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CAST ANNOUNCED FOR

BRAND NEW BRITISH VEGAN MUSICAL – LITTLE SAUSAGE!

“But… don’t you miss bacon?”

Producer Tanya Truman is thrilled to announce the cast for Little Sausage; a new musical is coming to The Other Palace Studio in March 2022. Tickets for Little Sausage are on sale now!

Dan Bravo (he/him) will play Isaac, Owen Clayton (he/they) will play Junior / Dave / Ensemble and Joanna Clarke (she/her) will play Cassie / Elliot / Ensemble.

Tanya Truman, the producer of Little Sausage, said, “Coming from a performing background myself, I know how difficult it can be to get noticed for projects. As a producer, I am passionate about working with incredibly talented people. I work hard with my creative team to look at fresh talent instead of selective based on where they may have trained, what credits they have, or how many Instagram followers they have.

With Little Sausage being verbatim and 100% based on live interviews of people’s experiences with veganism, it was essential to find actors who were excellent multi rollers to embody these people as authentically as possible.”

Directed by Annabelle Hollingdale (From Here, Spring Awakening), Little Sausage is a new verbatim musical about the nation’s most controversial Sausage. It uses the real words of ‘real’ men to explore toxic masculinity, plant-based dating, and the game-changing Gregg’s vegan sausage roll.

Little Sausage is a new verbatim musical about the relationship between veganism and masculinity.  

Annabelle Hollingdale, director of Little Sausage, said, “Little Sausage is as zany as it is sincere and evocative as it is entertaining. As a director, I am most drawn to text seated in naturalism, and it doesn’t get more naturalistic than real words spoken by real people. As a vegan, I find this musical painfully and comically Indicative of conversions I have had and heard first hand, and I’m thrilled to be able to invite an audience to share in this.”

With music and lyrics by Joshua Fowley and book Deborah Vogt, Little Sausage follows a Yorkshire lad and how his relationship with friends and family changes during his journey from cheese addict to animal activist!

Tickets are available now via The Other Palace website.

Charing Cross Theatre – until: 26th March 2022

Reviewed by Eli King

5*****

Based on the novel by Khalil Gibran, Broken Wings has been adapted to the stage by limitlessly talented duo Nadim Namaan and Dana Al Fardan. After a sold-out run at the Theatre Royal, Haymarket followed by shows in Lebanon, Dubai and Doha, this striking musical returns to London for a run at the Charing Cross theatre.

Even after the release and success of the concept album and worldwide shows, this production is the first fully staged version of the musical, breathing a whole new life into the masterpiece. Though the set isn’t complex, it’s simply spectacular. Gregor Donnelly’s set design paired with Nic Farman’s lighting is a sight to behold, bringing the story to life with the most exquisite surroundings.

Directed by Bronagh Lagan, this small cast of only ten people tells the story of love and loss, but also of hope. The story of Broken Wings is incredibly poignant, covering heavy topics like immigration, arranged marriages, death, child mortality and more, all whilst still seeming hopeful, showing that through hardship there can still be life and love.

With such a small cast, each individual performer has their moments to shine, even the smallest of parts have their sections in the limelight. Nadim Namaan as Khalil Gibran and Soophia Foroughi as Mother are no stranger to the well-deserved limelight, with their awe-inspiring vocals and a presence that commands the stage, it’s a true joy to watch them onstage together. For Noah Sinigaglia and Ayesha Patel, as Selma Karamy and Dima Bawab respectively, this is their professional stage debut and what a way to do it. Both women are utterly entrancing. Ayesha lights up the stage with her portrayal of loyal, loving friend Dema, illuding to her playful personality whilst belting out notes that seasoned professionals would struggle with.

Noah is a true show stopper, the way that she brings to life the character of Selma is mesmerising, giving her the sweet naivete of a sheltered child at the beginning and climbing to the tearful traumatised wife she transpires to be, as soon as she steps onstage it’s hard to take your eyes off her.

