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WEST END for UKRAINE 

A host of West End stars will join together  

for a fundraising night of musical entertainment in aid of UNICEF 

at the Charing Cross Theatre on Monday 9 May 2022 

A top line-up of West End stars will be taking to the stage at West End for Ukraine on Monday 9 May 2022 at the Charing Cross Theatre. The musical fundraiser is in aid of the UNICEF Ukraine Emergency Appeal, raising vital urgent funds for children in desperate need. 

The line-up for West End for Ukraine is*: Sabrina Aloueche, Paul Baker, Lizzie Bea, Gina Beck, Nikki Bentley, Kieran Brown, Joanne Clifton, Scott Garnham, Natalie Green, Adrian Hansel, Christopher Howell, Kim Ismay, Sooz Kempner, Joshua Lay, Emma Lindars, George Maguire, Jai McDowall, Nadim Naaman, Caroline Sheen, Simon Shorten, Courtney Stapleton, Harriet Thorpe, Shona White and Rachael Wooding alongside The Barricade Boys, members of the cast of Heathers and Titanic and the West End Musical Choir (*subject to availability). 

West End performer, Kieran Brown, who is organising the fundraiser in association with RedRock Entertainment, said: “Like so many people, I watched with horror as events unfolded in the Ukraine. I felt so helpless watching news reports of the Ukrainian’s courage and resilience, and of the unspeakable tragedies taking place. Thinking about what I, and the caring community I am part of could do, I resolved to organise a gala concert to raise funds for UNICEF. I’ve been blown away by the outpouring of support from creatives, technicians and performers alike. The evening will be an incredible showcase of just how strongly we ALL feel about challenging this unnecessary and barbaric war. I couldn’t be more grateful to each and every person who has offered their time and talent – not least a huge thank you to the Charing Cross Theatre for hosting us – ensuring that 100% of the money raised goes straight to UNICEF.”  

Actress Lizzie Bea (Heathers, Hairspray), who is performing on the night, said: “The situation in Ukraine is unimaginable and I have been desperate to help in any way possible. I’m honoured to be a part of this concert and truly hope that we can raise a lot of money to help Ukraine and people in need. Please come and raise vital funds and listen to some amazing talent at the same time!” 

UNICEF states that more than half of Ukraine’s 7.5 million children have now been forced to flee the ongoing violence. Homes, schools, water supplies and hospitals have been damaged or destroyed. Children have been separated from their families, and hundreds of thousands of people have been left without clean water, food or electricity. Explosives are a daily threat to children’s lives. UNICEF is working around the clock in Ukraine and at the borders of neighbouring countries, providing access to clean water, health care services and other critical support. 

West End for Ukraine, on 9 May 2022 at 7.30pm at the Charing Cross Theatre, is now on sale online: www.charingcrosstheatre.co.uk and by phone: 08444 930 650. 

For more information about UNICEF’s work in Ukraine, or to donate to their appeal, visit: https://www.unicef.org.uk/donate/donate-now-to-protect-children-in-ukraine/.  

-LISTINGS- 

Show: West End for Ukraine 

Venue: Charing Cross Theatre, The Arches, Villiers Street, London, WC2N 6NL 

Date: Monday 9 May 2022 

Time: 7:30pm 

Tickets: £25, £32.50, £39.50 and Premiums (with a free glass of bubbly) £49.50 

Box office: www.charingcrosstheatre.co.uk / 08444 930 650 

HAMPSTEAD THEATRE ANNOUNCES THE FULL CAST & CREATIVE TEAM FOR THE UK PREMIERE OF NAOMI WALLACE’S THE BREACH, DIRECTED BY SARAH FRANKCOM, RUNNING FROM 6 MAY UNTIL 4 JUNE 2022

Hampstead Theatre is delighted to announce the full cast and creative team for the UK premiere of Naomi Wallace’s new play, The Breach.  Directed by Sarah Frankcom, The Breach will run from 6 May until 4 June 2022.

