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EMMY, GRAMMY AND SIX-TIME TONY AWARD WINNER

AUDRA MCDONALD

LIVE AT THE LONDON PALLADIUM

SUNDAY 25 SEPTEMBER 2022

Fourth Wall Live is thrilled to announce that the Emmy, Grammy and six-time Tony Award winning Broadway sensation AUDRA MCDONALD will be performing live at the London Palladium with the forty-piece London Musical Theatre Orchestra on Sunday 25 September 2022 at 7.00pm. Alongside Andy Einhorn and the London Musical Theatre Orchestra, Audra will take you through the Great American Songbook and Broadway’s greatest hits.

Ticket presale opens on Wednesday 15 December at 10.00am, with general on sale Friday 17 December at 10.00am.

Pre-sale sign up is open NOW at: www.audra-london.com

Audra McDonald said today, “London is one of my favourite cities on the planet—I love it so much. There was a time when I was working and performing in London at least once a year. I’ve missed it so very much so the fact I’m getting the chance to return in this way is a joy for me. Come on out because I can’t wait to see you all. It’s been a while and I can’t wait to be in a theatre with you again.”

Audra McDonald is unparalleled in the breadth and versatility of her artistry as both a singer and an actor. The winner of a record-breaking six Tony Awards, two Grammy Awards and an Emmy, in 2015 she was named one of Time magazine’s 100 most influential people and received a National Medal of Arts—America’s highest honor for achievement in the field—from President Barack Obama. In addition to her Tony-winning performances in Carousel, Master Class, Ragtime, A Raisin in the Sun, The Gershwins’ Porgy and Bess and Lady Day at Emerson’s Bar & Grill—the role that also served as the vehicle for her Olivier Award-nominated 2017 debut in London’s West End—she has appeared on Broadway in The Secret Garden; Marie Christine (Tony nomination); Henry IV; 110 in the Shade (Tony nomination); Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed; and Frankie and Johnny in the Clair de Lune (Tony nomination). A Juilliard-trained soprano, her opera credits include La voix humaine and Send at Houston Grand Opera, and Rise and Fall of the City of Mahagonny at Los Angeles Opera, where the resulting recording earned her two Grammy Awards.

On television, Audra has been seen by millions as the Mother Abbess in NBC’s The Sound of Music Live! and played Dr. Naomi Bennett on ABC’s Private Practice. She won an Emmy Award for her role as host of PBS’s Live From Lincoln Center and has received nominations for Wit, A Raisin in the Sun and Lady Day at Emerson’s Bar & Grill. Having first appeared as Liz Lawrence on CBS’s The Good Wife, she can now be seen in The Good Fight on Paramount+ as well as in Spectrum’s pandemic-themed drama, The Bite. On film, she has appeared in Seven Servants, The Object of My Affection, Cradle Will Rock, It Runs in the Family, The Best Thief in the World, She Got Problems, Rampart, Ricki and the Flash, Disney’s live-action Beauty and the Beast,the movie-musical Hello Again, and MGM’s Aretha Franklin biopic, Respect. McDonald has issued five solo albums on the Nonesuch label as well as Sing Happy with the New York Philharmonic on Decca Gold. She also maintains a major career as a concert artist, regularly appearing on the great stages of the world and with leading international orchestras. A founding member of Black Theatre United, board member of Covenant House International, and prominent advocate for LGBTQAI+ rights, her favorite roles are those performed offstage, as an activist, wife to actor Will Swenson, and mother.

The London Musical Theatre Orchestra is the world’s only professional orchestra dedicated solely to musical theatre. Since LMTO’s launch in June 2016, the orchestra has performed to over 60,000 people at venues including the Royal Albert Hall, the London Palladium and the Dominion Theatre, and the orchestra’s recordings have nearly half a million streams.

Recent concerts include A Christmas Carol (Dominion Theatre), The Best of the West End (Royal Albert Hall), Lucie Jones Live at theAdelphi (Adelphi Theatre), Cinderella (Cadogan Hall), Zorro The Musical (Cadogan Hall) and Honeymoon in Vegas (London Palladium).

