Home

FULL CAST ANNOUNCED FOR

THE WORLD PREMIERE OF

A-TYPICAL RAINBOW
A NEW PLAY BY JJ GREEN

PRESENTED BY ARIA ENTERTAINMENT

AT THE TURBINE THEATRE FROM 30 JUNE TO 7 AUGUST 2022

Based on real events from the perspective of the writer and the autistic community, JJ Green will lead the cast as Boy for the limited run at The Turbine Theatre.The rest of the cast will be made up by Caroline Deverill (Mother), James Westphal (Father/Doctor), Conor Joseph (Jake/Daniel), Joy Tan (Abby/Thomas/Lara) and Maya Manuel (Emily/Mrs Whiteman/Rachel).

Boy has always seen the world differently to most people. Where they see monochrome, he sees the world in vivid and brilliant technicolour.

As Boy grows up, he faces increasing pressure to conform to the black and white logic of the ‘real’ world, a way of thinking that doesn’t make sense, and forces him to suppress his unique and beautiful view of life.

A-Typical Rainbow is the World Premiere debut play by autistic writer JJ Green that asks: could a kinder, more joyful world lie at the end of the rainbow?

Katy Lipson (Producer) has said, “I am so thrilled to be presenting the World Premiere of this beautiful and relevant piece of writing. We are delighted to have assembled such a wonderful creative team and cast with multiple autistic and neurodivergent team members. We are looking forward to welcoming audiences to the Turbine Theatre this summer.”

A-Typical Rainbow is written by JJ Green, with direction by Bronagh Lagan. Composition and   sound design by Max Alexander-Taylor, with associate sound design by Chris Czornyj and choreography by William Spencer. Set and costume design by Frankie Gerrard, and video design by Matt Powell. The casting director is Jane Deitch and production manager is Jack Boisseux with deputy stage manager Ryan Webster. Ollie Hancock, Tom Ramsay and Sarah Jordan Verghese are production coordinators with Chris Matanlé for Aria Entertainment as general manager and Katy Lipson for Aria Entertainment as producer.

This new play will run at The Turbine Theatre from 30 June – 7 August.

Nottingham Theatre Royal – until Saturday 28 May 2022

Reviewed by Louise Ford

4****

Dreamgirls, not just for one night only!

Big hair, big ballads and of course big dreams. The Theatre Royal Nottingham has dusted off its best gold curtains for this powerful story of the Dreamgirls.

The narrative cleverly weaves its way through the lives and dreams of a trio of girls.  From their early days travelling to talent shows, hoping to be spotted to the big time in Vegas. The girls in their homemade dresses rush on to the stage all young and naive. There’s Effie White powerfully played by Nicole Raquel Dennis, the quiet home girl Deena Jones by Natalie Kassandra and the spirited Paige Peddie cheekily played by Lorrell Robinson.

The simple yet effective staging (set and costumes by Tim Hartley) allows the audience to view the action from both the front and back stage. The set moves seamlessly to allow the action to unfold and the back stage dramas to be played out in full.

The stand out performance and sheer stage presence for me goes to Brandon Lee Shears who plays Mr Jimmy Early. An over the top performer, with an eye for the ladies and a snappy dresser to boot, whose energetic dance routines wow the audience and the girls!

The story charts the changes in musical tastes from gospel and soul music to disco and power ballads. At the same time the inequalities, racism and sexism  in both the music industry and wider society are explored.

It’s a night of sequins, choreography, dance routines, drive and ambition. Where everyone isn’t on the same side whether they are family or friends.

The costume and set changes are something to behold. At one point the audience gasped at the audacity of the change! Also a special shout out for the wigs (hair design by Josh Marquette) they really enhanced the costumes.

In all a great evening’s entertainment with lots of energy and soul which the audience really loved.

Alphabetti Theatre Newcastle – until Saturday 4th June 2022

Reviewed by Sandra Little

5*****

The setting for this play is the belly of a whale however, it is definitely not how you might imagine the belly of a whale to be! There are a variety of quirky props that we are told have been washed into the whale over the years. These props are used by Albert ( Steve Byron) to make the place feel homely and comfortable. Albert has been living in the belly of the whale for 25 years but has no idea why he is there! Albert is joined one day by Robbie ( Luke Maddison ), a young man in his twenties, who brings boundless energy, and some interesting pieces of information, into Albert’s life.

