Park Theatre, Finsbury Park – until 2nd April 2022
Reviewed by Bobbi Fenton
5*****
‘Ghosts of the Titanic’ is honestly indescribably good. It follows Emma (Genevieve Gaunt) in her hunt for the truth about the sinking of the Titanic, because her fiancé had died in the sinking, playing in the ship’s band. She believes that the Titanic was doomed to sink from the moment it left the Belfast port, listing different factors such as the fire in the hull, and that she believes that the photo of the iceberg with red paint on it is fake. She meets dodgy ‘newspaper reporter’ Molloy (John Hopkins) who convinces her to help him to write a story for a newspaper. Along the way on her quest for justice, she meets McBride (Fergal McElherron) who had worked on the Titanic while it was in construction, and therefore knows about the shortcuts taken by the higher-ups. His brother, who worked on the ship up to its departure, is also among the many who died in the sinking. Emma begins to uncover the truth with the help of McBride and newspaper publisher Swanson (Lizzy McInnerny) who gives her a folder of evidence of the corruption by the rich men who own everything in the country. By the end of the play, the audience is left wondering what the truth is, as it is a very ambiguous ending. Either Emma is a scam artist looking for a large pay out, she is insane and is believing a delusion about the Titanic and her fiancé, or she is being kept in a mental hospital by the corrupt higher ups who don’t want the truth to expose them. I personally cannot make up my mind, because the amazing acting by Genevieve Gaunt makes it very difficult to decide which ending makes the most sense.
The costumes are beautifully designed by Neil Gordon, and look very authentic to the fashion of 1915, further allowing the audience to immerse themselves in the story. This is further aided by the size of the theatre. The theatre being quite small means that the audience feel more involved and immersed in the show.
When we think about the Titanic, everybody thinks about the passengers of Titanic, but it is rare that we think about the effects on other people, and this show forces us to do this, in a brilliant way. This show is a phenomenal representation of how the Titanic sinking affected the people who weren’t on the ship, but had loved ones who were.
AND THE MOST NOMINATED NEW MUSICAL IN THIS YEAR’S OLIVIER AWARDS
BACK TO THE FUTURE THE MUSICAL
EXTENDS PERFORMANCES AT THE
ADELPHI THEATRE
IN LONDON’S WEST END
NOW BOOKING UNTIL 23 OCTOBER 2022
OFFICIAL CAST RECORDING RELEASED TODAY
Due to overwhelming demand, lead producer Colin Ingram together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that BACK TO THE FUTURE The Musical’s performances at the Adelphi Theatre in London’s West End will extend to 23 October 2022. Tickets on sale now. The critically acclaimed Olivier Award-nominated and WhatsOnStage Award-winning Best New Musical had its opening night in London on Monday 13 September 2021.
The much anticipated Original Cast Recording released on Sony Music’s Masterworks Broadway label is out today, exactly two years since the world premiere opening night performance of the musical at Manchester Opera House, featuring the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode.
Last month, BACK TO THE FUTURE The Musical won four WhatsOnStage Awards, including the coveted award for Best New Musical. Other awards included Best Supporting Performer in a Male Identifying Role in a Musical for Hugh Coles, Best Lighting for Tim Lutkin and Best Sound for Gareth Owen. This week, the musical received seven Olivier Award nominations, making it the most nominated new musical this year, including Best New Musical, Best Actor in a Musical for Olly Dobson, Best Actor in a Supporting Role in a Musical for Hugh Coles and Best Original Score or New Orchestrations for Alan Silvestri and Glen Ballard; Orchestrations: Ethan Popp and Bryan Crook.
Producer Colin Ingram said, “I’m so delighted to announce the release of our fantastic cast album today, which has been produced by multi-Grammy Award-winners Alan Silvestri and Glen Ballard together with Nick Finlow in partnership with Sony Music’s Masterworks Broadway label. As we break box office records at the Adelphi Theatre and celebrate 7 Olivier nominations along with winning Best New Musical at the WhatsOnStage Awards, I look forward to announcing other productions throughout the world soon.”
