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FULL CAST CONFIRMED FOR THE ACCLAIMED NEW LONDON PALLADIUM PRODUCTION OF

UK & IRELAND TOUR BEGINS IN MANCHESTER,

WEDNESDAY 23 MARCH 2022

The Narrator to be played by ALEXANDRA BURKE and LINZI HATELEY

at select venues across the tour

They will be reunited with JASON DONOVAN – the original Joseph –

now in the role of Pharaoh

JAC YARROW will wear the Dreamcoat, following his

critically acclaimed professional stage debut in the iconic lead role

Michael Harrison and the Really Useful Group are delighted to confirm the full cast for the sensational brand-new production of Tim Rice and Andrew Lloyd Webber’s Joseph and The Amazing Technicolor Dreamcoat, which begins a UK & Ireland Tour at Manchester Opera House on Wednesday 23 March.

Alexandra Burke will play The Narrator at select venues across the tour. Her many West End credits include the lead roles in The Bodyguard, Sister Act, Chess and Chicago, as well as starring as the Narrator in the celebrated production of Joseph at the London Palladium last summer. Alexandra first rose to fame winning The X-Factor in 2008, and has since gone on to sell over 5 million records.

Linzi Hateley will also play the role at other venues. Linzi is an Olivier Award nominee and Theatre World Award winner who has starred on Broadway, in the West End, with the RSC, and at the National Theatre. She now returns to the role of the Narrator, having first starred in Joseph and the Amazing Technicolor Dreamcoat in 1991 opposite Jason Donovan and Phillip Schofield at the London Palladium – for which she received an Olivier Award nomination for Best Actress in a Musical.

Jason Donovan will reprise his role as Pharaoh, which he performed at the London Palladium in 2019 and 2021. He was originally in the show when he made his defining stage performance as the title character of Joseph in the 1990s, in a sold-out 18-month run which produced a No.1 single and best-selling soundtrack album. Jason raised the roof of the London Palladium during the show’s 2019 and 2021 engagements as Pharaoh, who rocks ‘Song of the King’ in the musical.

Jac Yarrow prepares to don the famous coat in the titular role on tour, having caused a sensation when he made his professional stage debut playing Joseph, following in the footsteps of a line of stars who have previously played the title character. His portrayal of Joseph won him unanimous acclaim and an Olivier Award nomination, with his rendition of ‘Close Every Door To Me’ regularly stopping the show with standing ovations.

Producer Michael Harrison says of today’s announcement:

“After two sensational runs at The London Palladium, I am delighted that this joyous show is now set to unite audiences and spread happiness across the UK & Ireland on tour. Our ‘dream team’ casting will enchant newcomers and longstanding fans alike – GO! GO! GO! JOSEPH!”

Audiences and critics were unanimous in their acclaim for the legendary musical – the first major collaboration by Tim Rice and Andrew Lloyd Webber – when it returned to the London Palladium in 2019 and again in 2021.

The role of Pharaoh will be played by Bobby Windebank at the venues across the tour where Jason Donovan does not perform. Bobby was part of the 2021 company when the show played the season at the London Palladium.

The full company includes ERICA JAYNE ALDEN, SHANE ANTONY-WHITELY, NATALIE BENNYWORTH, JABARI BRAHAM, BEN BROOKER, GEMMA BUCKINGHAM, THALIA BURT, MEG DARCY, ALEXANDER DAY, TYLER EPHRAIM, IVÁN FERNÁNDEZ GONZÁLEZ, ZAC FRIEZE, MATT GIBSON, WILL HAWKSWORTH, SAMUEL JOHN-HUMPHREYS, CLAIRE LANDER, ABBIE PLATTS, NATHAN RIGG, ROCHELLE SHERONA, SAMANTHA SHUMA, SAM STONES and HOLLY WILLOCK.

The young actors are TOMMY ADAMS, AVA BELLE ALEXANDER, HECTOR BALDWIN, KELSEY BALLA, ZACH BENT, DYLAN BROOKS, MEI CHIU, ESME CONNOLLY, HETTIE CONNOLLY, BRYSON DEKKER, PHOEBE EASOM, JAX FENNER, LUCA FOSTER-LEJEUNE, MAX GARLICK, LOLA GREEN, BELLA HARDING, LUKE JURY, MATEO LECHEA, NAOMI LIM, OCEAN MONILAL, TORYN O’CALLAGHAN, MATILDA O’SULLIVAN, BLYTHE RAILTON, ROXY RELF, HOLLY-JADE ROBERTS, EDEN ROWE, NANDINI SHARMA, POPPY MEI SOON, HALLE STEVENS, JOSHUA WAHAB, BUDDY WAY, LILI WHITEHOUSE.

Joseph and the Amazing Technicolor Dreamcoat is directed by Laurence Connor. Laurence’s credits include the acclaimed London production of School of Rock and the Tony-Award nominated production on Broadway, the recent London productions of Miss Saigon and Chess, the international arena tour of Jesus Christ Superstar and he is also the Co-Director of the new version of Les Misérables which has enjoyed worldwide success including Broadway, UK and US tours. He is the director of Andrew Lloyd Webber’s new production of Cinderella at the Gillian Lynne Theatre.