As the play unfolds we see a friendship develop between this unlikely pair and it becomes clear that there are numerous aspects of modern day life that Albert has no idea about. On one occasion Robbie explains to Albert the concept of a vegan sausage roll. Further conversations include discussions as far ranging as touch screen ‘phones, Raoul Moat, Google, YouTube and Strictly. This developing friendship also explores the theme of “ being a man” in today’s society and 25 years ago.

Throughout the play we don’t know why the two men are in the whale but we do know that they both wish to escape. Arthur misses his wife and daughter and Robbie is desperate to get back to his girlfriend. The only way out of the whale is through the blowhole, which seems an impossible task. The blurb which accompanies the play asks “Could Robbie be the solution Albert has been waiting for all these years ?” and also poses the question, “Why are they here in the first place?” .At the very end of the play these two questions are answered, but maybe not in a way you might expect. This short play, with a running time of about an hour, includes some quite thought provoking dialogue alongside several “ laugh out loud” moments. The ending caused me to reflect on incidents that were woven into the story. I came away thinking again about the significance of the Bangles song, “Eternal Flame” for example, and developed my own theory about the flickering light the two men attended to on several occasions during the performance. There are a lot of issues to consider in this short play with only two actors!

This is the second play I’ve seen at Alphabetti; a tiny theatre with a “pay what you feel” policy. As with the first, this play did not disappoint.

Produced by Peachplant Productions ( Lucy Curry and Carl Wylie) and Alphabetti Theatre.

Birmingham Hippodrome – until Saturday 21st May 2022

Reviewed by Emma Millward

5*****

From the moment the cherry pie decorated curtain rises, the audience are pulled into another world at ‘Joe’s Pie Diner’, it’s a sight that feels somehow comforting and familiar after seeing so many diners over the years in movies and TV shows. We are introduced to Jenna (Chelsea Halfpenny), Becky (Wendy Mae Brown) and Dawn (Evelyn Hoskins) who work at the Diner. Jenna is in a loveless marriage to the abusive Earl (Tamlyn Henderson) and finds out she is pregnant. She finds solace in her love of baking the inventive pies that she creates daily at the Diner. She meets and begins an affair with Dr Pomatter (Matt Jay Willis) her awkwardly cute Gynaecologist. She dreams of winning a pie making contest so she can use the prize money to start a new life.

It’s not all sweet humour though, and the violent interactions between Jenna and her husband are some of the more disturbing scenes in the show which definitely shocked the audience. Then by complete contrast, we are soon laughing again with hilarious scenes such as the introduction of Ogie (played brilliantly by George Crawford) who turns up at the Diner to woo Dawn with the hilarious ‘Never Ever Getting Rid of Me’. Another more risqué scene with the three leading ladies getting up close and personal with their men drew a mixture of gasps and howls of laughter from the audience. Most definitely not a show for the whole family to watch together! I will never look at ‘Pineapple Upside Down Cake’ in the same way again!

The set design for the show makes clever use of the space. The Diner set spins around to become the Doctor’s office. The Orchestra led by Musical Director Ellen Campbell are onstage throughout the Diner scenes, where they interact with the ensemble and really become a part of the story.

The show-stopping moment came towards the end of the second act with the most famous song from the show ‘She Used To Be Mine’. Chelsea Halfpenny’s performance was powerful and emotional. It was met with prolonged applause and cheers from the audience.

The whole cast shines, so it is really hard to single out any of them as the stand-out performance, as they all worked so well together and this chemistry will only improve as the UK tour progresses. Although I think Michael Starke (of Brookside/The Royal fame) really did shine as the Diner owner Joe when he sang ‘Take It From An Old Man’. As did little Lulu (Evelyn Kent) who was only briefly onstage at the end of the show, but received the loudest cheers and applause of the whole cast during the inevitable standing ovation during the curtain call.

Waitress serves up a sugary sweet mixture of something for everybody. It’s funny, dramatic, heartwarming and bittersweet all in one show. I am sure I will have the words ‘Sugar, Butter, Flour’ going around my head for days.

OPERA HOUSE, MANCHESTER – UNTIL 21ST MAY 2022

REVIEWED BY MIA BOWEN

4****

If you want to turn back time and celebrate Cher’s six-decade-long career of being the Goddess of pop, The Cher Show is for you. The musical runs chronologically with three talented musical stars conveying Cher at different stages of her life and career. These three ladies with their striking outfits, spectacular songs and glamour, raised the roof at the Opera House on Tuesday evening.