BACK TO THE FUTURE The Musical stars Roger Bart and Olly Dobson as ‘Dr Emmett Brown’ and ‘Marty McFly’ respectively, with Hugh Coles as ‘George McFly’, Rosanna Hyland as ‘Lorraine Baines’, Cedric Neal as ‘Goldie Wilson’, Aidan Cutler as ‘Biff Tannen’, Courtney-Mae Briggs as ‘Jennifer Parker’, Will Haswell as ‘Dave McFly’, Emma Lloyd as ‘Linda McFly’ and Mark Oxtoby as ‘Strickland’. Also in the cast are Rhianne Alleyne, Amy Barker, Matthew Barrow, Joshua Clemetson, Jamal Kane Crawford, Morgan Gregory, Sam Harvey, Ryan Heenan, Cameron McAllister, Alessia McDermott, Laura Mullowney, Nic Myers, Shane O’Riordan, Katharine Pearson, Justin Thomas, Oliver Roll, Melissa Rose, Charlotte Scott and Tavio Wright.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.
Website: BackToTheFutureMusical.com
Twitter: @BTTFmusical
Instagram: @BTTFmusical
LISTINGS INFORMATION
BACK TO THE FUTURE The MusicalAdelphi Theatre Strand Covent Garden London WC2R 0NS Current booking period to 23 October 2022 Group Bookings available to 11 February 2023
Performances:
Mondays, Wednesdays – Saturdays at 7.30pm, Thursday & Saturday matinees at 2.30pm, Sundays at 3pm (Please note, there will be additional matinees at 2.30pm on Wednesday 19 July and Friday 21 October and no weekday matinee w/c 10 October)
Tickets: from £19.55
Please book via the website: BackToTheFutureMusical.com – no booking fees
The Rocky Horror Show returns to York on Monday 14 March 2022 and on the Tuesday of that week Kristian Lavercombe celebrates his 2000th performance as Riff Raff in the show. The Rocky Horror Show first began life in 1973 before an audience of just 63 people in the Royal Court’s Theatre Upstairs. It was an immediate success and transferred to the Chelsea Classic Cinema, before going on to run at the Kings Road Theatre, 1973-79 and the Comedy Theatre in the West End, 1979-80. In 1975 it was transformed into a film called ‘The Rocky Horror Picture Show’. This film adaptation took over $135 million at the Box Office and is still shown in cinemas around the world more than 40 years after its premiere, making it the longest running theatrical release in cinema history. Many stars including Russell Crowe, Tim Curry, Susan Sarandon, Jerry Springer, Jason Donovan and Meatloaf have appeared in The Rocky Horror Show over the past 45 years.
Directed by Christopher Luscombe, the smash hit show features all of the famous musical numbers which have made The Rocky Horror Show such a huge hit for over four decades, including “Sweet Transvestite”, “Science Fiction/Double Feature”, “Dammit Janet” and, of course, the timeless floor-filler, “The Time-Warp” – this is perfect show to help people forget the doom and gloom of recent months.
The Rocky Horror Show tells the story of Brad and his fiancée Janet, two squeaky clean college kids who meet Dr Frank’n’Furter by chance when their car breaks down outside his house whilst on their way to visit their favourite college professor. It’s an adventure they’ll never forget, with fun, frolics, frocks and frivolity, bursting with timeless songs and outrageous outfits. The Rocky Horror Show is a guaranteed party, which famously combines science-fiction, horror, comedy and music while encouraging audience participation – meaning, of course, getting dressed-up in the most outrageous fancy dress.
This musical extravaganza continues to play to packed houses as it tours the length and breadth of the UK with a stellar cast that is showing no signs of slowing down! Theatre is in full throttle and this extraordinary cast is ready to deliver a guaranteed party not to be missed.
Digital Theatre+ partners with Sonia Friedman Productions to Provide Education Platform for Walden
Photographer Johan Persson
From Thursday 10th March 2022, schools, universities, and educational institutions all over the world will be able to see the digital streaming of Walden – the fresh and ambitious debut play by Amy Berryman. Walden stars Gemma Arterton, Fehinti Balogun and Lydia Wilson and is directed by Ian Rickson.