At the beginning of the show, we are introduced to a 40year old Khalil Gibran by Nadim Namaan who acts like a narrator throughout the production, detailing the story of his one true love Selma, and the torment he still endures through losing her. As the story unfolds, Lucca is tasked with accurately portraying the young Gibran and he does it perfectly. He gives Gibran the boyishly handsome charm, with words that would melt the coldest of hearts, whilst still being a strong man willing to fight for what he loves.

Opposing Sinigaglia is Lucca Chadwick-Patel as a sweet, talented and young Khalil Gibran, powered by love – and sometimes blinded by it.

Every single member of the cast deserves their own praise, they are all sensational. With Yasmeen Audi starring as Layla Bawab, Haroun Al Jeddal as Mansour Bey Galib, Johan Munir as Bishop Bulos Galib and Stephen Rahman-Hughes as Farris Karamy. It must be noted that Alex Kais normally performs as the ensemble, however for the first few performances Benjamin Armstrong stepped in to perform the role, including press night. For someone with very little notice, Benjamin slotted in with the cast seamlessly, even acting as a stage hand frequently as the set changed, he is a joy to watch and I hope his career continues to blossom.

With the stage having audience members on either side of it, the actors were tasked with making sure that both sections of audience felt included, and that they didn’t have their back to them at all times. The way that the staging was used and maneuvered was a stroke of genius, with characters often being side on, or constantly moving to make sure that everyone could see and get immersed in the storyline. Because of this, it would be interesting to see the show from either side and if it differs.

The set itself has a very neutral colour palette, lending itself perfectly to be transformed by the warm and cool tones of the lighting to set the tone and highlight pieces of interest – it was a very smart move for such a small stage.

Nadim is a natural storyteller, delivering such passionate monologues and breathtakingly beautiful belts, he acts as the backbone of Broken Wings, often lurking in the shadows or sat writing in the corner, as if he is writing the very story we are watching transpire.

The story of Broken Wings is something incredibly important, it tells the tale of a young man flitting from Beirut to Boston, trying to find somewhere to call his home and struggling with customs in either country. It acknowledges that hometowns are not perfect, but will always have a special place in your heart, it is your identity.

The representation onstage is inspiring and should be the norm. This is a story for POC, told by such a diverse cast, it’s mesemerising and it is clear to see how much it means to both the actors and the audience. This includes the authentic staging and beautiful costuming, each outfit is stunning in its own right, helping to differentiate class and status, yet still ensuring it represents the culture of Beirut. In this production there isn’t a wig in sight, there is only styling of the actors natural hair which is amazing to see the celebration of styles and texture – instead of covering it up.

The whole musical is an emotionally moving masterpiece, with the revolving stage pulling you into their whirlwind romance before spitting you out as harsh reality hits, barely recovering by the finale song.

Every single song embodies love and passion with endless rivers of talent, yet three still stick with me, calling our like sirens. ‘Til Death Reunites Us’, ‘Spirit of the Earth‘ and ‘Rescue Me are’ all incredible tear-jerking ballads that leave you breathless, yet wanting more. As Spirit of the Earth returns for the finale with a full cast, you can feel the drums in your chest and emotions filling the air, it’s truly breathtaking.

This story has so many layers of importance and meaning, it’s impossible to put it into words, but it’s essential that it be told.

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster

@222AGhostStory #222AGhostStory

• 
  SMASH HIT 2.22 – A GHOST STORY WILL TRANSFER TO THE CRITERION THEATRE FOR A STRICTLY LIMITED THIRD SEASON OF 17.5 WEEKS FROM 7 MAY 2022
  
   
• FOLLOWING ITS PREMIERE AT THE NOEL COWARD THEATRE IN THE SUMMER LAST YEAR, THE PRODUCTION MOVED TO THE GIELGUD THEATRE IN DECEMBER 2021, ITS RUN THERE CAME TO AN END ON 12 FEBRUARY

• THE PRODUCTION IS DIRECTED BY MATTHEW DUNSTER AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS
  
   
• CAST FOR THE CRITERION THEATRE WILL BE ANNOUNCED SOON
   
• TICKETS FOR THE CRITERION THEATRE ARE ON SALE FROM 12NOON ON 16 FEBRUARY FROM WWW.222AGHOSTSTORY.COM

Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 – A Ghost Story will transfer for a second time to The Criterion Theatre where it will play a 17.5 week season opening on 7 May 2022. The production began its life last summer at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher completed its run on 12 February 2022. The cast for the transfer to the Criterion Theatre will be announced soon. 