LMTO’s Patrons include Alan Menken, Stephen Schwartz, Jason Robert Brown, Julian Fellowes and Howard Goodall. LMTO is Orchestra-in- Residence at Bishopsgate Institute. 

Audra McDonald live at the London Palladium is produced by Darren Bell, Dan Looney, Adam Paulden and Jason Haigh-Ellery for Fourth Wall Live. Fourth Wall Live is a live entertainment company that produces concerts internationally. It regularly brings Broadway artists to the UK, previous concerts include Broadway and TV regulars Laura Benanti, Sierra Boggess, Kelli O’Hara, Chita Rivera, Laura Michelle Kelly, Megan Hilty, Tituss Burgess, Jeremy Jordan, Matthew Morrison, Erich Bergen, Eden Espinosa, Julia Murney and Cynthia Erivo. Other concerts include West End Stars solo concerts including Michael Ball, Matt Cardle, Kerry Ellis, Oliver Tompsett, Hannah Waddingham, Sharon D Clarke and Bonnie Langford. Upcoming productions at Cadogan Hall include Jenna Russell, Shoshana Bean, Keala Settle and Jessica Vosk.

Tori Amos’s musical The Light Princess was presented to critical acclaim, as a special one-off concert in the summer of 2018. Next year Bonnie & Clyde the musical concert will run for two nights to a sold-out audience at Theatre Royal Drury Lane starring Jeremy Jordan. 

Fourth Wall Live also regularly partners with the Hippodrome Casino, in November-December 2020 they produced 25 nights of socially distanced entertainment, proudly being the first live event post lockdown. The current season of Hippodrome concerts runs from September 2021 to December 2021 and features 20 nights of musical entertainment featuring Alice Fearn, Kerry Ellis, Hayley Tamaddon and David O’Reilly.

Fourth Wall Live is committed to following all relevant UK Government Covid-19 guidelines, creating a safe working environment for our cast, musicians, creatives, crew and their families.

Audra McDonald and Fourth Wall Live are proudly being supported by Yamaha Pianos.

“THE PRINCE OF EGYPT” FILMED

BY UNIVERSAL PICTURES CONTENT GROUP

FINAL 4 WEEKS TO EXPERIENCE THE SHOW LIVE IN LONDON

ENGAGEMENT ENDS SATURDAY 8 JANUARY 2022

THE PRINCE OF EGYPT, the “lavish stage adaptation” (The Guardian) of the classic DreamWorks Animation film, has this week been filmed live at London’s Dominion Theatre by Universal Pictures Content Group. Plans for its broadcast will be released at a later date. The live capture of Scott Schwartz’s production is directed by Brett Sullivan and produced by Dione Orrom.

“One of the biggest musicals ever staged” (Metro), the epic production will play its final performance on Saturday 8 January 2022. Extra shows have been added on 20, 21 and 28 December 2021 at 2.30pm with performances also on Christmas Eve, New Year’s Eve and New Year’s Day. Final tickets are available now via the official website: www.ThePrinceofEgyptMusical.com 

The Prince of Egypt tells an inspiring story of resilience, hope and belief. With a cast and orchestra of more than 60 incredible artists, this “truly phenomenal production” (BBC London) features Sean Cheesman’s “astonishing choreography” (The Guardian) and Stephen Schwartz’s “miraculous music” (Time Out) – including his Academy Award®-winning song ‘When You Believe’.

The huge cast features: Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Tuya), Oliver Lidert (Jethro), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Nardia Ruth (Nefertari), Silas Wyatt-Barke (Aaron), Simbi Akande, Casey Al-Shaqsy, Jordan Anderton, Joe Atkinson, Danny Becker, Felipe Bejarano, Pàje Campbell, Catherine Cornwall, Adam Filipe, Soophia Foroughi, Natalie Green, George Hankers, Jack Harrison-Cooper, Kalene Jeans, Christian Knight, Jessica Lee, Daniel Luiz, Jay Marsh, Scott Maurice, Carly Miles, Alice Readie, Samuel Sarpong-Broni, Christopher Short, Molly Smith, Marco Venturini, Ricardo Walker, Niko Wirachman and Sasha Woodward together with young performers Chenai Broadbent, Cian Eagle-Service, Maiya Eastmond, Jersey Blu Georgia, Taylor Jenkins, George Menezes Cutts, Iman Pabani and Vishal Soni.  