Running at 100 minutes, the production was filmed for the screen in May 2021 during its run at the Harold Pinter Theatre. The new streaming for education institutions is thanks to a partnership with producers Sonia Friedman Productions in association with Stage2View and Digital Theatre+, Digital Theatre’s education platform.
Set in the Colorado of the near future, Walden explores the intensity of familial love and loss against the backdrop of a climate emergency encroaching ever closer. After returning from a year-long Moon mission, Cassie, a NASA botanist, finds herself in a remote cabin in the woods, where her estranged twin sister, Stella, a former NASA architect, has found a new life with climate activist Bryan. Old wounds resurface as the sisters attempt to pick up the pieces of the rivalry that broke them apart.
Now this critically acclaimed play will be made available to students, and this will be followed by the release of a suite of educational resources for the play, produced by Digital Theatre+ designed to support teachers and educators in inspiring and engaging students studying.
The collaboration between Digital Theatre + and Sonia Friedman Productions follows earlier successful collaborations on Funny Girl (with Sky) Ghosts (with the Almeida) and most recently Uncle Vanya (with Angelica Films and the BBC) and is among a number of Digital Theatre+ partnerships with theatres and producers worldwide to capture and share original content with the education sector. Educational support packages are tailored to fit each production and can include including biographies, documentaries, essays, lectures, workshops, study guides, and interviews alongside other learning aids.
Sonia Friedman said: ““We’re thrilled to renew our collaboration with Digital Theatre+, following the enormous success of Uncle Vanya, by introducing Walden to students and educators worldwide. Walden is very much part of this moment – a new play by a new writer, Amy Berryman, bringing a fresh voice and perspective to address timely and timeless themes including the climate crisis and sustainability, sisterhood, personal responsibility and, ultimately, hope.”
Joshua Andrews of Stage2View comments: “Stage2View are honoured to have financed and produced the film capture of Sonia Friedman’s exquisite production of Walden. As theatre producers ourselves, we share Sonia’s desire to maximise accessibility and audience reach of such high-quality productions and stage performances, and in doing so celebrate the return of live theatre. It’s been a pleasure to collaborate with Sonia, the brilliant Ian Rickson and the whole Walden team.”
Neelay Patel, CEO of Digital Theatre+ said “We are incredibly pleased that Digital Theatre+ will now allow educational institutions to see to this compelling new work. Not only is it a very strong piece of writing and performance that throws a spotlight on the intricacies of personal relationships, but vitally important, it also provides a powerful analysis of the environmental crises we are all facing – something Digital Theatre+ is passionate about helping to communicate via education.
Digital Theatre+ is a global educational platform focused on the teaching of English and Performing Arts. The company works with all levels of education from age 11 up to Higher Education. Digital Theatre+ partners with the theatre industry, sharing captured and original content globally with educators and students from companies such as Frantic Assembly, Royal Shakespeare Company, Gecko, Complicite and the Lincoln Centre. DT+ works with theatre professionals to support their commitment to education, and to help instil a passion for theatre in young people that will help create the theatre goers of tomorrow.
Old meets new in Haworth, Bradford as the Brontë sisters are placed in a 21st century hair salon. Charlotte is strong-minded, clever and ambitious. Emily is fiercely independent and has a deep love for nature. Anne is cheerful and gentle and a feminist through and through. Each of them is different yet they all share a wonderful talent for writing.
Written by Kirsty Smith and Kat Rose-Martin, this modern take on three of England’s best known female writers is well worth a watch. Keeley Lane, Joëlle Brabban and Stephanie Rutherford who play Charlotte, Emily and Anne respectively embody the image of a true Yorkshire lass and encapsulate the personality of each of the Brontë sisters. From the first few seconds of the production, it was clear which actress was playing which sister and their characterisation only got better as the show went on.
In a time where older literary works may be pushed aside for something more contemporary, it is important for us to protect national jewels like Wuthering Heights, Jane Eyre and The Tenant of Wildfell Hall. What better way to do that then to liken the authors to women who exist in today’s day and age? In fact, this production makes you question whether women today are really altogether that different to women from the 19th century. Add a few up-to-date cultural references and a bit of modern music from sound designer Christella Litras and many young women are able to resonate with the hopes, dreams and frustrations of the Brontë sisters.