Hindsight proves devastating in this absorbing drama which puts trust and loyalty on the line amongst a group of teenage friends. Featuring a wealth of emerging talent, the cast includes Charlie Beck (Masters Of The Air, Apple TV); Jasmine Blackborow (Shadow and Bone, Netflix); Alfie Jones (Teenage Dick, Donmar Warehouse; Richard III, RSC); Tom Lewis (Gentleman Jack, BBC); Douggie McMeekin (Bach & Sons, Bridge Theatre; Chernobyl, Sky); Stanley Morgan (The Sandman, Netflix) and Shannon Tarbet (Yous Two, Hampstead Theatre; Killing Eve, BBC).

Frankcom is joined by designer, Naomi Dawson; lighting director, Rick Fisher; sound designer, Tingying Dong; voice director, Michaela Kennen; movement director, Jennifer Jackson; casting director, Nadine Rennie CDG and assistant director, Tramaine Reindorf.

Naomi Wallace, playwright of The Breach, said:

“The Breach is my first in a trilogy of plays focused on different communities in my home state of Kentucky.  It tells a story of love and survival amongst a specific set of youths in 1970s America, shining light on the political landscape designed to fail them and the American Dream intended to fool them.  I am thrilled that the play is receiving its UK premiere at Hampstead Theatre, and I am excited to see what director Sarah Frankcom and the fantastic ensemble of young actors bring to The Breach”.

Roxana Silbert, Artistic Director of Hampstead Theatre, said:

“Naomi Wallace is a fierce and remarkable writer.  Her award-winning, politically-charged and provocative plays have been performed all over the world and I am honoured that we are staging the UK premiere of her latest play.  I can’t wait to welcome Naomi, Sarah Frankcom  and the rest of this wonderful company to the theatre.”

***

They won’t even know we won this game.  Only you and I will know that we Topped Their Love.

Love has no limits for the Diggs siblings: there’s nothing that 17-year-old Jude won’t do to keep her younger brother Acton safe.  Growing up in the turbulence of 1970s America, Jude works nights and weekends to pay the bills, just so that they can stay together and with their mother.  But when Acton’s troublesome pals form a club in their basement, a foolish game threatens to upend Jude’s plans, and derail their lives forever.  How far will Jude go to protect her brother?  And who will pay the eventual price of her doing so?  

Naomi Wallace makes her Hampstead debut.  A MacArthur Fellowship recipient and Obie Award winner, Wallace’s previous credits include One Flea Spare (Bush Theatre), Slaughter City (Royal Shakespeare Company), Things of Dry Hours (Young Vic) and And I And Silence (Finborough Theatre).  The Breach is Wallace’s first in a trilogy of plays about different communities in Kentucky.

Sarah Frankcom directs her first Hampstead production.  As Artistic Director of Manchester Royal Exchange, her work included West Side Story, Light Falls and Our Town, and, in collaboration with Maxine Peake for Manchester International Festival, The Nico Project and The Skriker.

***

The world premiere of The Fever Syndrome, Alexis Zegerman’s thrilling portrait of a brilliantly dysfunctionalfamily, is currently on Hampstead Theatre’s Main Stage until 30 April.  Directedby Roxana Silbert, Hampstead’s Artistic Director, The Fever Syndrome features Lisa Dillon, Jake Fairbrother, Alexandra Gilbreath, Robert Lindsay, Sam Marks, Bo Poraj and Alex Waldmann.  They are joined in the cast by Nancy Allsop and Charlotte Pourret Wythe. 

Wolf Cub is currently in rehearsalsahead of its UK premiere at Hampstead Downstairs from 8 April until 7 May.  Blending poetic beauty with brutal honesty, Wolf Cub is a visceral odyssey written and directed by Ché Walker.  Clare Latham will perform in this one-person play. 