“A great spine-tingling night out!” Evening Standard

The West End theatre event of the year will return this summer by popular demand.

“It’s happening again…”

Following two record-breaking seasons at the Noel Coward and Gielgud Theatre with a host of acclaimed star performances, this edge-of-your-seat, supernatural thriller returns once again for a brand-new limited engagement at the Criterion Theatre.

2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster. Look out for the clues to unlock the mystery in this brilliantly funny and intriguing play; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…

Danny Robins said: “I’m so damn thrilled that the 2:22 – A Ghost Story journey gets to continue. The response to the play so far has blown me away. Since I was a kid I’ve been obsessed by ghost stories, and I’m so glad that theatre audiences seem to feel the same way. My aim, writing the play, was to create a fun, spooky, thought-provoking night out, a show that leaves you buzzing, on the edge of your seat, questioning what you believe. If you haven’t seen it yet, I hope you’ll come down to the Criterion and see what you believe… if you dare!”

Matthew Dunster said: “This feels like an extraordinary journey for a new play. It sounds like an obvious thing to say, but even in this crazy time we’re living through, people really seem to want to see this show. Sell out runs with two exciting and surprising casts at two West End theatres; and now a run to look forward to at The Criterion where there’ll be more more surprises and more excitement. I just feel terrifically proud of Danny and all the team. And really grateful to the Up For It audiences who have been coming along.”

What do you believe? And do you dare discover the truth?

“THERE’S SOMETHING IN OUR HOUSE. I HEAR IT EVERY NIGHT, AT THE SAME TIME”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know.

“A slick, chilling, romp of a play” The Guardian

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Jessica Ronane CDG and illusions by Chris Fisher, co-direction by Isabel Marr.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

Royal Concert Hall Nottingham – 15 & 16 February 2022 

Reviewed by Louise Ford

5*****

What a wonderful way to spend a cold and wet February evening, in the company of some of the brightest and most talented dancers from Cuba.

I have not seen many Contemporary dance shows so I was not sure what to expect. It was a glorious fusion of classic ballet poise and stance with modern energy, rhythm and power. The music is also a mixture of strong beats and tempos and compliments the choreography perfectly.

The show in Nottingham is the first stop after a run at Sadlers Wells in London, on a nationwide tour. Acosta Danza was founded in Havana in 2016 by Carlos Acosta to develop young talent and to showcase Cuban performers. Which it does perfectly in this show.
100% Cubano is five different pieces; a solo, a duet and three ensemble pieces. They are all different and distinct but are linked by the same powerful energy and pared back sets. 

The show features UK premieres from three exciting young Cuban choreographers – Hybrid by Norge Cedeno Raffo, Liberto by Raúl Reinoso and De Punta a Cabo by Alexis Fernandez . Also in the program; are two big hits from the 2020 UK tour – Paysage, soudain, la nuit by Sweden’s Pontus Lidberg and Impronta created for Acosta Danza by Spanish choreographer Maria Rovira. All of the pieces draw on the melting pot that is Cuba, from the African and Spanish roots to the modern day Havana waterfront. 

Whilst all of the pieces are mesmerising the stand out piece for me was Impronta, an amazing solo performance by Zeleidy Crespo. Her presence, her undulating back and arms, the sheer magnificence of her movements in a swirling turquoise dress perfectly illuminated in a single spotlight is incredibly powerful. The final piece De Punta a Cabo is a true Havana party of young people enjoying the freedom of the Malecon waterfront. There is a mixture of dance styles which culminates in the ensemble striped down to their pants, celebrating the full range of beautiful bodies and ethnic mixes, that is Cuba today. The audience and the cast were on their feet at the end clapping and smiling at such a wonderful sight.

