); The Musician (The Belfast Ensemble); Sweeney Todd (Lyric Theatre Belfast) and Pinocchio (National Theatre). Television includes: Shadow and Bone, Inside No.9 and The Witcher. Film includes: The Magic Flute by Roland Emmerich.

Eleanor Worthington-Cox plays Natalie. Her theatre credits include The Secret Life of Bees (Almeida); Jerusalem (Apollo Theatre);Tom Cat (Southwark Playhouse); Bugsy Malone (Lyric Hammersmith); To Kill a Mockingbird (Regents Park Open Air Theatre) and Matilda: The Musical – Olivier Award for Best Actress in a Musical (Cambridge Theatre). Television includes: Britannia, The Irregulars, The Enfield-Haunting, Cucumber and Hetty Feather.  Film includes: Gwen, Action Point and Maleficent.

Michael Longhurst is the Artistic Director of the Donmar Warehouse. For the company, direction includes Private Lives, The Band’s Visit, Force Majeure, Midnight Your Time (lockdown film), Teenage Dick, Europe, Belleville and last summer’s multicast revival of Nick Payne’s Constellations, whichbroke box office records at the Vaudeville and won the 2022 Olivier Award for Best Revival. Constellations previously ran on Broadway (Samuel J Friedman Theater, for MTC), West End (Duke of York’s, Evening Standard Award Best Play), UK tour, originating at the Royal Court. His Chichester Festival Theatre production of Tony Kushner and Jeanine Tesori’s Caroline, or Change transferred to Studio 54 for Roundabout Theater on Broadway with Sharon D Clarke reprising her Olivier Award-winning performance (also West End and Hampstead). The Broadway production received three Tony nominations including Best Musical Revival.  Other theatre includes Amadeus with the Southbank Sinfonia (National Theatre/NTatHome), The Son (Kiln Theatre/Duke of York’s Theatre), Gloria (Hampstead Theatre), Bad Jews (Theatre Royal Haymarket/Theatre Royal Bath/UK tour & current revival at the Arts), They Drink It In The Congo and Carmen Disruption (Almeida Theatre), ‘Tis Pity She’s A Whore, The Winter’s Tale (Shakespeare’s Globe), If There Is I Haven’t Found It Yet (Off-Broadway for Roundabout), Linda, The Art of Dying, Remembrance Day (Royal Court Theatre), A Number (Nuffield Southampton Theatres/Young Vic), Cannibals (Royal Exchange Theatre), The History Boys (Sheffield Theatres), Dealer’s Choice (Royal & Derngate), The World of Extreme Happiness (NT Shed), Stovepipe (site-specific promenade with the National Theatre, HighTide and Bush Theatre), Midnight Your Time (HighTide), On The Beach (Bush Theatre), On The Record, Gaudeamus (Arcola Theatre), dirty butterfly (Young Vic – winner of the Jerwood Directors Award) and Guardians (Pleasance/Theatre503 – Fringe First Award).

LISTINGS 

www.donmarwarehouse.com 

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41 Earlham Street, Seven Dials, London WC2H 9LX 

Box Office: www.donmarwarehouse.com / 020 3282 3808          

PERFORMANCE TIMES 

Evenings Mon – Sat: 7.30pm 

Matinees Thu & Sat: 2.30pm 

TICKET PRICES 

£65 / £60 (£55) / £45 (£41) / £23 (£21)

£10 standing tickets 

Preview discounts apply to the first four performances only 

BARCLAYS UNDER 30s £10 TICKETS 

To celebrate our 30th birthday and thanks to generous support from our Associate Sponsor Barclays a limited number of £10 tickets are available for under 30s for every performance. 

YOUNG+FREE 

YOUNG+FREE tickets for 16–25-year-olds released by ballot. Sign up at www.donmarwarehouse.com. 

Generously supported by IHS Markit. 

DONMAR DAILY 

New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band. 

ACCESS 

The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters. 

ASSISTED PERFORMANCES 

If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email access@donmarwarehouse.com. 

For all other access enquiries or bookings call 020 3282 3808. 

CAPTIONED PERFORMANCES – 7.30pm (captioned by Stagetext) 

Next to Normal: Monday 25th September

AUDIO DESCRIBED PERFORMANCE – 2.30pm (audio-described by VocalEyes) 

Next to Normal: Saturday 30th September

BRITISH SIGN LANGUAGE INTERPRETED PERFORMANCES – 7.30pm 

Next to Normal: Saturday 23rd September 2.30pm

Lyric Hammersmith Theatre – until 15th July 2023

Reviewed by Ben Jolly

4****

Jocelyn Bioh’s new comedy is a riot. Set at the Aburi Girls Boarding School in Ghana in the year of 1986 (the perfect era for teenage angst and high glam aspirations), the self-dubbed “African Mean Girls play” is true to its name and hits the ground running with high energy, bitchy dialogue and well-defined characters in this fresh retelling of the genre.

Right from the get go we join the social group of teenage girls as they gossip, poke fun and speculate who will be reigned Miss Ghana in the upcoming annual pageant. All bets are on popular leader of the gang, Paulina to take the crown and she would have us believe it no other way. The tables soon turn, however, with the arrival of Ericka – the wealthy, conventionally beautiful and talented transfer student who quickly becomes stiff competition for Paulina in both her friendship circle and aspirations for the future! Chaos ensues, naturally.

This band of talented actors shine on stage throughout the piece; with unbounded energy each performer has something to bring to the play and heighten the already tight and witty script, wonderfully written by Jocelyn Bioh. Heather Agyepong owns the part of Ama, finding every moment and performing with unapologetic nerve. Bola Akeju as Mercy steals many moments with her comedic flair and instinctive comedic nature akin to any seasoned professional. As Headmistress Francis, Alison A Addo has tangible presence and shows range and depth with her audacious performance.

Further into the play as we get to the heart of the matter there were moments when I didn’t know whether to laugh or to cry as we started to see the bigger picture of these full rounded characters – kudos again to Jocelyn Bioh. While structurally the play could do with a little revision, as some of the more dramatic moments take place before they have been truly earned, this is still a wonderfully written play. With expert direction by Monique Touko, the physicality and movement they have added only heightens the drama and thus demands laughter from the audience.

School Girls; Or The African Mean Girls Play is a hit and as with most comedic plays, this will only get better with time as the cast find even more to work with and the natural chemistry grows further between this talented group of actors. With a poignant final message, we leave the theatre with not only some thoughtful insights to ponder, but also a memorable night full of laughter with characters that feel like new friends.