THE LOWRY, SALFORD – UNTIL 23 APRIL 2022

REVIEWED BY ANGELOS SPANTIDEAS

5*****

Les Misérables is a musical that needs no introduction, being the longest running musical of London’s West End, debuting in 1985 having been watched by millions of people it is a show that sets high expectations. Known for its powerful message, its inspiring songs and the demanding staging, Cameron Mackintosh’s acclaimed production of Boublil and Schönberg’s musical surely meets a breathtaking degree of excellence.

The story begins on a ship where prisoners have to row under very hard conditions as a punishment and where the audience meets for the first time Jean Valjean, who is being punished for stealing a loaf of bread but soon is reluctantly being released by officer Javert. With the sad realisation that as an ex-convict Jean Valjean will always be treated as an outcast, he breaks his parole, goes on the run and rebuilds his life. With his past always catching up to him the audience witnesses how the turbulent life of Jean Valjean unfolds as he adopts Cosette and tries navigating raising her during a time that France, and more specifically Paris, is met with immense social changes.

This almost three hour show feels like a journey, and although a long one, going through the different stories which cross over and build up makes time pass effortlessly. Some stand out scenes were Master of the House, where the Thénardiers accompanied by their guests put up a hilarious show, while Ian Hughes and Helen Walsh as the Thénardiers in any scene ensures instant comedic gold and judging by the deafening applause that they receive they become cast favourites. Another unforgettable moment is Eponine’s On my Own, with Nathania Ong holding her own performing one of the most iconic and vocally formidable musical theatre songs. Her talent transcends reality and drags the audience in her heartbreak and even though she has big shoes to fill, the way she expresses the raw emotion of this song is spot on.

Will Callan’s Marius and Paige Blackson’s Cosette both make an incredible impression as the youthful and passionate love interests, especially this being their professional debut. Additionally, Nic Greenshields’ Javert is authoritarian and tenacious and he perfectly embodies his personal vendetta while his singing becomes a vessel for his emotional performance, showing him as loyal to his virtues but also human and flawed.

Dean Chisnall’s Jean Valjean is simply immaculate, with Chisnall transforming on stage evolving from angered to stoic, from virtuous to vulnerable, and his ability to portray this character in his different life stages is impeccable. This show would not be the same without him, as he is able to perform Who Am I with an honesty of a person who has questioned his own identity, while his delicate and unguarded rendition of Bring Him Home touches everyone in the audience making it almost impossible to not become emotional.

Finally, one of the most unforgettable parts of this tour of Les Misérables is Matt Kinley’s set that is one of the most intricate and detailed sets, and it is obvious that a lot of work and thought was put behind creating it to ensure that even on tour no part of it is subpar. The set changes quickly on stage between different scenes and the way it transforms is just impressive, with the staging changing more times that one can count, bringing a realism that should set the standard on what good scenography looks like.

Overall, the talent of the cast, the orchestra, and the quality of the set draws audiences and words could not do justice to the awe-inspiring effect that Les Misérables has on the people who are lucky enough to experience it in person, being one of the few musicals you leave feeling exalted and sentimental at the same time.

Gielgud Theatre – booking until 19 November 2022

Reviewed by Claire Roderick

5*****

You mess with Harper Lee’s beloved novel at your peril, but To Kill A Mockingbird is in the safest of hands with Aaron Sorkin. It is easy to see why this story of racial prejudice in 1930’s Alabama made such an impact on Broadway in 2018 when Trump’s presidency swept aside any notions that these attitudes were consigned to history.

When Tom Robinson is accused of the rape of a white woman, his fate is seemingly sealed as no all-white jury could possibly find him innocent in 1930’s Alabama. When the judge asks Atticus Finch to defend Robinson in the hope that the town is becoming more tolerant and the jury may just consider the actual evidence, they reckon without the longstanding hierarchy of prejudice within the town – with the only people the desperately poor white men can look down on being the black community. As Atticus prepares for trial, his two children and their new friend explore the mystery of Boo Radley, determined to catch sight of their reclusive neighbour.