JoAnn M Hunter (who has 20 Broadway shows to her credit, including School of Rock and On A Clear Day You Can See Forever) is the show’s choreographer, set and costume design are by the award-winning Morgan Large with Ben Cracknell as Lighting Designer and Gareth Owen as Sound Designer.

Released as a concept album in 1969,the stage version of Joseph and the Amazing Technicolor Dreamcoat has become one of the world’s most belovedfamily musicals. The multi-award-winning show, which began life as a small-scale school concert, has been performed hundreds of thousands of times including multiple runs in the West End and on Broadway, international number one tours, and productions in over 80 countries as far afield as Austria and Zimbabwe and from Israel to Peru! The show features songs that have gone on to become pop and musical theatre standards, including Any Dream Will Do, Close Every Door To Me, Jacob and Sons, There’s One More Angel In Heaven and Go Go Go Joseph.

Told entirely through song with the help of the Narrator, Joseph and the Amazing Technicolor Dreamcoat follows the story of Jacob’s favourite son Joseph and his eleven brothers. After being sold into hardship by the brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled showman, the Pharaoh. As Joseph strives to resolve Egypt’s famine, he becomes Pharaoh’s right-hand man and eventually reunites with his family.

Joseph and the Amazing Technicolor Dreamcoat is produced by Michael Harrison.

The Gruffalo: Pay It Forward
at Hackney Empire

Wednesday 6 – Friday 8 April 2022

Tall Stories and Hackney Empire are offering opportunities for local families in-need to experience the magic of theatre.

Oh help! Oh no! It’s a Gruffalo at Hackney Empire this Easter, Wednesday 6 – Friday 8 April.

Join Mouse on a daring adventure through the deep, dark wood in Tall Stories’ magical, musical adaptation of the nation’s favourite picture book by Julia Donaldson and Axel Scheffler.

With audiences’ support even more children’s lives can be enriched by this theatrical experience.

Hackney Empire’s audiences will have an opportunity to donate the price of a theatre ticket, or tickets, to give local families, who wouldn’t ordinarily be able to afford a trip to the theatre, an opportunity to see The Gruffalo too.

Tall Stories and Hackney Empire will be collaborating with local community organisations including the Hackney Marsh Partnership and their Concorde Youth Hub on the Kingsmead Estate and Stoke Newington Youth Hub on the Milton Garden Estate; Hackney Migrant Centre who support refugees, asylum seekers and other migrants in need; and E5 Baby and Children Bank who work with refugee families, trafficked women, survivors of domestic abuse and parents affected by the pandemic offering support and essential items generously donated by the local community.

Beautine Wester, the founder of E5 Baby and Children Bank, is delighted to be involved with The Gruffalo: Pay It Forward saying: 

‘What a great initiative. It will benefit a lot of our families, who do not have disposable incomes and are living on the breadline, to afford a show. Many are young carers and live in one-bedroom temporary accommodation. They have seen and experienced terrible domestic violence, poverty, hunger and school detentions due to many factors. This initiative will help them mentally and put a spring in their feet!!’

WINNERS ANNOUNCED FOR THE

22^ND ANNUAL WHATSONSTAGE AWARDS

• FROZEN LEADS THE FIELD WITH 7 WINS FROM 13 NOMINATIONS, HOWEVER IT IS PIPPED TO THE POST FOR BEST NEW MUSICAL BY BACK TO THE FUTURE THE MUSICAL
• 2:22 A GHOST STORY LEADS THE STRAIGHT PLAY CATEGORIES WITH 3 WINS FOR BEST NEW PLAY AND ACTING NODS FOR LILY ALLEN AND JAKE WOOD
• EDDIE REDMAYNE, CARRIE HOPE FLETCHER, HUGH COLES AND CARLY MERCEDES DYER WIN MUSICAL THEATRE ACTING AWARDS
• IAN MCKELLEN RECEIVES THE AWARD FOR SERVICES TO THEATRE

At a ceremony tonight at the Prince of Wales Theatre hosted by Jodie Prenger and Tom Read Wilson, the winners of the 22^nd Annual WhatsOnStage Awards were announced – the only major theatre awards decided entirely by the theatregoers themselves.

WhatsOnStage’s Sarah Coleman said today, “Today’s awards are testament to the brilliance and resilience of an industry, who even in the bleakest moments of the past two years kept faith and kept going. The breadth of talent honoured today – in the first major theatre awards to return in full post pandemic – demonstrates that theatre is back, and then some. And today we also honour the audiences who stuck with us, and have voted this year in numbers never seen before. We’re nothing without them, and we are enormously grateful for their unwavering support. Together we build our industry back.”

The big winner of the night was Frozen with 7 awards from its 13 nominations, receiving Best Direction for Michael Grandage, Best Set Design and Best Costume Design for Christopher Oram, Best Choreography for Rob Ashford, Best Video Design for Finn Ross, Best Musical Direction or Supervision for Stephen Oremus and Best Graphic Design for Bob King Creative.

However, the coveted Best New Musical Award went to Back to the Future the Musical, which received 4 awards in total – additionally, Best Supporting Performer in a Male Identifying Role in a Musical        for Hugh Coles, Best Lighting Design for Tim Lutkin, and Best Sound Design for Gareth Owen.