The orchestra is Dave Rose (Musical Director); Mark Collins (Associate Musical Director, Keyboards); Nina Foster/Fiona McCapra (job share), Sonya Fairbairn, Penny Ainscow, Sebastian Rudnicki (Violins); Fiona Davies (Viola); Magda Pietraszewska (Cello); Rory Dempsey (Bass); Rupert Widdows (Woodwind); Tony Cross (Trumpet, Flugelhorn); Duncan Fuller, David McQueen (Horns); John Gregson (Guitars); Murdoch MacDonald (Percussion) and Dan Ellis (Drums).

The Stage Management team is Debra Tidd (Company Stage Manager); Dominique Pierre-Louis (Stage Manager); Ryan Quelch (Deputy Stage Manager); Nuri Chang, Charlotte Johnson (Assistant Stage Managers/Book Cover); Simon Humphris, Chrissie Huxford and Tracey Farrell (Assistant Stage Managers).

Journey through the wonders of Ancient Egypt as two young men, raised together as brothers in a kingdom of privilege, find themselves suddenly divided by a secret past. One must rule as Pharaoh, the other must rise up and free his true people; both face a destiny that will change history forever.

The Prince of Egypt has music and lyrics by multi-Grammy® and Academy Award®-winner Stephen Schwartz (Wicked, Godspell), a book by Philip LaZebnik (Mulan, Pocahontas) and features 10 new songs written by Stephen Schwartz together with 5 of his beloved songs from the DreamWorks Animation film (When You Believe, Deliver Us, All I Ever Wanted, Through Heaven’s Eyes and The Plagues).

The Prince of Egypt is directed by Scott Schwartz with choreography by Sean Cheesman;set designs by Kevin Depinet; costume designs by Ann Hould-Ward; lighting design by Mike Billings; sound design by Gareth Owen; projection designs by Jon Driscoll; illusions by Chris Fisher; wigs, hair and makeup design by Campbell Young Associates; orchestrations by August Eriksmoen; musical supervision and arrangements by Dominick Amendum; musical direction by Dave Rose; casting by Jim Arnold CDG and children’s casting by Verity Naughton CDG.

The Prince of Egypt is produced by DreamWorks Theatricals (a division of Universal Theatrical Group), Michael McCabe and Neil Laidlaw together with John Gore, Tom Smedes and Peter Stern, Ramin Sabi, The Araca Group, James L. Nederlander and Michael Park.

The Original Cast Recording, released by Ghostlight Records, received a 2021 Grammy® Award nomination for `Best Musical Theatre Album’.

A milestone in cinematic achievement, the classic DreamWorks Animation film has been captivating audiences across the world for more than two decades. It has been hailed as “one of the greatest animated films of all time” (Evening Standard) and “a stunning film” (The Guardian).

Twitter, Facebook, Instagram, YouTube: @PrinceOfEgyptUK

Official website: www.ThePrinceofEgyptMusical.com

Dominion Theatre safety protocols and audience procedures can be viewed here:

 www.nederlander.co.uk/safety

Wales Millennium Centre – until 31 December 2021

Reviewed by Rhys Payne

5*****

XXXmas Carol is a brand new adult focused production at the Wales Millennium Centre in association with Big Loop productions. The show is basically the story of A Christmas Carol crossed with a wonderful array of performances throughout to match key moments in the story. The first thing of note for this show is the fact that it is nothing like the family-friendly version in Sherman, in fact, it is strictly for a mature audience as there are depictions of sexual acts, constant strong language, references to drug use and most shockingly whips and other sexual toys on every table for the audience. I just need to reiterate that this is a show for only people who are over the age of eighteen and so my review many discuss these more adult themes!