EMPIRE THEATRE LIVERPOOL – 14 FEBRUARY 2022

REVIEWED BY MIA BOWEN

5*****

The Russian State Ballet of Siberia is once again touring the UK. Presenting their iconic and classical repertoire of five ballets, brought to life with magical special effects and accompanied by the Russian Ballet Orchestra. They have established themselves as one of Russia’s leading ballet companies and have built an international reputation for delivering performances of outstanding quality and depth.

Last night the company was in Liverpool, performing the world’s greatest love story, Romeo and Juliet, Shakespeare’s romantic tale of passion and tragedy, brought to life by Sergei Prokofiev’s score, with emotionally charged choreography.

‘Two households, both alike in dignity, in fair Verona, where we lay our scene, from ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes a pair of star-cross’d lovers take their life; whole misadventured piteous overthrows do with their death bury their parents’ strife’. Romeo and Juliet (1.1)

Most people are very familiar with the story of the doomed lovers Romeo and Juliet and it was wonderful to watch the journey of their love until its poignant end.

The choreography, by Sergei Bobrov was excellent and brought to life the story through mesmerizing dance variations. I was in awe at the talent and stamina of all the dancers and to think that they perform five different ballets on different days, each ballet with technically difficult and different steps. The lighting was beautiful and the simplicity added alluring detail that enhanced the overall feel of the ballet. The set, designed by Dmitry Tcherbadzhi was very simple, with back projections transporting us to fair Verona. Tcherbadzhi also designed the costumes, which were frankly striking, especially the ‘silent choir of the menacing Heralds of Death masked’, in funereal black. By using different colours red and blue, it also helped the audience distinguish between who were Capulet’s and who were Montague’s.

I would highly recommend The Russian State Ballet of Siberia in any of their five productions; The Nutcracker, Swan Lake, Snow Maiden, Cinderella, and Romeo and Juliet, their dancing is exceptional, accompanied by beautiful music. Their tour is on until the end of March. If you get the chance to watch any of these ballets, you will not be disappointed.

Festival Theatre, Malvern – until 19th February 2022.

Reviewed by Courie Amado Juneau

4.5 ****

Sunshine duly brought!

The Play What I Wrote is more than just a staged version of a Morecambe and Wise TV episode. There are, of course, some of their signature trademarks: face slapping, the long coat and flat cap, the dance off etc. But this is much cleverer than just a modern impression of Eric and Ernie. It is a show with its own multifaceted story to tell. And a mighty enjoyable one at that!

The show opens with a recurring joke (involving a harmonica) before exploding at breakneck speed as our two principle actors, Dennis Herdman and Thom Tuck (playing themselves), introduce their manic characters with some lightning fast jokes, skits and comedic songs.

Dennis and Thom are extremely funny and do an amazing job evoking the spirit of Eric and Ernie – but in their own inimitable style. They were thoroughly entertaining throughout and it was obvious they are also steeped in the history of British comedy, with shades of Monty Python (silly walks), Carry On’s bawdy double entendres and the heyday of light entertainment evident in abundance.

Mitesh Soni (playing Arthur & others) is hysterical. The show, arguably, has three principle actors – with Arthur being the third. In the best tradition of Panto (and 70’s TV) his “others” included several extraordinarly implausable female characters which the principles play off to hilarious effect.

One of the highlights of any Morecombe & Wise show was the sending up of the guest star, who was in on the joke. Who can forget Des O’Connor, Andre Previn, Shirley Bassey or Glenda Jackson’s turns, to name but a few? Tonight’s special star guest was someone you will undoubtedly know and love; being a lady of bona fide comedy credentials, having starred in several of the nation’s all time favourite television comedies. I won’t spoil the surprise as to who it is (as I understand she will be appearing again) but she was fabulous. I especially enjoyed her asides and address to the audience which were pitch perfect.