The musical portrays the rise to fame of a shy 16 year old, then known as Cherilyn Sarkisian. As the audience, you witness her relationship with her mum, Georgia and Sonny, their marriage breakdown, further relationships, the pressure of fame and her constantly re-inventing herself. The show features some 35 hits throughout including Believe, Strong Enough, I Got You Babe, The Shoop Shoop Song, Turn Back Time and many more.

Portraying the icon that is Cher, is never going to be easy but the three leading ladies are superb. In her younger years, Millie O’Connell (Six, Be More Chill, Rent) plays Cher as a Babe, showing her more introvert side, the vulnerable teen on her journey to stardom and meeting Sonny. O’Connell is vibrant and her dancing skills are impressive. Then Danielle Steers (Six, Bat Out Of Hell) takes over as Lady, the rising star with her marriage crumbling and having no time away from work for her family life. Steers’ mannerisms are a joy to watch, she tears up the stage with her musical numbers and she is my favourite Cher. Debbie Kurup (The Prince Of Egypt, Rent) transforms into Star, showing how she has become a star in her own right, not only with her singing but with a successful acting career. Kurup wows the audience with her remarkable vocals and outstanding performance.

One of the, if not the stand out musical number of the evening was Jake Mitchell as Bob Mackie, in Ain’t Nobody’s Business If I Do, with his flair and impressive tap dancing skills. Tori Scott as Georgia, Cher’s mother, gives a knockout yet sensitive performance with stunning vocals.

With Arlene Phillips (Lord of the Dance) as the director and Oti Mabuse (double Strictly winner) as the choreographer, the dance performances are flawless and help the story flow through the decades. Ben Cracknell (Joseph and the Amazing Technicolor Dreamcoat), who is responsible for the lighting gives this show the live music concert wow factor. Tom Rogers’ (9 to 5) impressive set design forms the backdrop to the whole production. Gabriella Slade (Six, Bedknobs and Broomsticks) ingeniously reflects each era and mood of the time with her fantastic and outrageous costumes.

The Cher Show is glamorous and flamboyant entertainment from start to finish!

Yvonne Arnaud, Guildford – until 21 May 2022

Reviewed by Antonia Hebbert

4****

Memphis, Tennessee, the night before 4th April 1968. In room 306 of the Lorraine Motel, Dr Martin Luther King Jr is restlessly trying out his speech for the next day. He has been campaigning for civil rights for years, suffering arrests and assassination attempts. He’s hugely famous, but at this moment he’s alone with his hopes, fears and uncertainties. We get a sense of the strain he is under as he checks the phone for bugging devices, then calls room service for coffee.

And in bursts the cheeky, chirpy, fabulous chambermaid Camae, with coffee, cigarettes and bags of charm. King is enthralled and infuriated. He thinks she may be a honeytrap, but things take a much more interesting turn. Via flirting, shouting, pillow fights and a hotline to God (black and female), Camae and King explore his passion to make America better, his flaws, ambitions and self doubts. Ultimately Camae gets King to confront his imminent death, and accept that he must ‘pass the baton’.

Written by Katori Hall, The Mountaintop won the Olivier Best New Play Award in 2010. Its name and inspiration come from King’s eerily prescient speech on 3rd April, the day before he was assassinated. ‘I’ve been to the mountaintop. … And I’ve looked over. And I’ve seen the Promised Land.’ We know that the play foreshadows King’s death, but it’s actually bright and funny. This is King (played by Luke Wilson) as a very human hero – he’s troubled and anxious with smelly feet and faltering marriage, but all this makes him more truly heroic. Boni Adelyi is simply enchanting as Camae, somehow managing to be authoritative, vulnerable, cheeky and profound in quick succession. She graduates from Guildhall School of Music and Drama this year, and this is her hugely impressive professional debut.

Sandra Falase’s set has a lot of charm too – a 1960s room, suspended in the shadowy stage. Near the end, Camae steps out of the room space and gives a roll-call of those who will take up the civil rights cause. It’s rather unsubtle compared with what has gone before, but poignant too – this is struggle that is far, far from over.

On a more boring note, sit near the front and centre if (like me) you have any hearing problems – the Yvonne Arnaud doesn’t have the clearest sound, and this play is strongly accented.

New Wimbledon Theatre – until Saturday 21 May 2022 

Reviewed by Carly Burlinge  

5***** 

Set in the Razzle-Dazzle of the 1920’s – brings you the story of Chicago where six women are facing the death sentence in a city where murder is entertainment and everyone wants fame for all the wrong reasons! The story comes alive with Roxy (Faye Brookes) a nightclub dancer/housewife who murders her lover when he threatens to walk away from her. Thinking she has an easy way out with her husband Amos (Jamie Baughan) covering her story only for him to find out she’s not as innocent as she makes out. This causing friction, where tempers arise and with trust now gone, she finds herself stuck in the local jail for murder! With things looking down she turns to a well know lawyer Billy (Russell Watson) who with a large fee has the ability to manipulate the outside world using the power of the press to achieve an entertaining story of vulnerability that might just see her walk away with freedom but is that what she really wants.  