The entire event is hosted by the incredibly talented drag queen Polly Amorous. I have seen Polly perform numerous times in local nightclubs where I know she can sing a little and is very entertaining but I had no idea the scale that this could be harnessed into! This show has been uniquely crafted to put Polly herself into the heart of the show where Scrooge is almost the male persona and Polly is his drag alter-ego. There are jokes throughout about appearing on drag race, quitting full-time work to become a full-time drag superstar and fits with her energetic and crude personality. Polly is clearly a very gifted triple-threat performer as she was not only able to perform her alternating roles of the narrator and Ebenezer Scrooge, she delivered both lip-syncing and live performance and her choreography throughout was something to be marvelled at! Talking about marvelled at I think some time need to be put aside to appreciate how stunning Polly looked throughout the whole of this show in her wonderfully festive-inspired outfits! Her first and opening number started off as “All I want for Christmas is You” by Mariah Carey, which I have seen performed by pretty much every queen I know in recent week, but quickly tweaked to being an intense and sexually powered song about wanting to be f**ked for Christmas which had the audience rolling in hysterics throughout. This song started with Mariah but ended up as an almost Nicky Minaj/Megan Thee Stallion style song which was wonderfully performed!

I was first Introduced to Rahim El Habachi during a different performance at Sherman Theatre. His original piece “The Love Theft” was a very powerful retelling of a classic Greek myth with an underlying political message of LGBT+ acceptance around the world. During this show, Rahim showcased his incredible dancing skills which he again used during this performance. Throughout XXXmas Carol Rahim led belly dancing inspired numbers and was frequently twerking with absolutely incredible to watch! He delivered a wonderfully hilarious poem about a festive act of sex work which was not only hilarious but also explored how the sex industry is still belittled and how we really need to remove the stigma on this career. One of the highlights in this role is the fact that Rahim helped to introduce the Muslim faith into the performance where he discussed to alternative holidays and some of the rules this faith follows. While I am a massive Christmas fan, I need to also remember that there are so many people who do not celebrate Christmas and so for Rahim to focus the audience onto this fact is very important and great to see! Polly and Rahim performed a wonderful performance of the more upbeat version of “One Night Only” which was wonderfully fun and contains some great live vocals.

This retelling of Christmas Carol also had a series of amazing burlesque performances which was delivered by the talented Foo Foo Labelle. The first number in which Foo Foo was dressed as a massive Christmas tree with green balloons all over the costume was wonderfully camp and when they began popping them in time with the music it was very startling to experience. Foo Foo was so wonderfully over-the-top during this performance with the most exaggerated facial reactions I have seen in a long while which helped snatch and maintain the audience attention throughout the unique performance. Polly also worked alongside Foo Foo to deliver another hilarious duet that was based on the classic M&S style adverts. I think that tremendous amounts of praise needs to go to the performer referee simply as Geraint deserves so much praise as he not only was the whipping boy of the show but also managed to play the piano throughout the accompany many of the performers throughout. In a weird sort of way, this character served the same function of Tiny Tim in the original Christmas Carol as they drummed up the sympathy of the audience which helped to really mark the change in Scrooge after his three ghostly visitations!

The fact that XXXmas Carol was able to facilitate numerous aerial performances throughout this show was incredible! Two of the cast were able to showcase incredible trapeze based skills which utilised every each space above the stage itself. In general, I don’t know how people are able to performer numbers while swinging so high in the air as even the thought of it terrifies me but that’s just me! Eric McGill managed to turn up the steamy nature of the show when he performed a number stripping down to his pants while on a trapeze. This was choreographed to perfection where the removal of his clothes were done during popular trapeze positions which made sense within the overall performance. He stripped down to a pair of sparkly pants that had a wonderful festive jewelled Santa hat on the butt and had everyone in the audience hollering throughout! The other performance in the air was a lot less explicitly sexual with Bunmi Odumosu which a mix more traditional aerial number which was also fantastic to watch! Both Bunmi and Erik are clearly very talented contortionists as during their ground-based number they were both able to bend their bodies into the most impossible positions. This performance was actually very spooky and unsettling to experience which fitted the point in the story perfectly! However, Bunmi’s solo performance towards the end of the show was the highlight of her involvement in the show as the dominatrix infused section (complete with working whips) was very erotic and powerful to watch! The end of the show included a sing-along of a rather dirty version of the twelve days of Christmas which had to audience members standing up and shouting the most obscene things you have ever heard!