Costumes and set by Kevin Jenkins are realistic and are elegantly simple, paving the way for the talents of the actresses and director, Chantell Walker, to be highlighted. Walker’s direction is dynamic as she plays with levels and uses the forefront and background of the stage to highlight each character in turn. Additionally, her use of physical theatre alongside musical interludes breaks up the dialogue to provide some variety throughout.
Whether you are more of a Charlotte, Emily or Anne, Jane Hair provides something for everyone. If you haven’t read their stories yet, you’ll leave the theatre feeling excited to get started. For something classic with a modern twist, get yourself down to the Brontë’s hair salon.
CONSUMED BY KARIS KELLY ANNOUNCED AS THIS YEAR’S WINNER OF THE WOMEN’S PRIZE FOR PLAYWRITING
Consumed by Karis Kelly is today announced as the winning script for The Women’s Prize for Playwriting 2021. The Prize, now in its second year, is produced by Ellie Keel and Paines Plough, with Principal Partner 45North and in association with Sonia Friedman Productions.
The competition opened on 7 April 2021 and received over 850 entries which were judged by Arifa Akbar, Mel Kenyon (Chair), Lucy Kirkwood, Jasmine Lee-Jones, Winsome Pinnock, Indhu Rubasingham, Jenny Sealey, Nina Steiger, Nicola Walker, and Jodie Whittaker. From 8 finalists, Karis Kelly was awarded the prize of £12,000 at a ceremony held today at The London Library, with whom The Women’s Prize for Playwriting is entering a new partnership.
The winning playwright, Karis Kelly, is currently on attachment with the Lyric Theatre, Belfast, and Consumed is set to be programmed in 2023.
On winning the award, Kelly said today “I’m absolutely blown away to be the Winner of the 2021 Women’s Prize for Playwriting. In today’s theatre ecology, we really do need programmes that highlight female and female identifying voices. I’m so proud to be a part of its legacy. Like many others in the arts, during the pandemic, I had a complete crisis of faith, and was considering a complete career change! So, to go from that point, to receiving recognition from such an amazing prize and panel of judges is genuinely a dream come true.”
Also announced today Artistic Director of Kiln Theatre, Indhu Rubasingham, will take on the role of Chair of Judges for the third annual Women’s Prize for Playwriting, with submissions opening in the summer.
Ellie Keel, Founder Director of The Women’s Prize for Playwriting, today said, “To say that I’m delighted with this outcome would be an understatement – I’m so thrilled that this warm, funny, deft, sharply observed play has won the Prize in our second year. We’ve got a long way still to go in terms of parity between male and female writers on major stages and I hope that the exceptional plays brought together under the banner of this Prize demonstrates that there’s no shortage of talent: only, in some places, a reluctance to recognise it or give it a chance. It is time for the theatre industry to make sure it’s putting as much faith in female writers as they have to put in themselves to get plays written. It’s an exciting time – we can’t wait to produce Consumed in 2023, along with all the other producing activity that’s planned for the prize this year and next.”
Katie Posner and Charlotte Bennett, joint Artistic Directors of PainesPlough,added, “We distinctly remember calling each other after we first read Consumed to share that we had both been howling with laughter, moved and shocked all within the first 10 pages – we love the unpredictability of this script, the metaphor that sits at the heart of the story and the way it centralises women’s stories across four generations. Karis is a bold and thrilling theatrical voice who we are privileged to now be working with at Paines Plough.”
Jessica Rose McVay, Emily Carewe and Charlie Lees-Massey from 45North said, “The incredible scope of the finalist plays this year once again show the depth and breadth of the work women are writing. Each of these plays are rich in their storytelling; personal and touching in their characters; and bold in their theatricality. Consumed speaks to generational trauma and love, and at its heart is theatrically thrilling – we cannot wait to see it on stage!”
CONSUMED
By Karis Kelly
Four generations of Northern Irish Women: a house full of hungry ghosts, with more than one skeleton in the closet.