But with success comes competition and throughout she meets her match with another inmate Velma (Djalenga Scott) who wants to break free but when her way of freedom has taken a back step because of Roxy things begin to fire up and competition becomes intent. 

During this story-line the production offers a full scene of murder, greed, violence, corruption, and adultery with Roxy and Velma at the heart of it all offering the audience exceptional dance with a provocative manor that was magnificent to watch just sexy and captivating. So much talent and a connection that was unreal. 

Their voices alongside their acting were just a pleasure to take in whilst accompanied by an outstanding orchestra that was in full view that engaged with the audience throughout. 

The choreography was first class and so in sync was a delight to watch so much skill! 

What a tremendous over dramatised show that in my eyes was perfection. Totally astonishing and definitely one to watch! 

Bristol Hippodrome – until Saturday 21 May 2022

Reviewed by Alexandra Browning

4****

Feel transported straight to the 1920’s in the toe tapping dance spectacular Singin’ in the Rain. Pop on the old glad rags and get ready for a little singing and dancing. Singin’ in the Rain is an eclectic mix of feel-good music and talented dancing.

Inspired by the classic Metro-Goldwin-Mayer film, this musical leaves you humming feel-good show tunes. You are introduced to Monumental Pictures and their cast and crew on a recording for ‘The Royal Rascal ’following the premiere, you are introduced to the heartthrob Don Lockwood (portrayed by Sam Lips) and Lina Lamont (portrait by Jenny Gayner). Gayner plays the perfect Lamont with her fantastic Betty Boop-esque accent. Garner is the perfect fit for the role with looks, the consumes and the voice, a triple threat. Garner goes on to sing the Lamont number ‘What’s Wrong with Me?’ with the perfectly-imperfect voice.

As the show goes on, you are introduced to the talented actress Kathy Selden, who is portrayed by Charlotte Gooch. As Lamont’s main competition on screen and off screen, the Lamont -Selden competition is noticeable and both ladies seem to have a good fight. Kathy Selden wins the audience over very quickly with her lovely personality, witty comebacks and extraordinary dancing skills. Gooch plays the role marvellously as her dancing past supports the role perfectly.

A stand out part of the show was the “Gotta Sing Gotta Dance” breakdown as you are transported to Broadway with bright costumes and fitting flapper dresses. However, nothing could top the rain and the singing that comes with it. In both musical renditions of ‘Singin’ in the Rain’, the waterworks are flowing, and both times the number is performed left the audience in a standing ovation.

A Landmark production 

presented by Neal Street and Playful Productions

Gabriel Byrne

WALKING WITH GHOSTS

Written and performed by Gabriel Byrne

Directed by Lonny Price

6 – 17 September 2022

Apollo Theatre, Shaftesbury Avenue, London

Web address www.withghosts.co.uk

• INTERNATIONALLY RENOWNED ACTOR GABRIEL BYRNE WILL MAKE HIS WEST END DEBUT IN HIS CRITICALLY ACCLAIMED SOLO SHOW
  
   
• BYRNE BRINGS HIS LEGENDARY STORYTELLING SKILLS TO LONDON FOR A SHORT TWO WEEK SEASON PRIOR TO TAKING THE SHOW TO NEW YORK
  
   
• FOLLOWING A SELL OUT RUN AT DUBLIN’S GAIETY THEATRE, WALKING WITH GHOSTS WILL PLAY AT THE APOLLO THEATRE FOR A STRICTLY LIMITED SEASON 6 – 17 SEPTEMBER
  
   
• BOOK IMMEDIATELY TO AVOID MISSING THIS EXCLUSIVE SEASON. 14 PERFORMANCES ONLY. TICKETS ARE ON SALE TODAY FROM WWW.WITHGHOSTS.CO.UK

Producers Landmark Productions, Neal Street and Playful Productions are delighted to announce the transfer of Walking with Ghosts, Gabriel Byrne’s acclaimed solo show adapted from his best-selling memoir, to the Apollo Theatre. Making his West End debut, master storyteller and Hollywood star Byrne, will perform the show for a strictly limited season of just 14 performances from 6 – 17 September. Tickets are on sale now from www.withghosts.co.uk. Audiences are advised to book early to avoid disappointment as Walking with Ghosts will be in London for just 2 weeks before it heads to America.