The play what he wrote, “The Scarlet Pimple Gets Squeezed”, is well worth waiting for with some wonderful visual gags and some fine “knowing” dialogue making it clear that the piece is clearly beneath the star guest’s dignity.

If you love the style of comedy that Eric and Ernie were masters of you will love this show. It will leave you with aching sides and a warm fuzzy feeling in your heart. Like their bygone era’s Saturday night TV schedule, this show has everything – song, dance, slapstick, saucy jokes, a nice line in name mispronounciation and much more. This show is a nostalgic and affectionate homage and one that all the family will enjoy.

The director (Sean Foley) calls the show’s style of comedy “sophisticated daftness” and I think that is a perfect way to describe it. Whatever you call it, it’s a show that will leave you smiling long after the roars of laughter have died down. Sunshine duly brought!

Hope Theatre, Islington – 14th February 2022

Reviewed by Bobbi Fenton

5*****

To Have and To Hold by Mark Bastin is an absolute theatrical masterpiece. It tells the story of married couple Dennis (Mark Steere) and Gina (Susan Graham), through two monologues that are intertwined with one another, varying the story ever so slightly. Dennis tells what seems to be a more romanticised version of the story, until near the end when his monologue becomes more realistic. Gina, on the other hand, tells her side of the story in a much harsher way, allowing the audience to fully grasp the details of their marriage, and some of her childhood. The tone of her monologue changes slightly towards the end, as she embraces the love and care she receives from her husband.

The set has been expertly designed by Ceci Calf, and is made to look like a typical living room in an elderly person’s house. The theatre is so small that the audience feels as if they are actually in their living room as opposed to just seeing it. It feels a little invasive as though the audience are intruding into their home, and shouldn’t be there, but this works brilliantly with the way that the story is told.

As the two reflect on their lives together, it becomes very clear that the couple are the most unlikely pairing. The characters seem like polar opposites, with Dennis being the shy, caring type and Gina being the confident, outspoken type. It also becomes clear that, while their marriage has been a long one, it isn’t necessarily a happy one, with secrets being revealed that show a true insight into the struggles of their relationship.

This play is the perfect thing for Valentine’s day, although not for the reasons you think.

Grand Opera House York – until Saturday 19th February 2022

Reviewed by Michelle Richardson

4½ ****

We Will Rock You, with music and lyrics by Queen and the book written by Ben Elton, has been around for 20 years, and this is the first time I’ve seen it. I had heard of the musical and knew it centred around the music of Queen, but that was it, I never like to read up about any show I go to see, I like to see it through fresh eyes.

I knew it was a popular show and the queue outside the theatre confirmed that. It was no problem queuing up and the staff were very efficient, checking Covid passes and scanning tickets. The theatre was packed with very few vacant seats, always a great sign and makes a wonderful atmosphere, we were all eager to hear the wonderful music of Queen.

Set in a dystopian future where music, as we know it, has been banned, where the all-powerful GlobalSoft, led by the Killer Queen (Jenny O’Leary) and her second in command Khashoggi (Adam Strong), has universal dominance of the iPlanet. It’s a world where everyone is expected to conform, full of GaGa girls and boys. As with any dictatorship there are always those who will rebel, in this case The Bohemians, who are fighting to bring back rock music, though they are not too sure what that is. They’ve named themselves after Rock Gods, such as Britney Spears(?!), Cliff Richard (?!) and Meatloaf, having no clue who they really are. Cliff (Michael McKell) is the leader of this eclectic bunch. McKell has a lot of stage presence, as well as a fine voice.

Galileo (Ian McIntosh) and Scaramouche (Elena Skye), know they are different. After showing freewill, they find themselves locked up together, ready to be reprogrammed. Subsequently they escape and go in search of The Bohemians, trying to make sense of the words in Galileo’s head. The chemistry and dialogue between the two is great, though Scaramouche does have the best lines.