Musical theatre acting honours went to Eddie Redmayne for his turn as the Emcee in Cabaret, and previous WhatsOnStage Award-winner Carrie Hope Fletcher for Andrew Lloyd Webber’s Cinderella. In the supporting categories, Carly Mercedes Dyer won for Anything Goes, alongside Coles for Back the Future the Musical. Anything Goes also triumphed in the Best Musical Revival category.

Dominating the straight play categories was 2:22 A Ghost Story – which is about to begin its 3^rd West End run in less than a year – taking Best New Play, as well as Best Performer in a Female Identifying Role in a Play for Lily Allen; and Best Supporting Performer in a Male Identifying Role in a Play for Jake Wood. Winning Best Play Revival was Cyrano de Bergerac, which also saw James McAvoy win for his critically acclaimed performance. Completing the straight play acting categories, Akiya Henry won for Best Supporting Performer in a Female Identifying Role in a Play for The Tragedy of Macbeth.

In recognition of his extraordinary career, and the incredible undertaking of his 80^th birthday tour, and the fundraising efforts on behalf of theatres and arts organisations across the UK, Ian McKellen receives the Services to Theatre Award.

Hope Mill Theatre’s production of RENT takes Best Regional Production; with My Son’s a Queer but What Can You Do?wining Best Off-West End Production; and in the most closely run contest of the night, SIX wins Best West End Show by just 7 votes.

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Twitter @WhatsOnStage #WOSAwards

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THE NOMINEES IN FULL – WINNERS IN BOLD:

BEST PERFORMER IN A MALE IDENTIFYING ROLE IN A MUSICAL – SPONSORED BY INTERNATIONAL COLLEGE OF MUSICAL THEATRE

Roger Bart – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Olly Dobson – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Arinzé Kene – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Julian Ovenden – South Pacific, Chichester Festival Theatre

Eddie Redmayne – Cabaret, Playhouse Theatre – Kit Kat Club

Ivano Turco – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

BEST PERFORMER IN A FEMALE IDENTIFYING ROLE IN A MUSICAL – SPONSORED BY LONDON THEATRE DIRECT         

Aimie Atkinson – Pretty Woman, Piccadilly Theatre & Savoy Theatre

Samantha Barks – Frozen, Theatre Royal Drury Lane

Jessie Buckley – Cabaret, Playhouse Theatre – Kit Kat Club

Carrie Hope Fletcher – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

Beverley Knight – The Drifters Girl, Garrick Theatre

Stephanie McKeon, Frozen, Theatre Royal Drury Lane

BEST SUPPORTING PERFORMER IN A MALE IDENTIFYING ROLE IN A MUSICAL – SPONSORED BY TANDEM MARKETING           

Blake Patrick Anderson – Be More Chill, The Other Palace & Shaftesbury Theatre

Hugh Coles – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Robert Lindsay – Anything Goes, Barbican Centre

Cedric Neal – Back to the Future the Musical – Manchester Opera House & Adelphi Theatre

Oliver Ormson – Frozen, Theatre Royal Drury Lane

Obioma Ugoala – Frozen, Theatre Royal Drury Lane

BEST SUPPORTING PERFORMER IN A FEMALE IDENTIFYING ROLE IN A MUSICAL – SPONSORED BY NEWMAN DISPLAYS

Joanna Ampil – South Pacific, Chichester Festival Theatre

Gabrielle Brooks – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Victoria Hamilton-Barritt – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

Carly Mercedes Dyer – Anything Goes, Barbican Centre

Millie O’Connell – Rent, Hope Mill Theatre, Manchester

Rebecca Trehearn – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

BEST PERFORMER IN A MALE IDENTIFYING ROLE IN A PLAY        

Richard Armitage – Uncle Vanya, Harold Pinter Theatre

Ben Daniels – The Normal Heart, National Theatre

Omari Douglas – Constellations, Vaudeville Theatre

Hadley Fraser – 2:22 A Ghost Story, Noël Coward Theatre

Henry Lewis – Magic Goes Wrong, Vaudeville Theatre & Apollo Theatre

James McAvoy – Cyrano de Bergerac, Playhouse Theatre

BEST PERFORMER IN A FEMALE IDENTIFYING ROLE IN A PLAY – SPONSORED BY EDWARDIAN HOTELS LONDON

Lily Allen – 2:22 A Ghost Story, Noël Coward Theatre

Gemma Arterton – Walden, Harold Pinter Theatre

Sheila Atim – Constellations, Vaudeville Theatre

Emma Corrin – Anna X, Harold Pinter Theatre, The Lowry, Salford

Patsy Ferran – Camp Siegfried, The Old Vic

Saoirse Ronan – The Tragedy of Macbeth, Almeida Theatre

BEST SUPPORTING PERFORMER IN A MALE IDENTIFYING ROLE IN A PLAY            

Stephen K Amos – My Night with Reg, The Turbine Theatre

Dino Fetscher – The Normal Heart, National Theatre

Nathaniel Parker – The Mirror and the Light, Gielgud Theatre

Richard Rankin – The Tragedy of Macbeth, Almeida Theatre

Jonathan Sayer – Magic Goes Wrong, Vaudeville Theatre & Apollo Theatre

Jake Wood – 2:22 A Ghost Story, Noël Coward Theatre

BEST SUPPORTING PERFORMER IN A FEMALE IDENTIFYING ROLE IN A PLAY       

Michelle Fox – Shining City, Theatre Royal Stratford East

Akiya Henry – The Tragedy of Macbeth, Almeida Theatre

Penny Layden – The Ocean at the End of the Lane, National Theatre & Duke of York’s Theatre