The production opened at the Gaiety Theatre in Dublin in February this year where it sold out. It received enormous critical and public acclaim. Byrne was described as a “master of his craft” (Sunday Times), “captivating” (Financial Times) and the production as “storytelling at its simple best” (Business Post).

Byrne’s career as an actor, writer and director spanned both stage and screen. He has starred in over 80 films working with Hollywood’s great and good. His work on Broadway has seen him win multiple awards and nominations including a Golden Globe for his role in the television drama In Treatment.

As a young boy growing up on the outskirts of Dublin, Gabriel Byrne sought refuge in a world of imagination among the fields and hills near his home, at the edge of a rapidly encroaching city.  Moving between sensual recollection of childhood in a now almost vanished Ireland and a commentary on stardom in Hollywood and on Broadway, he reflects on a life’s journey.

By turns hilarious and heartbreaking, Walking with Ghosts is a lyrical homage to the people and landscapes that ultimately shape our destinies. 

Directed by three-time Emmy award-winning director Lonny Price, the creative team also includes Sinéad McKenna (set and lighting designer); Joan O’Clery (costume designer) and Sinéad Diskin (sound designer).  

Gabriel Byrne said: “’It was a real joy to hear laughter in a theatre during the premiere run of Walking with Ghosts in Dublin.  Although I’ve appeared several times on Broadway, I’ve always had an ambition to work on the West End stage.  I’m looking forward immensely to the experience of performing at the beautiful Apollo Theatre. 

I’ve chosen to be honest and unflinching in the recounting of a life from working class Dublin to Hollywood.  Although rooted in the local, I hope the play has a universal resonance.  What I want  in the theatre is to be moved to laugh … to be provoked … to be changed.  I think Walking with Ghosts sets out to fulfil that.”

Lonny Price said: “I am thrilled we’re bringing Gabriel Byrne’s theatrical adaptation of his gorgeous memoir, Walking with Ghosts, to London. Not only is Gabriel one of the greatest actors of his generation, but his writing is funny, deeply moving, and wise.”

The London performances of Walking with Ghosts are made possible by the support of Culture Ireland.

Dominion Theatre – until 29th October 2022

Reviewed by Emily Cliff

4****

Summer nights are arriving in London with the weather getting warmer and the flights getting longer and along with it lands Grease The Musical on the west end at the Dominion theatre. Starring 90’s icon Peter Andre, this new adaptation brings fun, summer lovin’ back to the west end for a limited run.

If you’re familiar with the film you will know that the jukebox themed tunes and poppy musical influences are sure to bring a smile to anyone’s face, and the same happens when you see it in the theatre. While you may not be able to run around your living room dancing along to all of the tracks in this version, it sure does supply the same feel-good feeling onstage as it does on screen.

The first company number we see is Grease is the Word. It is everything you would expect and more. A high energy number fulfilled with brilliant harmonies shows you that this production means business and sets up the show for an evening of fun loving hits. With the addition of new songs that aren’t in the film, a whole new context is put into the story. Still loosely following the love story of Sandy and Danny, this version of the stage show gives more limelight to supporting cast members not just principal cast members.

One supporting cast member that stood out was Mary Moore playing the role of Jan. Grease marked her West End debut and she smashed it out of the water. Providing perfect comedic timing as well as beautiful vocals to accompany, Mary was the perfect fit for the character of Jan. Olivia Moore’s version of Hopelessly Devoted was simply flawless, it is such a shame that her character was not as present in the onstage story as the film story.

Unlike the film, Sandy and Dany’s love story is a component that is not as present in the story as in other productions of the musical. This production focuses more on the friendships and relationships between the Pink Ladies and the Burger Place boys. That aside the staging and the lighting of this production were phenomenal. The clever use of lighting from above made for some extra special bits of theatre magic. And Grease Lightning herself was definitely a highlight of the props onstage.

The only criticism I have for this production is that some of the dances weren’t as punchy and poppy as you would hope in a high profile production such as this. The Hand Jive number and the Grease Lightning dance break felt a little messy and clunky and not as sharp and on beat as previous productions of Grease.

Overall, this show is a lot of fun through and through. With iconic songs under its sleeve and a beautifully diverse cast to perform them the summer nights ahead for the west end will be simply amazing. Complete with a fun megamix at the end this show is bound to keep you singing and dancing all the way home.