A few years ago, I saw Queen in concert in Sheffield, with Adam Lambert as lead singer, and it was excellent, best concert I’ve been to. McIntosh as one of the leads, lives up to the Queen name, doing justice to the iconic music, he was fabulous. It was good to see that the whole cast were given the opportunity to shine and sing a Queen song.

The set was dark, with scaffolding at the back of the stage, digital images projecting onto screens within. It wasn’t until later that we realised that the band, a fantastic group of musicians, were playing behind the screens on the top floor, hidden for most of the show.

At first when I saw the programme I was like, wow, how many cast, and how are they all going to fit on this small stage? Even the first number, when the stage was packed, I wasn’t convinced that it would work, but boy was I proven to be wrong. The choreography and energy on stage was quite electrifying, everyone looked like they were having a fabulous time.

The story is absolutely bonkers, but I do love this kind of theatre. It was funny, maybe at times a bit pantomime, but that’s not a negative thing. It’s a vibrant show full of innuendo and cultural references. With its timeless music, just go out and enjoy it for what it is, a bit of fun and a great night out.

Lyric Theatre, London – February 14th 2022

Reviewed by Melissa O’Neill

5*****

The stage is set with floating bubbles of love for the most romantic evening of the year, Valentines Day. Resplendent in a silk floral gown, the show’s host, Shanay Holmes steps into a packed theatre amidst the excitable chit chat of fans of West End Musical. Shanay Holmes makes a touching speech dedicated to the creative works of the late Stephen Sondheim before singing the opening song accompanied by Tom Leaper on Saxophone. Shanay Holmes powerful voice was embraced by the red sequin outfits of her backing dancers, their bodies moving like fire cracking birds of paradise.

Tom Leaper played throughout the evening adding a soulful and seductive sound.

Nikki Bentley sang Somewhere (there’s a place for us) from West Side Story, a sweet song sang with heartfelt joy, and complimented by Sam Barrett’s rendition of Maria. They later teamed up for a fabulously flirty and fizzy You’re the One that I Want. Nikki Bentley performed an energetic mash up of Madonna, Britney and Eurythmics with scantily clad dancers seducing the audience.

Sam Barrett, along with enthusiastic audience participation sang Unchained Melody, with a maturity beyond his years.

Emma Hatton, dressed in a delicately silken green gown performed a duet with Nikki Bentley, taken from Wicked, I KnewYou. Their performance reflected a close and comfortable feeling, each enabling the other to shine. Just lovely!

Emma Bentley made a beautiful pairing with Jon Robyns as they sang Beauty and the Beast, I felt goosebumps all over as I was taken into a world of make believe. Jon Robyns commands attention in his orange velvet jacket, and his voice delights the audience as he sings from the Wedding Singer with Shan Ako on accompanying guitar.

Shan Ako brought funk and delight to the stage with her wonderful voice as she sang Bob Marley’s I Wanna Love You, the audience lapped it up. Shan Ako and Tom Leaper brought the audience to its feet with Whitney Houston’s, I Want to Dance with Somebody, we certainly did.

Jodie Steel, as light as a bird with a voice as hot as the blazing sun. Jodie Steel was the perfect person to sing Abba’s, Save all your love for me.

Natalie Paris, sang out a vivacious, Lets hear it for the boys, from Footloose and with Sam Barrett, Come what May, from Moulin Rouge. This song had to have had the most romantic line of all, I want to vanish inside your kiss………..swoon.

At the end of the first act Shanay Holmes sang I Will Always Love You from The Bodyguard, with a dedication to her husband and co producer of the show. It was a testament to their passion and dedication in producing this joyous evening. Shanay Holmes then brought some disco and desire in the form of Michael Jackson’s The Way you Make me Feel.

West End Musical Love Songs was a special way to celebrate Valentines with the one you love. It had excitement, energy, some flirting, a little tenderness and a whole lot of warmth. What else could you ask for?!