Instead of the story being told solely by Scout Finch (Gwyneth Keyworth), Sorkin uses the three children to narrate and link scenes. Including Jem Finch (Harry Redding) and Dill (David Moorst) tempers Scout’s hero worship of her father with Jem’s more critical views, and the trio’s bickering is a delight, injecting well-needed humour into otherwise intense scenes. Sorkin’s dialogue is fast and sharp, and the characters are utterly believable, with Bob Ewell’s rants about Jews and race traitors being depressingly familiar. Sorkin expands the role of Calpurnia, the Finch’s maid, adding another dissenting voice to Jem’s. Cal’s arguments and disbelief at Atticus’s insistence on respecting all people, even Bob Ewell, are portrayed with powerful emotion by Pamela Nomvete, especially when she confronts him as to why she should be grateful for his actions. Tom Robinson becomes more than the noble victim in Sorkin’s play, with Jude Owusu exuding both quiet dignity and anger in his scenes with Atticus. The court scenes are as hard hitting as you would expect from Sorkin, but also include petty point scoring and ridiculous moments.

Gwyneth Keyworth, Harry Redding and David Moorst are excellent as the three children, with the right mix of childish petulance, innocence and sass. Moorst is hilarious as the tragic Dill, hinting at the impact of this turbulent homelife and reaching out to Atticus as a father figure. Rafe Spall is magnetic as Atticus, portraying him as a much more human character than Gregory Peck’s white saviour version. Spall’s Atticus is a single dad determined to instil his liberal values in his children despite their surroundings, struggling when his attitudes and actions are questioned by his son. Even though adults play the children, the family dynamic and love are palpable. Atticus’s calm and noble demeanour crumble occasionally, and this is where Spall shines – with an honest and real performance of a man whose world view is shattering.

Bartlett Sher’s direction is pacy and pristine, with the actions flowing seamlessly thanks to Miriam Buether’s set design between the Finch’s porch and the courtroom. The emotional gut punches come thick and fast in the second act, but the fate of Bob Ewell and the beautifully touching reveal of Boo Radley ensure a gentle and hopeful ending to this stunning play.

With incredible performances and a killer script, To Kill A Mockingbird is simply brilliant

New Victoria Theatre, Woking – until 2nd April 2022

Reviewed by Becky Doyle

5*****

SO BRILLIANT! I loved every minute, the colour, the sound and of course, the singing in the rain! This was a real feel-good show, with an excellent cast that really did portray the characters fantastically. I was particularly excited when I saw Faye Tozer was player Lina Lamont. Having been a fan of Steps since a little girl, I was hopeful that her voice and dance moves would live up to my expectations… she didn’t disappoint! Although maybe not in her well-known tones it was a treat to see her playing such a unique character, clearly able to enjoy and laugh and not take things too seriously.

On the other side of the coin, Charlotte Gooch (Kathy Seldon), Adam Cooper (Don Lockwood) and Ross McLaren (Cosmo Brown) had magnificent voices and dance moves each of which captivated the audience. In particular the well-known hit “Good Morning” both in technicality and ability was beautiful and the upbeat and nature of the act really made you want to get up and join in.

I loved the set and props and the use of a big screen to depict a movie film inside the show, a real use of technology and space. If you get the opportunity to see this, I would 100% recommend, there really is nothing to fault..! Although maybe next time I wouldn’t sit in the splash zone!!

Cambridge Arts Theatre, Cambridge – until Sat 2nd April 2022

Reviewed by Steph Lott

3***

Having watched writer-director Stephan Elliott’s pioneering LGBT gem Priscilla, Queen of the Desert many times, I was looking forward to an evening of glitz, high heels, lipstick and a fabulous toe tapping sound track. But what I was not expecting was dancing cupcakes, paintbrushes and a Telly Tubby! And ping pong balls. Quite a few of them.