Isobel McArthur – Pride and Prejudice* (*sort of), Criterion Theatre

Aimee Lou Wood – Uncle Vanya, Harold Pinter Theatre

Nancy Zamit – Magic Goes Wrong, Vaudeville Theatre & Apollo Theatre

BEST NEW MUSICAL – SPONSORED BY TRAVELZOO                        

Back to the Future the Musical – Adelphi Theatre

Cinderella – Gillian Lynne Theatre

Frozen – Theatre Royal Drury Lane

Get Up, Stand Up! The Bob Marley Musical – Lyric Theatre

Pretty Woman the Musical – Piccadilly Theatre & Savoy Theatre

Moulin Rouge! – Piccadilly Theatre

BEST MUSICAL REVIVAL – SPONSORED BY CONCORD THEATRICALS

Anything Goes – Barbican Centre

Cabaret – Kit Kat Club at the Playhouse Theatre

Carousel – Regent’s Park Open Air Theatre

Rent – Hope Mill Theatre, Manchester

South Pacific – Chichester Festival Theatre

West Side Story – Curve, Leicester

BEST NEW PLAY – SPONSORED BY TICKETMASTER

2:22 A Ghost Story – Noël Coward Theatre

J’ Ouvert – Harold Pinter Theatre, Theatre Royal & Royal Concert Hall Nottingham

Leopoldstadt – Wyndham’s Theatre

Magic Goes Wrong – Vaudeville Theatre & Apollo Theatre

Pride and Prejudice* (*sort of) – Criterion Theatre

The Ocean at the End of the Lane – National Theatre & Duke of York’s Theatre

BEST PLAY REVIVAL – SPONSORED BY AKA         

Constellations – Vaudeville Theatre

Cyrano de Bergerac – Playhouse Theatre

My Night with Reg – The Turbine Theatre

The Normal Heart – National Theatre

The Tragedy of Macbeth – Almeida Theatre

Uncle Vanya – Harold Pinter Theatre

BEST OFF-WEST END PRODUCTION – SPONSORED BY LES MISÉRABLES                 

Anything is Possible if You Think About it Hard Enough – Southwark Playhouse

My Son’s A Queer but What Can You Do? – The Turbine Theatre

Old Bridge – Bush Theatre

Pippin – Charing Cross Theatre

Saving Britney – Old Red Lion Theatre

The Last Five Years – Southwark Playhouse

BEST REGIONAL THEATRE PRODUCTION                             

Bedknobs and Broomsticks the Musical – UK tour

Bloody Elle – A Gig Musical – Manchester Royal Exchange

Rent – Hope Mill Theatre, Manchester

South Pacific – Chichester Festival Theatre

West Side Story – Curve, Leicester

What’s New Pussycat? – Birmingham Repertory Theatre

BEST WEST END SHOW – SPONSORED BY DEWYNTERS   

Come From Away – Phoenix Theatre

Hamilton – Victoria Palace Theatre

Les Misérables – Sondheim Theatre

Six the Musical – Vaudeville Theatre

The Play That Goes Wrong – Duchess Theatre

Wicked – Apollo Victoria Theatre

BEST DIRECTION – SPONSORED BY LOVETHEATRE

Clint Dyer – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Yaël Farber – The Tragedy of Macbeth, Almeida Theatre

Rebecca Frecknall – Cabaret, Kit Kat Club at the Playhouse Theatre

Michael Grandage – Frozen, Theatre Royal Drury Lane

Jamie Lloyd – Cyrano de Bergerac, Playhouse Theatre

Katy Rudd – The Ocean at the End of the Lane, National Theatre & Duke of York’s Theatre

BEST CHOREOGRAPHY  

Rob Ashford – Frozen, Theatre Royal Drury Lane

Drew McOnie – Carousel, Regent’s Park Open Air Theatre

Kathleen Marshall – Anything Goes, Barbican Centre

Shelley Maxwell – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Sonya Tayeh – Moulin Rouge!, Piccadilly Theatre

Ann Yee – South Pacific, Chichester Festival Theatre

BEST SET DESIGN – SPONSORED BY PREEVUE    

Fly Davis – The Ocean at the End of the Lane, National Theatre & Duke of York’s Theatre

Jamie Harrison – Bedknobs and Broomsticks the Musical, UK tour

Tim Hatley – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Derek McLane – Moulin Rouge!, Piccadilly Theatre

Christopher Oram – Frozen, Theatre Royal Drury Lane

Tom Scutt – Cabaret,  Kit Kat Club at the Playhouse Theatre

BEST COSTUME DESIGN

Lisa Duncan – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Christopher Oram – Frozen, Theatre Royal Drury Lane

Tom Scutt – Cabaret,  Kit Kat Club at the Playhouse Theatre

Gabriella Slade – Bedknobs and Broomsticks the Musical, UK tour

Gabriela Tylesova – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

Catherine Zuber – Moulin Rouge!, Piccadilly Theatre

BEST LIGHTING DESIGN – SPONSORED BY WHITE LIGHT

Neil Austin – Frozen, Theatre Royal Drury Lane

Charles Balfour – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Isabella Byrd – Cabaret, Playhouse Theatre, Kit Kat Club