HOSTS, PRESENTERS AND PERFORMANCES ANNOUNCED FOR THE

22^ND ANNUAL WHATSONSTAGE AWARDS

WhatsOnStage today announces that Jodie Prenger and Tom Read Wilson will host the 22^nd Annual WhatsOnStage Awards, the only major theatre prize-giving decided entirely by the theatregoers themselves. They are joined by Chris Bush, Graziano Di Prima, Omari Douglas, James Graham, David Harewood, Frances Mayli McCann, Stephanie McKeon, Drew McOnie, Daniel Monks, Tracy Ann Oberman, Johannes Radebe, Kitty Scott Claus, Ella VaDay, Miriam-Teak Lee and Eric Underwood who will present the awards at the Ceremony on 27 February 2022 at the Prince of Wales Theatre.

In addition, Amy Hart and Oscar Conlon-Morrey will be live on the red carpet chatting to the stars as they arrive from 6.30pm via WhatsOnStage’s Facebook page.

The evening will feature performances including:

• The event opens with the new composition – We’re Back in the Game featuring Jodie Prenger, Tom Read Wilson and an all-star ensemble – with music by Alex Parker and lyrics by Katie Lam
• Isaac Gryn, Ryan Anderson, Alex Christian, Michael O’Reilly and Dale White will perform Gee, Officer Krupke from West Side Story
• Julian Ovenden and Gina Beck performing Some Enchanted Evening/ I’m In Love from South Pacific
• Victoria Hamilton-Barritt and Rebecca Trehearn performing I Know You from Andrew Lloyd Webber’s Cinderella
• Olly Dobson, Cedric Neal and Courtney-Mae Briggs performing The Power of Love from Back to the Future the Musical
• Samantha Barks performing Let It Go from Frozen
• Aimie Atkinson performing I Can’t Go Back from Pretty Woman: The Musical
• Liisi LaFontaine and Jamie Bogyo performing Elephant Love Medley from Moulin Rouge! The Musical
• The evening will conclude with A Tribute to Stephen Sondheim, featuring an all-star ensemble

Leading the nominations this year is the new musical Frozen – currently running at Theatre Royal Drury Lane – with 13 nominations across acting and creative categories including nominations for Best New Musical, for both Samantha Barks and Stephanie McKeon in the Best Performer in a Female Identifying Role in a Musical category, with Oliver Ormson and Obioma Ugoala both nominated for Best Supporting Performer in a Male Identifying Role in a Musical. In addition, the production also receives nominations for Best Direction for Michael Grandage, and nominations for Best Set Design, Best Costume Design, Best Choreography, Best Musical Direction, Best Lighting, Best Video Design and Best Graphic Design.

In the musical categories, Get Up, Stand Up! The Bob Marley Musical receives 10 nominations, with Back to the Future the Musical revving up closely behind with 9 nominations. Cabaret makes its mark with 7 nominations, mirrored by Moulin Rouge! The Musical and Andrew Lloyd Webber’s Cinderella.

In Best Performer in a Female Identifying Role in a Musical, Barks and McKeon face stiff competition from Cabaret’s Jessie Buckley, Aimie Atkinson for Pretty Woman, Beverley Knight for The Drifters Girl and previous WhatsOnStage Award winner Carrie Hope Fletcher for Andrew Lloyd Webber’s Cinderella. For Best Performer in a Male Identifying Role in a Musical, Back to the Future’s Roger Bart and Olly Dobson go head to head against Ivano Turco for Andrew Lloyd Webber’s Cinderella, Arinzé Kene for Get Up, Stand Up!, Eddie Redmayne for Cabaret, and Julian Ovenden in South Pacific.

In the musical supporting categories, Ormson and Ugoala face Hugh Coles and Cedric Neal both from Back to the Future the Musical, Blake Patrick Anderson from Be More Chill and Robert Lindsay from Anything Goes; and in the Best Supporting Performer in a Female Identifying Role, Andrew Lloyd Webber’s Cinderella’s Victoria Hamilton-Barritt and Rebecca Trehearn are both nominated, alongside Gabrielle Brooks for Get Up, Stand Up!, Joanna Ampil for South Pacific and Millie O’Connell for Rent.