Overall, XXXmas Carol is a rather unique retelling of A Christmas Carol which I (and Charles Dickens I assume ) would have ever anticipated! When he sat down and wrote this piece of political literature, I don’t think Charles Dickens ever thought that there would be a retelling of his highly moral story which was hosted by a drag queen and included a stripping inspired trapeze act, a raunchy M&S style advert sketch or an incredibly vulgar performance of the twelve days of sexmas and in all honesty, neither did I! Due to the wonderful array of performance this has become the new standard for any variety show I see and will not accept anything less! Every performance was unique but the entire show was tied together by the flawless Polly Amorous which shone a totally different light on her which I had not seen before!

THE LOWRY, SALFORD – until 15 JANUARY 2022

REVIEWED BY ANGELOS SPANTIDEAS

4****

The Lion, the Witch and the Wardrobe is the theatre adaptation of the children’s book series, The Chronicles of Narnia by C. S. Lewis, which became massively adored after the movie adaptation and continues to gain popularity to this day. Although the movie was heavily supported by CGI effects, this play had to rely on the creativity of the production and the talent of the actors in order to bring the world of Narnia to life. The set that is constantly shifting to create very diverse scenes, as well as the costumes, are not meant to create a realistic depiction of this fantasy world, but rather work as an usher for the imagination of the audience to paint the details of how Narnia and its heroes look like.

The familiarity that older audiences might have with the script create a place of comfort and excitement for how the story will unfold through the live actors, while for younger audiences the beginning of the story draws a mysterious picture of the upcoming adventure. While the story unfolds the set is transformed in front of the audience’s eyes which brings a feeling of magic, with the actors flying and at times even using real life magic tricks and illusions that make people disappear and things burst to flames. At the same time, the songs and the live orchestra amplify the mystical performance, with the actors giving an astounding performance singing and dancing, while also bringing the musical instruments on stage.

Samantha Womack as the Witch does embody the evilness and toughness of her character, while Chris Jared as Aslan manages to convince the audience of his courage and strength as the lion, with the lion puppet moving with elegance on stage next to him. The four siblings set out to become the kings and queens of Narnia, Ammar Duffus, Shaka Kalokoh, Robyn Sinclair and Karise Yansen, bring the freshness and niceness of the characters to life and play the complicated and turbulent sibling relationship to every detail.

The drawback of trying to bring a book series into a theater is that although all main parts of the book have made it into the show, the story seems rushed and not enough time is given for key events to be established in order for the intended messages to come across. Nevertheless, taking into consideration that the target audience of the play is younger viewers, the story is easy to follow and does not maintain unnecessary material that is difficult to comprehend.

This play is a perfect opportunity for the whole family to venture into a world of adventure and fantasy, with its festive details and the deeper meaning making it an excellent Christmas choice that can be enjoyed by people of all ages.

NOMINATIONS ANNOUNCED FOR THE

22^ND ANNUAL WHATSONSTAGE AWARDS

FROZEN LEADS THE MUSICAL CATEGORIES WITH 13 NOMINATIONS

THE TRAGEDY OF MACBETH LEADS THE STRAIGHT PLAY AWARDS WITH 5 NOMINATIONS

Gabrielle Brooks and James Graham today announced the nominations for the 22^nd Annual WhatsOnStage Awards via WhatsOnStage’s social channels, the only major theatre prize-giving decided entirely by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 21 January 2022), with winners announced at the annual Awards Ceremony held on 27 February 2022 at the Prince of Wales Theatre.

WhatsOnStage’s Sarah Coleman said today, “Given the events of the past 21 months, it’s truly wonderful to be able to celebrate the return of theatre and the vast array of excellence on our stages across the UK – and we look forward to coming together in February to present the WhatsOnStage Awards back at the Prince of Wales Theatre, with an evening showcasing incredible talent. These awards also celebrate the audiences who vote for them, whose support of our industry has been vital to getting us through this time and to reopening our stages. It’s truly heartening – and a positive to come out of this period – to see the emergence of productions outside of London featuring across a variety of categories due to the advances in streaming theatre, enabling shows with shorter runs greater impact, and the capacity to reach audiences globally.”