This funny and smart road-trip comedy is about Mitzi Mitosis (Tick), played by Gareth Mullan, and Felicia Jollygoodfellow (Adam), played by Jacob Nightingale; they are a pair of cash -trapped drag queens who travel from Sydney to Alice Springs where Tick’s estranged wife Marion (played by Anna Murgatroyd) has got them a gig. They are accompanied by Bernadette, a transgender woman and artiste, played by Jeremy Warbrick, who has just been widowed and needs a change. Along their way across Australia they encounter small-town bars, new friends and hostility as they battle against the odds to make it in time for their opening number in Alice Springs.

This exuberant and colourful production has been staged by the Cambridge Operatic Society. The society, established in 1910, enjoys taking on big musical and classical shows and have, for many years, performed at the Cambridge Arts Theatre using local talent and impressive sets, costume, design and direction.

From the minute the curtain rose you could feel the buzz in the audience who were ready and willing to be entertained. There was a riot of music and colour on the stage, with a live band. There were however a few hiccups in the early part of the show. It did seem at first that some of the cast members were suffering slightly from first-night nerves, were a bit hesitant and forgot to smile, but they gradually relaxed and eased into their roles as the show went on. Felicia had a few problems with her microphone (didn’t seem to be picking up) but carried on regardless and it didn’t affect her sterling performance.

The three leads – Jacob Nightingale (Adam/Felicia), Gareth Mullan (Tick/Mitzi) and Jeremy Warbrick (Bernadette) – did a warm, funny and very credible job in their respective roles. However Warbrick’s performance as Bernadette stood out for me; a funny, tragic yet uplifting character who ends the show with the promise of happiness.

Mention must also be made of Sally Goldsmith’s stand out portrayal of Cynthia and her performance of Pop Musik! I won’t spoil it if you haven’t seen it but it’s definitely a showstopper!

There were some other parts that I particularly liked. The scene where Felicia deadnames Bernie was given the seriousness that such a thing deserves. The gravity of the offence and the pain it causes was very clear.

I also enjoyed the delivery of the scene where the bus is vandalised with a homophobic slur. The shock and again the pain of such matters was well conveyed and I found the culmination of that scene with True Colours very touching. However my absolute favourite scene was the Casino Floor-show Montage – very slick and funny. Loved it.

Congratulations are due for the ensemble. After they got over their initial nerves, they did a fantastic job of embracing the outrageous camp nature of the show with high energy all the way through, keeping movement and life in the various bustling bars visited by the drag queens and Bernie. David Mallabone’s choreography was sleek and performed confidently by all. And as for the costumes and all the changes… Phoebe Chambers and her team of wardrobe assistants definitely had their work cut out! The costumes were glorious. A riot of colour and utterly outrageous.

The ultimate message of Priscilla is one of optimism and hope. The show contains some heavy themes but it tackles them with wit and humour. This show is definitely worth going to see. The audience who gave a standing ovation to delighted cast certainly thought so. So, sit back. Watch it. And have a good time!

JOEL HARPER-JACKSON

officially steps into the role of M

alongside

 JONATHAN BAILEY

in

By Mike Bartlett

At the Ambassadors Theatre

Joel Harper-Jackson will take over the role of M in Mike Bartlett’s razor sharp, hilarious play C O C K until the end of the run.

The part was originally played in this production by Taron Egerton,  who has had to  withdraw from the production due to personal reasons. Joel understudied the role and has been playing the part of M for the past ten days while Taron was absent from the production having tested positive for Covid. 

Director Marianne Elliott said:  ‘Joel is an absolute hero. He is a brilliant and gifted actor and stepped into the role at extremely short notice.  Audiences have been standing and cheering and so am I.’

Jonathan Bailey added: ‘Joel is an immense talent and we couldn’t be luckier to have him on board. I am proud to continue sharing the stage with him.’

C O C K is running at the Ambassadors Theatre in London until Saturday 4 June 2022.