Tim Lutkin – Back to the Future the Musical, Adelphi Theatre

Bruno Poet – Andrew Lloyd Webber’s Cinderella, Gillian Lynne Theatre

Justin Townsend – Moulin Rouge!, Piccadilly Theatre

BEST MUSICAL DIRECTION OR SUPERVISION

Leo Munby – The Last Five Years, Vaudeville Theatre

Tom Deering – Carousel, Regent’s Park Open Air Theatre

Sean Green – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

Justin Levine – Moulin Rouge!, Piccadilly Theatre

Stephen Oremus – Frozen – Theatre Royal Drury Lane

Katy Richardson – Rent, Hope Mill Theatre, Manchester

BEST SOUND DESIGN – SPONSORED BY STAGE SOUND SERVICES

Adam Cork – Leopoldstadt, Wyndham’s Theatre

Adam Fisher – The Last Five Years, Southwark Playhouse & Vaudeville Theatre

Paul Groothuis – South Pacific, Chichester Festival Theatre

Peter Hylenski – Moulin Rouge!, Piccadilly Theatre

Gareth Owen – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Ben and Max Ringham – Cyrano de Bergerac, Playhouse Theatre

BEST VIDEO DESIGN      

Nina Dunn – The Shark is Broken, Ambassadors Theatre

Akhila Krishnan – What’s New Pussycat?, Birmingham Repertory Theatre

Mikaela Liakata and Tal Yarden – Anna X, Harold Pinter Theatre & The Lowry, Salford

Finn Ross – Back to the Future the Musical, Manchester Opera House & Adelphi Theatre

Finn Ross – Frozen, Theatre Royal Drury Lane

Tal Yarden – Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

BEST GRAPHIC DESIGN – SPONSORED BY HEXAGON PRINT

Christopher D Clegg – The Wiz, Hope Mill Theatre, Manchester

Feast Creative – Romeo and Juliet, Regent’s Park Open Air Theatre

Feast Creative – Rent, Hope Mill Theatre, Manchester

Bob King Creative – Frozen, Theatre Royal Drury Lane

Muse Creative Communications – RE:EMERGE Season, Harold Pinter Theatre

Michael Nash Associates- Get Up, Stand Up! The Bob Marley Musical, Lyric Theatre

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Jack Studio Theatre – until 5 March 2022

Reviewed by Claire Roderick

4****

We Are Animate’s slick and streamlined production of Richard II is both an enthralling introduction to Shakespeare and an exciting new version for those already familiar with the play.

The story of the isolated and indulgent Richard being deposed and replaced by Bolingbroke, who handily had a personal grievance to pursue that fit well with the English nobility’s need to rid themselves of a king who was becoming a liability, does not suffer greatly from being shortened. The plotting between the nobles and their hand wringing over whether it was right to remove a man anointed by God are removed, keeping the focus on the battling cousins and their closest allies and galloping through the story in 80 minutes. In lesser hands this would feel rushed, but director Lewis Brown includes musical moments and movement sequences to allow breathing space and also further the plot (Bushy’s execution, in particular, is beautifully choreographed).

The minimalist set painted red, white and black with two platforms on different levels manages to convey the power dynamic of each scene, with Richard relegated to sitting on the floor in the final scenes. The colours of the set are echoed in the costumes of the cast, indicating the loyalties of each faction. Even with less characters featured, some of the cast of eight play multiple roles, but there is no confusion as the costumes clearly show the different characters. The inclusion of only one of Richard’s favourites, Bushy, means that Aumerle (Harriet Barrow) becomes less ambivalent in the early scenes and more vocally Richard’s man, echoing and concentrating his father’s opinions on loyalty – giving greater meaning to his misguided decision to show ultimate loyalty to Henry in the final scenes of the play. Hilary Burns and Lizzy Dive bring an air of world-weary authority to Gaunt and York, and Daniel Ghezzi’s Northumberland has an air of menace that conveys the dubious plotting and selfishness behind the scenes brilliantly. This play depends on two strong leads, and this production doesn’t disappoint. Casting Fleur De Wit as Bolingbroke adds many layers, contrasting her calm and measured confidence with Richard’s emotional and capricious nature to skewer gender stereotypes of leadership. De Wit plays Henry with righteous anger always simmering, but controlled, and the only time she shows any freedom in her emotions is in the leadup to her fight with Mowbray. A beautifully judged performance. Michael Rivers could have chewed the scenery as Richard, but instead delivers a wonderfully nuanced portrayal of an entitled man-child. Rivers’ nails Richard’s casual arrogance and his disdain for those who do not play his games, making him equally funny and infuriating. The emotional outbursts and changeability are believable and even though Richard is a feckless king, Rivers ensures that the audience have sympathy for what is left of the boy that a life on the throne ruined.

Expertly abridged for maximum impact, We Are Animate’s Richard II is well worth a look.

New Theatre, Hull – until Saturday 26th February 2022

Reviewed by Anne Walker

5*****

Last night my son Joseph (13) and I had the pleasure of attending Hull New Theatre to see Acosta Danza 100% Cuban. This dance company was created 6 years ago by Carlos Acosta to harness and develop the young creative dance talent emerging in Cuba and what amazing talent there was to see in this captivating showcase. The ethos of the company is to produce dancers who can combine both classical and contemporary genres which results in action packed performances that explore the islands heritage of dance, rhythm and folklore.