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. Even though still in previews, Cabaret makes its mark with 7 nominations, mirrored by Moulin Rouge! and 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 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 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, 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 Cinderella, Back to the Future the Musical, Get Up, Stand Up! The Bob Marley Musical, Pretty Woman the Musical and Moulin Rouge!; 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 this 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.

Now in their 22nd year, the WhatsOnStage Awards are the only major theatre awards decided entirely by the theatregoers themselves. Voting opens today, closing on 21 January 2022, ahead of the winners being announced at the Awards concert on 27 February 2022 at Prince of Wales Theatre.

Tickets are available via awards.whatsonstage.com 

awards.whatsonstage.com

Twitter @WhatsOnStage #WOSAwards

Instagram @WhatsOnStage

THE NOMINEES IN FULL:

BEST PERFORMER IN A MALE IDENTIFYING ROLE IN A MUSICAL           

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 – Cinderella, Gillian Lynne Theatre

BEST PERFORMER IN A FEMALE IDENTIFYING ROLE IN A MUSICAL           

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 – 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              

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 – Cinderella, Gillian Lynne Theatre

Carly Mercedes Dyer – Anything Goes, Barbican Centre

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

Rebecca Trehearn – 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    

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                      

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           

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 – 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 – Cinderella, Gillian Lynne Theatre

Justin Townsend – Moulin Rouge!, Piccadilly Theatre

BEST MUSICAL DIRECTION – Sponsored by AKA

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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Richmond Theatre, Richmond – until 2nd January 2022

Reviewed by Bobbi Fenton

5*****

As we head into December, what could be better to get into the Christmas spirit than a good old-fashioned Panto. Cinderella at Richmond theatre does just that. It is an amazing show that has something for everyone, from hilarious innuendos which seem to go right over the children’s heads, to beautiful songs and a few fun moments of audience participation. There is one incredibly funny scene in which the stepsisters and Buttons are talking about a date which Buttons had been on, with references to popular songs to describe certain moments of the date, most of which being aimed at the adult members of the audience.

Cinderella tells the classic fairy-tale story of Prince Charming (Edward Chitticks) and Cinderella (Oonagh Cox) meeting at the royal ball, and falling in love. With the stepsisters Beatrice (Darren Bennett) and Eugenie (Bobby Delaney) doing everything in their power to stop Cinderella from going to the ball, it falls on the dazzling fairy godmother (Rosemary Ashe) to help her get there. This is to the dismay of poor Buttons (Anton Du Beke) who is madly in love with Cinderella. The show features a number of references to Anton Du Beke’s role as a judge on BBC’s Strictly Come Dancing, such as the use of glittery numbered paddles, and dancing off of the stage to the Strictly theme song.

The set is beautifully designed to have the traditional ‘pop-up book’ look, with 2D furniture, and a very impressive silver coach, pulled by two ponies and led by Buttons as the footman. Most characters had absolutely beautiful costumes, with the exception of the stepsisters whose costumes fall more on the funny side and work perfectly for them.

This show definitely should not be missed by anyone, it is a real treat for everyone of all ages, not just children. Get to the theatre to see this magical show, because unlike Cinderella’s shoe, this show fits all.

Statement from SOLT & UK Theatre on Government Plan B measures

‘We understand the government’s decision to introduce Plan B and are heartened to see amendments have been made to make it easier for our theatres to operate. 

‘Theatres remain fully open and will continue to offer much-needed respite from the current challenges, in a safe and ordered environment. We are grateful to all our audiences for their ongoing support. 

‘Our industry-wide See it Safely protocols give audiences confidence that theatres are operating in accordance with the latest official guidelines – as part of these, we have always strongly recommended the wearing of face coverings throughout our buildings, and the government’s move to make them mandatory will help our hardworking Front of House staff keep our venues safe.  

‘Although the current NHS Covid Pass recommendations do not apply to theatres, it is good to see that the government has included lateral flow test results as part of the pass alongside proof of vaccination – something our industry had been advocating for. 

‘Finally, we welcome the news that isolation requirements are to be replaced by daily testing for contacts of people infected by Omicron – this will avoid the disastrous ‘pingdemic’ of the summer and help keep our shows open and our audiences entertained.’