The Olivier Award-winning Jonathan Bailey, who plays John in the production, is currently starring in the Netflix blockbuster, Bridgerton.

The full cast of C O C K is now:  Jonathan Bailey (John), Joel Harper-Jackson (M), Jade Anouka (W) and Phil Daniels (F).

The understudies are: Dominic Holmes (John and M), Jessica Whitehurst (W) and John Vernon (F).

The creative team for C O C K is:  Director Marianne Elliott, Designer Merle Hensel, Lighting Designer Paule Constable, Sound Designer Ian Dickinson, Composer Femi Temowo, Movement Director Annie-Lunette Deakin-Foster, Casting Director Charlotte Sutton, Vocal Coach Hazel Holder and Associate Director Chloe Christian.

C O C K is produced by Elliott & Harper Productions.

Rose Theatre, Kingston-Upon-Thames – until 9th April 2022

Reviewed by Bobbi Fenton

5*****

‘A Monster Calls’, which is based on the book of the same name, is an absolutely wonderful play about Connor O’Malley (Anthony Aje), as he struggles to come to terms with his beliefs about his mother (Bridgette Amofah), who is in the late stages of cancer. To help him come to terms with what he really wants, the yew tree near his house comes to life as a monster (Keith Gilmore), telling him three stories which mirror his life without Connor realising, and eventually forcing him to speak his truth. Connor finds this difficult because he hates himself for thinking it, and it is clear throughout the show that he wants to be punished because he thinks it makes him a bad person.

There are not enough stars I could give that would show how truly amazing this play is. With Bridgette Amofah’s gripping portrayal of Connor’s mum, and Anthony Aje’s immaculate portrayal of Connor, this play is one of the best shows I’ve ever seen. Not to mention the powerful performance by Keith Gilmore as the monster, and the astonishing vocals provided by Eleanor Kane during some of the most dramatic moments of the show.

The set is made up of a row of chairs on either side of the stage, and ropes hung from the flight rig, which are used at various moments during the play, mostly for the monster himself, or to help tell his stories. This works wonderfully, and is well paired with the non-naturalistic style of the play.

I feel incredibly lucky to have had the opportunity to see this absolute masterpiece. It should definitely not be missed by anyone. It is a great trip out for the whole family, just don’t forget your tissues.

Hull New Theatre – until 2nd April 2022

Reviewed by Catherine McWilliams

4****

Opera North’s production of Bizet’s Carmen is simply stunning, a spellbinding, heart-breaking performance with a good dash of humour. However, this production does not shy away from the realities of Carmen’s life, with various characters taking coke and the smuggling of drugs. Director Edward Dick has created a realistic piece where all the elements come together to make a performance which will reach your ears, your eyes but above all your soul, as the emotion pours off the stage.

The scene is set in a seedy night club with a large neon sign saying “GIRLS”, it is full of bored soldiers passing the time whilst waiting for the girls to dance for them. Carmen (Chrystal E. Williams) makes one of the best entrances I have seen as she descends to the stage on a swing, swathed in an outrageous red burlesque outfit. From the moment she enters the stage it is impossible to take your eyes off her. Chrystal E. Williams’ portrayal of Carmen is played with coquettishness, naughtiness and a fierceness as she refuses to back down from the men she comes across. Her voice is beautiful and full of emotion and she inhabits the part with her entire body, often expressing something with her eyes or a simple body movement. She is simply sublime and is the pivot of the performance. However, this is definitely not a solo piece as all the cast create the story, each adding their own part to the tale.

Sébastien Guèze is a very convincing Don José, particularly in Acts Three and Four when Carmen no longer wants him and he descends into jealousy. The final duet with Carmen when she is battling for her life is riveting, their voices blending beautifully, you almost don’t want to watch and at the same time the music will just catch you in the pit of the stomach. I felt totally wrung out as the curtain came down.