Bangor, Northern Ireland. It’s Eileen’s 90th birthday, and her neurotic daughter Gilly is fussing, trying to organise her impending party. Gilly hasn’t finished unpacking the shopping when her high-flying daughter Jenny arrives from London with her worryingly thin daughter Muireann in tow. That makes four generations of Gillespie women in one room, and you could cut the tension with a knife. As the women prepare for a party that no one seems to want, the atmosphere turns decidedly sinister as deep-rooted recriminations and accusations fly out of the women like weapons. Obsessions and compulsions have spread through the lineage like poison. This is a house full of hungry ghosts and there’s definitely a few skeletons in the closet…
Karis Kelly is a playwright, theatre maker and educator. She has previously been the Literary Assistant at the Bush Theatre and Literary Associate at Theatre503 and has been awarded the 2022 Peggy Ramsay Bursary to be the writer in residence at The Lyric, Belfast. Her short plays have been performed at Hampstead Theatre, Gate Theatre and Arcola Theatre, and presented by Hightide Theatre and Headlong.
BIRMINGHAM HIPPODROME – UNTIL SATURDAY 26TH MARCH 2022
REVIEWED BY NADIA DODD
5*****
Most people will know this classic fairytale story of Belle who finds herself captured in an enchanted castle by the Beast, who has to find his true love to break the spell, turning himself back into a handsome Prince and his staff back into real people, but this show by Disney Theatrical Productions is just simply magical.
The show opens with a recorded prologue by Angela Lansbury, the narrator who sets the scene and introduces the audience to the Beast. The stage is very cleverly switched with effects from the enchanted castle, Belle’s home with her father, Maurice (Martin Ball) and a very dark scary wood where there were some great scenes of a ‘wolf attack’ accompanied by the live orchestra who were amazing throughout the evening.
There were time when I felt I was watching a movie with such creativity and invention behind the video production on such a great set that has really seen Disney shine when it comes to bright visuals and some amazing special effects.
Our Belle during this performance was played by the very talented Grace Swaby-Moore, who looking in the programme would usually be part of the ensemble. Her voice was so angelic and pitch perfect that it really does show how important ensemble and swing performers are when they take over a lead role as Grace proved tonight.
The Beast played by Shaq Taylor also had a stunning voice, he played the role perfectly, making the audience feel almost sorry for him when he was trying to win over Belle to see him for who he really is inside.
The cast have polished their dance scenes to a tee, seeing the male cast performing acrobatics to the whole ensemble tap dancing it was a delight for all to see so much colour and vibrancy taking place before your eyes.
My favourite part was the song ‘Be our Guest’ where it was almost like a Hollywood dance number from years ago. Bright and colourful to cheer up a dark March evening in Birmingham !
Lumiere played by Gavin Lee had the audience in stitches with his presence on the stage – he was cast perfectly for this role and had a fabulous French accent.
If I could rate this show more than 5 stars I would, this truly is what Disney does best, creates a magical, spellbinding atmosphere and truly deserved the standing ovation at the Hippodrome tonight.
Award winning actor Jung Sun den Hollander and Kwong Loke star in David Lanes expertly written ‘What Remains of Us’, Depicting the first meeting for 50 years between a North and South Korean Father and Daughter, we witness 3 days of pure emotion as this true event is brought to the stage.
Jung Sun den Hollander as ‘Seung Ki’ is superbly cast, displaying raw emotion and encapsulating the audience perfectly. Together with Kwong Loke as her father ‘Kwan-Suk’ this brilliantly emotive piece will show you the horrors and reality of life on either side of Korea. This pairing is fantastic, with such a beautiful rapport that you could cut the tension with a knife and laugh with them in the same breath. Over the course of 3 days, we watch the pair get closer, unravelling their lives to each other and how they have both been affected by the war. David Lane and Sita Calvert-Ennals, writer and director, have been exceptionally sensitive to the subject matter and have told the story perfectly.
In the midst of the 90 minute piece, there was artistic movement, choreographed by Dan Canham. Whilst I understand what was intended to be achieved, I felt that this movement broke up what was a highly emotive performance, leaving me confused and then having to get back into the story once it was over.
This is a great piece that should definitely be watched as we remember the horrors of the past, and is exceptionally poignant with the currant climate of the world. There was also, a donation bucket at the end of the piece for Ukraine action, however I would have liked to have seen a bit more about this on social media-please take a few pennies if you can!