Although the audience was not at full capacity, we were soon transfixed as the first of five pieces began. ‘Liberto’, choreographed by Raul Reinoso, refers to slavery, taking us on a journey of history, mythology and culture. This piece introduces us to two of the companies finest dancers, Zeleidy Crespo and Mario Sergio Elias. With solo moments on stage, they were mesmerising but when they came together as one their fluid movements were almost hypnotic.

The second piece of the night was ‘Hybrid’ choreographed by Norge Cedeno. Ten of the company’s dancers tell a story of the challenges of life on an island and journeys from darkness to light. Based on the myth of Sisyphus it shows the relentless struggle of life with a dystopian feel to the piece. Watching the dancers come together and move as one body was the highlight for me and brought a real feeling of power to the stage.

This led to a short interval where I was able to ask Joseph what he thought so far, he said he was so surprised at how easy the dancers made the difficult movements look, almost like it was no effort at all. Needless to say we were eager to watch the second half. This consisted of three more pieces, ‘Paysage, Soudain, la nuit’, choreographed by Pontus Lidberg, a real celebration of youth with a dreamlike quality. ‘Impronta’ choreographed by Maria Rovira. Zeleidy Crespo danced solo in this piece, representing the water from the most calm to the wild. Her muscular, long limbed body was beautiful to watch, changing from elegant to contorted. Finishing the show was the wonderful ‘De Punta a Cabo’ choreographed by Alexis Fernandez. This was certainly a rousing celebration of Cuban life and its contrasts. From the traditional to the modern, poverty and development. The backdrop to this number was a film of a Havana waterfront with the same dancers often mirroring the movements on stage and screen bringing a whole new dimension to the piece. The dancers costumes were street clothes, crop tops, shorts and trainers which made the piece all the more fun. We felt like we had come along on an evening out, being captivated with the dancing, flirting and sometimes fearless leaps and lifts of the company. Three dancers switched to point shoes half way through, switching up the modern feel with the more traditional. Coming to an end with clapping, whooping, somersaulting, pirouetting and a joyous finale.

Feeling exhilarated after our evening of watching theses amazing performers, we ended our evening with a short question and answer session with four of the dancers including the choreographer Raul Reinoso. This was a fantastic insight into the pieces, giving us a greater understanding of them and the work it takes to train and produce such a wonderful showcase.

We would definitely recommend 100% Cuban, keep an open mind and be ready to lose yourself in the enthralling music and movement.

Nottingham Royal Centre – until 26 February 2022

Reviewed by Louise Ford

4****

Just consume and enjoy…

The NDT were founded in 1959, by a group of dancers from the Dutch National Ballet, in The Hague (Netherlands), it has created a modern ballet style; a fusion of classical ballet and modern dance. The NDT2 was set up in 1978 for young dancers. The current company’s ages range from 20 to 26 and come from a wide range of countries not just the Netherlands.

The current UK tour started at Sadler’s Wells in February 2022, the last time they were touring in the UK was 2016. There are three pieces in the current tour, two of which new to the UK. The pieces explore current themes of loneliness, connection and death.

The Big Crying by Marco Goecke, written in response to the death of his father. The melancholy score composed by Tori Amos, is married with the sounds of roaring trains and the dancers’ screams, it finishes with a pared back version of  REM’s Losing My Religion. The dancers create angular and mechanical moves and shapes in various groups and formations.

After a brief interval the second piece Simple Things by Hans van Manen, set to a soundtrack of modern piano, the accordion and Haydn. It is a complete contrast to the opening piece. The set is bathed in a deep blue light which sets off the dancers beautifully. The opening and closing pieces of music are a little difficult however they contrast with the longer middle section perfectly. The gentle piano pieces and the classical ballet moves are just lovely.

The final piece is Impasse by Johan Inger which opens with a trio of young dancers (Annika Verplancke, Austin Meiteen and Emmitt Cawley) and builds to a full cast finale. For me this was the strongest and most enjoyable piece. The music by French Lebanese jazz trumpeter and composer Ibrahim Maalouf was inspiring and perfectly complemented the piece.

An evening of energy and confidence, the company are young and athletic and clearly enjoy performing. It’s at times a challenging watch but one that  lingers in your thoughts and in your mind long after the pieces have finished.

The Girl on the Train

THE GIRL ON THE TRAIN returns to London this summer in a newly revised production starring Katie Ray as Rachel Watson, at Upstairs at the Gatehouse, Highgate Village, from Wednesday 8 June – Sunday 3 July 2022.

Based on the bestselling novel by Paula Hawkins and blockbuster DreamWorks film, this new stage adaption by Rachel Wagstaff and Duncan Abel tells the story of Rachel Watson, who longs for a different life, her only escape is the perfect couple she watches through the train window everyday, happy and in love, or so it appears. When Rachel learns that the woman she’s been secretly watching has suddenly disappeared, she finds herself as a
witness and even a suspect in a thrilling mystery in which she will face bigger revelations than she could ever have anticipated.

Katie Ray has recently finished starring as Mollie Ralston in long running West End hit, ‘The Mousetrap’, at the St Martin’s Theatre. Her other theatre credits include ‘Joseph and the Amazing Technicolor Dreamcoat’ (New London Theatre), The Sound of Music (London Palladium) and Million Dollar Quarter (UK Tour and Royal Festival Hall).