Micaela is performed superbly by Alison Langer, a complete contrast to Carmen as she is a quiet timid character but what an outstanding voice she has and what emotion is portrayed as she sings.

Escamillo is played wonderfully by Phillip Rhodes, with the swagger of an Elvis performing to his fans, he laps up the adulation. “Votre Toast” (the Toreador Song) was of course a highlight and a delight to watch and listen to.

It was wonderful to have a full orchestra performing last night, ably led by Anthony Kraus, the music filled the theatre. A total joy.

This is a real feast for the eyes as well as the ears, and the first half has some very visual humour, which is added to by Laura Hopkins’ very clever costumes. Edward Dick’s set design is simple but so effective and the lighting by Rick Fisher helps to create an atmospheric piece.

The music is of course always going to be the star in Carmen and it was beautiful but the important thing for me was that this was performed, the cast told the story of Carmen and took us all along with them. The sleaziness and hardness of Carmen’s life was so clear but so too was the laughter that is often to be found when times are hard.

I would like to think that life has moved on since Carmen was first performed in 1875 but Opera North’s production emphasises the link to current times with our problems with county lines and trafficking and it made me realise that Carmen is actually about domestic abuse, about the man who cannot let anyone else have the woman he “loves”.

Opera North prides itself on being accessible and last night’s performance had a British sign language interpreter on the side of the stage. Sadly, I don’t know his name as it was wonderful to watch his lyrical signing.

This is performance with outstanding storytelling, sublime music, humour and tragedy – definitely one to catch if you can.

FULL CASTING ANNOUNCED FOR LEGALLY BLONDE

Regent’s Park Open Air Theatre have today announced full casting their forthcoming production of Legally Blonde (13 May-2 July).

Joining Courtney Bowman (Elle) and the already announced Michael Ahomka-Lindsay (Emmett), Lauren Drew (Brooke), Vanessa Fisher (Vivienne), Isaac Hesketh (Margot), Nadine Higgin (Paulette), Alžbeta Matyšáková (Enid), Eugene McCoy (Callahan), Grace Mouat (Pilar), Alistair Toovey (Warner), and Hannah Yun Chamberlain (Serena), are:

Gabriela Benedetti, Lucca Chadwick-Patel, Jasmin Colangelo, Allie Daniel, Joe Foster, Dominic Lamb, Esme Laudat, Liam McEvoy, Billy Nevers, Ashley Rowe, Shakira Simpson, Biancha Szynal and Paulo Teixeira (also Dance Captain).

Directed by Lucy Moss, co-director and co-writer of SIX, Legally Blonde is written by Laurence O’Keefe and Nell Benjamin (music and lyrics), Heather Hach (book) and is based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture.

Legally Blonde is created by Cassiopeia Berkeley-Agyepong (dramaturg), Cat Beveridge (musical supervisor), Jean Chan (costume & co-wigs, hair and make up designer), Shanaé Chisholm (casting assistant), Natalie Gallacher CDG for Pippa Ailion Casting (casting director), Tony Gayle (sound designer), Phillip Gladwell (lighting designer), Ainsley Hall Ricketts (assistant choreographer), Laura Hopkins (set designer), Barbara Houseman (voice & text and season associate director), Majella Hurley (dialect coach), Ellen Kane (choreographer), Ingrid Mackinnon (season associate: intimacy support), Lucy Moss (director), Priya Patel Appleby (associate director), Chris Poon (associate musical director), Queen Bee (wigs, hair and make up designer), Alexzandra Sarmiento (assistant choreographer), Amber Sinclair-Case (associate director) and Katharine Woolley (musical director).

Regent’s Park Open Air Theatre’s 90^th Anniversary season also includes 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, based on the book by Dodie Smith. Antigone (3 – 24 September) by Barber Shop Chronicles writer Inua Ellams after Sophocles, is the second commission from the theatre in 2022, directed by Max Webster and co-directed by Jo Tyabji.