This compelling show is a treat, that you should try and see before it closes the borders for good.
Peppa Pig’s Best Day Ever! is based on the well-loved children’s television series. There have been other Peppa Pig tours, this is the latest, but the first I have seen. Accompanying me was my 3-year-old grandson, who especially loves George and his dinosaur. This is the first time he’s been to a live theatre and was so excited.
Guided by a very perky Daisy, Peppa’s human friend, the story follows Peppa, her brother George, Mummy and Daddy Pig, all looking forward to a special day out in the families red car. It promises to be their best day ever, full of all sorts of adventures.
Off they go, only to be thwarted at their first hurdle by roadworks and a burst watermain, but they do eventually get on their merry way. A visit to some caves and a castle ensues and we get to meet a variety of characters, the enormous dragon receiving the most attention, after the initial sighting of Peppa that is.
Mummy and Daddy Pig were played by adults in costumes, with Peppa and George as puppets, with actors operating their actions from behind. They all looked just like the characters on television, was very effective and put to best use. When the dragon came out it was a definitive wow from us, but occasionally, as he was moving around on stage, you could see the actor controlling him. It would have been better to have him always covered up, just to keep the illusion going. The set was very cartoonish and just what you would expect from Peppa Pig.
Our favourite bit was getting wet through the burst watermain. We spied water guns being fired from the grand circle onto the audience. My little man was full of it when he got home, full of tales about George getting him wet, it wasn’t George but that is his favourite character.
The show is 1 hour 20 minutes long, which includes a 20-minute interval. The interval was unnecessary, it would have worked a lot better with running straight through. The story is a bit lacking though and didn’t fully engage, certainly not the best day out. I found it quite repetitive really and padded out with a lot of unforgettable songs. The actors did what they could with what they had.
It is still a joy to watch the expressions on the children’s faces when they first see their favourite cartoon characters, and it’s great that they are experiencing live theatre, long may it continue. We have a few more outings planned and can’t wait!
DREAMBOATS AND PETTICOATS: BRINGING ON BACK THE GOOD TIMES– PRODUCTION IMAGES
PHOTOS BY JACK MERRIMAN
BILL KENWRIGHT ANDLAURIE MANSFIELD
PRESENT
DREAMBOATS & PETTICOATS:
BRINGING ON BACK THE GOOD TIMES
WITH SIXTIES POP SINGING HEARTTHROB MARK WYNTER JOINING THE CAST FOR THE THIRD MUSICAL INSTALMENT
BOOK BY LAURENCE MARKS & MAURICE GRAN
Bobby & Laura, Norman, Sue & the gang get back together for the follow-on musical inspired by the million selling albums.
Hit recording star of Venus in Blue Jeans, Go Away Little Girl, It’s Almost Tomorrow and many more, Mark Wynter will be joining a company of established Dreamboats and Petticoats favourites from the past fifteen years.
Elizabeth Carter and David Ribi, Dreamboats and Petticoats’ most successful ever co-stars, lead the cast in the third musical inspired by the latest release in the series of smash-hit, multimillion selling Dreamboats & Petticoats albums, Bringing On Back The Good Times is filled with wit, charm and songs from the golden era of Rock ‘n Roll.
The production opens at Theatre Royal Windsor this February and will tour throughout the year.
Bringing on Back the Good Times finds Laura (Elizabeth Carter) with a successful solo career but her partner on their number one hit record Dreamboats and Petticoats’ Bobby (David Ribi) has left the spotlight and decided to re-join his former group Norman and The Conquests at St Mungo’s Youth Club.
The adventures that Bobby and Laura and of course Norma and Sue, and Donna and Luke (the group’s manager) go through together, include a season at Butlins, and an appearance at The Eurovision Song Contest – but most of all leads them straight back into each other’s arms and bringing on back the good times indeed.
With book by Laurance Marks and Maurice Gran and musical supervision by Keith Strachen, Bringing on Back the Good Times is packed with some of the greatest songs ever written, from Roy Orbison, Eddie Cochran, Elvis Presley, The Walker Brothers and many, many more, and will once again have audiences all over the country jiving in the aisles and singing along with their memories.