This new production will be directed by Joseph Hodges, with set design by Richard Cooper, lighting design by Seb Blaber, casting by Jay Gardner and produced by Gardner Hodges Entertainment.

Full creative team and casting are to be announced imminently.

Tickets are available from the Upstairs at the Gatehouse box office by phone on 020 8340 3488 or online at www.upstairsatthegatehouse.com.

You can find ‘The Girl on the Train’ on Facebook, Twitter and Instagram at
@GirlonTrainUK

FULL CASTING ANNOUNCED FOR MIKE BARTLETT’S BRAND NEW COMEDY SCANDALTOWN

• Modern restoration comedy brings together a cast of 12 including Cecilia Appiah, Matthew Broome, Emma Cunniffe, Henry Everett, Richard Goulding, Luke Hornsby, Aysha Kala, Thomas Josling, Annette McLaughlin, Ami Okumura Jones, Chukwuma Omambala and Rachael Stirling
  
• Written by Mike Bartlett and directed by the Lyric Hammersmith Theatre’s Artistic Director Rachel O’Riordan, Scandaltown has its world premiere at the Lyric, from 07 April to 14 May 2022.
  

Full casting is announced today for Scandaltown, a brand new comedy by Mike Bartlett (Doctor Foster, King Charles III) directed by the Lyric Hammersmith Theatre’s Artistic Director Rachel O’Riordan (Olivier Award winning Killology). The world premiere productionruns at the West London venue from 07 April to 14 May with opening night for press on 14 April. Tickets are on sale at www.lyric.co.uk

Scandaltown is a modern restoration comedy and irreverent satire, set in post-pandemic London, full of immorality, political hypocrisy and the machinations of a fame-hungry elite. It brings together a 12-strong cast including Rachael Stirling (The Bletchley Circle; Love, Love, Love – Lyric Hammersmith Theatre) as Lady Susan Climber, Richard Goulding (The Windsors, King Charles III) as Matt Eton and Emma Cunniffe (Queen Anne – RSC) as Aunty Julie and Rachel De Souza. Also confirmed are Cecilia Appiah (The Long Song – CFT) as Phoebe Virtue, Matthew Broome as Jack Virtue in his stage debut, Henry Everett (Antony and Cleopatra – National Theatre, The Memory of Water – Hampstead) as Peter Media OBE, Luke Hornsby (1917, Harlots) as Freddie Peripheral, Thomas Josling (Habeas Corpus – Menier) as Tom Double-Budget, Aysha Kala (BAFTA Breakthrough Brit, The Welkin – National Theatre) as Hannah Tweetwell, Annette McLaughlin (Matilda, Harry Potter and The Cursed Child) as Rosalind Double-Budget and Scrub, Ami Okumura Jones (EastEnders, Wendy & Peter Pan – Leeds Playhouse) as Jenny Bright, and Chukwuma Omambala (A Midsummer Night’s Dream, Hecuba – RSC) as Sir Dennis Hedge and Kevin the Postman.

Rachel O’Riordan reunites with Mike Bartlett following a critically acclaimed revival of Love, Love, Love which opened in 2020 as part of her debut season as the Lyric’s Artistic Director. 

Mike Bartlett, Writer, said: “I’m so pleased that Rachel’s assembled this amazing cast for Scandaltown. As a provocative play, with contradictory and absurd human beings at its heart, drawing on a restoration form, it’s going to be so much about performance. I can’t wait to start rehearsals.”

Rachel O’Riordan, Director, said: “I am delighted to be directing Mike Bartlett’s new play Scandaltown at the Lyric. Mike is one of our most exciting writers, with a huge heart.  I was so disappointed when we had to cancel the run of Love, Love, Love due to Covid because audiences were having such a good time in our theatre. Mike wrote Scandaltown especially for our beautiful Matcham auditorium – the most beautiful theatre in London. I can’t wait to share this funny, bold new play with our audiences.”

“We are not virtuous, but neither are we cruel. We believe in simply: no shame.” When noble heroine Miss Phoebe Virtue receives worrisome news on Instagram that her twin brother Jack may be endangering his reputation in London Town, she decides she must visit herself, and investigate. Scandaltown is an irreverent satire for our times. Expect the finest couture, rakish behaviour, explicit hashtags and a party that will have all of London talking.

Set Design is by Good Teeth, Costume Design by Kinnetia Isidore, Lighting Design by Paul Keogan, Sound Design and Composition by Simon Slater, Choreography by Malik Nashad Sharpe, Wigs, Hair and Make-up Design by Susanna Peretz, Casting by Amy Ball, Consultant Dr Lloyd (Meadhbh) Houston, and Assistant Director Kwame Owusu.

Sunderland Empire – until 5 March 2022

Reviewed by Kathy Grindrod

4****

Dreamgirls the Musical, like its namesake 2006 film, tells the story of the girl band The Dreamettes, in a story loosely based on the story of Diana Ross and the Supremes.

With book and lyrics by Tom Eyen and music by Henry Krieger, it tells the tale of the collective and individual careers of three sweet but fame hungry girls (big-voiced Effie, sassy Lorrell and beautiful Deena) who come to New York to launch their singing careers as the Dreamettes. They lose the fixed talent contest but acquire as manager a former car salesman, Curtis Taylor Jr. (Dom Hartley-Harris). The wheeler-dealer impresario signs the trio as backup singers for soul star James Early (Brandon Lee Sears).