Leading the straight plays categories is Yaël Farber’s production of The Tragedy of Macbeth, which recently completed its run at the Almeida Theatre, receiving 5 nominations for Saoirse Ronan for Best Performer in a Female Identifying Role in a Play, Akiya Henry for Best Supporting Performer in a Female Identifying Role in a Play, Richard Rankin for Best Supporting Male Identifying Role in a Play, Best Direction and Best Play Revival.

Also performing well in the straight play categories are The Ocean at the End of the Lane, Magic Goes Wrong, 2:22 A Ghost Story and Cyrano de Bergerac with 4 nominations each.

For her stage debut in Anna X as part of Sonia Friedman’s RE:EMERGE season, Emma Corrin receives their first WhatsOnStage nomination for Best Performer in a Female Identifying Role in a Play, nominated alongside Gemma Arterton for Walden in the same season, Lily Allen for 2:22 A Ghost Story, Patsy Ferran for Camp Siegfried, Sheila Atim for Constellations, alongside Saoirse Ronan. Best Performer in a Male Identifying Role in a Play nominees are Henry Lewis for Magic Goes Wrong, Ben Daniels for The Normal Heart, Hadley Fraser for 2:22 A Ghost Story, Richard Armitage for Uncle Vanya and James McAvoy for Cyrano de Bergerac.

For Best Supporting Performer in a Female Identifying Role in a Play, the nominees are Nancy Zamit for Magic Goes Wrong, Michelle Fox for Shining City, Penny Layden for The Ocean at the End of the Lane, Isobel McArthur for Pride and Prejudice* (*sort of), Akiya Henry for The Tragedy of Macbeth and Aimee Lou Wood for Uncle Vanya. Best Supporting Performer in a Male Identifying Role in a Play nominees include Jake Wood for 2:22 A Ghost Story, Richard Rankin for The Tragedy of Macbeth and Jonathan Sayer for Magic Goes Wrong – all 3 plays receiving 3 acting nominations each, alongside Stephen K Amos for My Night with Reg, Nathaniel Parker for The Mirror and the Light, and Dino Fetscher for The Normal Heart.

In the fiercely fought Best New Musical category, Frozen faces competition from Andrew Lloyd Webber’s Cinderella, Back to the Future the Musical, Get Up, Stand Up! The Bob Marley Musical, Pretty Woman the Musical and Moulin Rouge! The Musical; and in Best New Play, the nominees are Magic Goes Wrong, 2:22 A Ghost Story, The Ocean at the End of the Lane, Pride and Prejudice* (*sort of), J’Ouvert and last year’s Olivier Award winner Leopoldstadt.

Best Play Revival nominees are The Normal Heart, Constellations, The Tragedy of Macbeth, Uncle Vanya, My Night with Reg and Cyrano de Bergerac; and Best Musical Revival sees the recently opened Cabaret face off against Anything Goes, Rent, South Pacific, Carousel and West Side Story.

Best Direction sees a split between musical theatre with Frozen’s Michael Grandage nominated alongside Clint Dyer for Get Up, Stand Up!, and Rebecca Frecknall for Cabaret, and straight plays with The Tragedy of Macbeth’s Yaël Farber, Katy Rudd for The Ocean at the End of the Lane and Jamie Lloyd for Cyrano de Bergerac completing the category.

South Pacific receives 6 nominations in total, having opened at Chichester Festival Theatre and been streamed, including Best Regional Production, where it faces competition from RENT – with 5 nominations, What’s New Pussycat?, West Side Story, Bedknobs and Broomsticks and Bloody Elle; and for Best Off-West End Production, the nominees are My Son’s a Queer (but What Can You Do?), The Last Five Years, Pippin, Saving Britney, Old Bridge and Anything is Possible If You Think About It Hard Enough.

Mischief Theatre receives 5 nominations in total – 4 for Magic Goes Wrong, and also for The Play That Goes Wrong in the popular Best West End Show category. Other nominees in the Best West End Show category are SIX the Musical, Wicked, Les Misérables, Come From Away and Hamilton.

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