In the first half, In front of our eyes, and with the help of Tim Hatley’s fluent, brightly lit setting and Gregg Barnes’ iridescent costumes, we watch them morph into a sophisticated pop act, ready to take on the charts.  As the music industry develops a taste for a new sound, we see the girls’ star rise and Jimmy’s own decline.  Through a musical rollercoaster ride through a world of fame, fortune, and the realities of show business. While the glitz and glamour of that world are in evidence, Dreamgirls does not shy away from its darker realities nor from the pitfalls of fame, which tests their friendships to the limit.

A special mention must go to Nicole Raquel Dennis who plays the iconic role of Effie White. Her stage presence was phenomenal and her vocals were impeccable.  From the first shiver-inducing note of And I Am Telling You I’m Not Going, Dennis brings down the house with her desperate, emotionally driven offering which she delivers with bone-rattling volume  Listen, I Am Changing and One Night Only were also phenomenal. The choreography of the show was slick, extravagant and showcased the cast’s impressive move sets; simply superb. Backdrops for the production was magnificent with frequent spectacular backdrop changes of concert halls, stages, and TV studios.  But it’s not a one woman show: Paige Peddie is terrific as Lorrell, a girl never afraid to speak her mind, and Holly Liburd (covering for Natalie Kassange) is touching as Deena 

Dreamgirls is about the price of success. Some of that price is familiar: broken love affairs, broken families, broken lives, but it is more than a piece of prodigious showmanship. The ups and downs of show biz, its heady success, its heartbreak and humiliation, are made appealing and moving. Dreamgirls is huge, incredibly noisy and with the emotional impact of a juggernaut.  If you like sequins and sparkles mixed with the swinging 60’s and some big songs then this is the one for you

2022 PANTOMIME AT THE LONDON PALLADIUM

DAWN FRENCH, JULIAN CLARY

PAUL ZERDIN, NIGEL HAVERS AND GARY WILMOT IN

J A C K   A N D   TH E   B E A N S T A L K

FOR A STRICTLY LIMITED FIVE WEEK RUN

Michael Harrison for Crossroads Pantomimes today (25 February 2022) announced the return to the West End of The London Palladium Pantomime for a seventh year, with Dawn French and Julian Clary leading the cast in a brand-new production of Jack and the Beanstalk. For a strictly limited five-week run at The London Palladium, French and Clary will be joined by returning Palladium panto favourites Paul Zerdin, Nigel Havers and Gary Wilmot.

Dawn French said:  “Roll up! Roll up!  Much merriment and happiness and downright cheek and cheeks going to be happening onstage at The Palladium this Christmas with a brand spanky new Panto at last! We’ve waited two years to bring you Jack & The Beanstalk and I’m deblimminlighted to be part of it. See you there folks!”

Michael Harrison, Producer and Director of all seven London Palladium pantomimes said: “I’m thrilled to be welcoming Dawn French back to our panto, and can’t wait to be working with Julian, Paul, Nigel and Gary on what promises to be our biggest show yet! Jack and The Beanstalk marks the return of a full-scale spectacle to our Palladium Christmas season, and we’ve been working on new designs for the show over the past two years. We’ll be announcing more cast later in the year, and can’t wait to be back with all the glitz and glamour we know our audiences love.”

Once again directed by Michael Harrison,London’s GIANT panto will open on Saturday 10 December 2022, featuring lavish new set designs from Mark Walters and costume designs from Hugh Durrant created especially for The London Palladium. Priority booking opens at 10am on Monday 28 February 2022 (sign up at www.palladiumpantomime.com) with public booking opening Tuesday 1 March 2022 at 10am.

Actor, writer and comedian Dawn French, who made her Pantomime debut as Queen Dragonella in the 2018 production Snow White at The London Palladium,returns this year as Mrs Trot. Dawn is an original member of The Comic Strip and one half of the comedy duo French and Saunders. Dawn’s impressive career spans stage, TV, film and publishing and includes the multi award-winning BBC comedy The Vicar of Dibley, Murder Most Horrid, Coraline and Death On The Nile. Earlier this year, she announced her return to the stage with her show Dawn French Is A Huge Twat.

Julian Clary, Nigel Havers and Paul Zerdin have starred in pantomimes at The London Palladium since the 2016 production of Cinderella. Gary Wilmot joined the cast in 2017 and together they have performed in Dick Whittington, Snow White at The London Palladium, Goldilocks and the Three Bears as well as Pantoland at The Palladium twice. 

Harrison’s production has choreography by Karen Bruce, with lighting designs by Ben Cracknell, sound designs by Gareth Owen and composition and orchestrations by Gary Hind

Jack and the Beanstalk is produced by Michael Harrison for Crossroads Pantomimes.As a producer in the West End his credits include The Drifter’s Girl, Joseph and the Amazing Technicolor Dreamcoat, Gypsy, The Bodyguard, Annie and Mel Brooks’ Young Frankenstein. Crossroads Pantomimes is the world’s biggest pantomime producer and part of Crossroads Live, a global leader in the production of musical theatre and immersive entertainment experiences.