York Theatre Royal – until 2^nd January 2022

Reviewed by Michelle Richardson

5*****

Growing up Cinderella was my favourite fairy tale, so I was looking forward to this production at York Theatre Royal. Did it live up to my expectations?

Straight away on entering the auditorium, you could sense the excitement. The stage and lighting looked splendid, even with the curtain down, the word Cinderella sparkling away, I do love a bit of bling. The Fairy Godmother (Sarah Leatherbarrow) didn’t disappoint in that aspect, even having a sequinned air cast boot to match her outfit. She isn’t your regular Fairy Godmother, she has yet to earn her wand and wings.

This is the classic Cinderella tale, but with a modern twist. Cinderella (Faye Campbell) is still a dreamer but is an independent female and still has to deal with her wicked stepsisters, Manky (Robin Simpson) and Mardy (Paul Hawkyard). They come screeching onto the stage on a motorcycle, with side car, resplendent in their gawdy, Gaultier inspired costumes. I must say all their many outlandish costumes were absolutely fabulous darling, befitting of the great pantomime traditions. The pair were hilarious, with just the right amount of wickedness, playing up to the audience and picking out Ian, the most handsome in the theatre. Note, if you don’t want to be singled out, don’t sit in the front rows, their words not mine. The strictly reference and Claudia’s fringe is not to be missed. A pair I would love to see again.

Cinderella of course falls in love with Prince Charming (Benjamin Layfette) with her best friend, Buttons (Max Fulham), secretly wishing for something more. Campbell and Layfette play their roles with a sweet innocent, and oh so charming way, understated and just perfect for this show. Fulham is a comedian and ventriloquist, all is put to great use. He is seriously outstanding as Buttons, along with his monkey Gordon, and a great routine with a bin. So funny, ad-libbing with ease, endearing, we laughed and cried along with him. A true talent and surely a bright star of the future. 

A audience favourite was surely Andy Day from CBeebies as Dandini. I have seen him a few times on the telly but he showed us more of his talents with his infectious smile, physical comedy and singing voice. Any mention of a resemblance to a 1980’s British female javelin thrower are not wide of the mark, but he is much better looking. 

We were treated to some aerialists, Duo Fusion. I have seen a few in the past and I must say they were up there with the best. So compelling to watch, you were drawn to them, memorised by their athletic performance, it was stunning to watch.

The set, costumes, cast, musicians were just magical, no expense spared. I don’t want to give the game away but the carriage to the ball was breath taking, the whole audience were blown away, just wow.

Paul Hendy of Evolution Productions has written and produced this production with his partner Emily Wood.  Working in collaboration with York Theatre Royal and director Juliet Forster, this is a fresh, more traditional, family friendly set up. All I can say is long may it continue.

Did it live up to expectations? Of course it did, I loved it, it had everything to appeal to young and old. I was clapping, dancing and singing along to everything, and jumped up to give the well deserved standing ovation. I cannot recommend it enough, if I could go again I would. 

DISNEY’S FROZEN PARTNERS WITH CENTRAL SAINT MARTINS

BA FASHION STUDENTS TO CREATE FROZEN INSPIRED HIGH FASHION

– WITH THE TOP LOOKS TO BE DISPLAYED IN COVENT GARDEN

Disney’s Frozen today announces a brand-new partnership with Central Saint Martins BA Fashion (Womenswear and Menswear) programme for the Autumn 2021 term. Students have been tasked with creating high-fashion, abstract interpretations of Tony and Olivier Award-winning Scenic and Costume Designer Christopher Oram’s designs.

80 students from around the world are participating, grouped into teams. Each team will create Frozen inspired fashion looks. The process will be mentored and assessed throughout, with the final presentations made to a panel of judges including Natasha Ward – Costume Supervisor and Tim Gradwell – Head of Wardrobe both on Frozen, Ella Dolphin, Chief Executive of Stylist Group and Tom Gormer, Photography and Specials Director for Stylist Magazine, in early December, alongside their tutors who will provide constructive feedback and a thorough assessment of their work.

Disney will then select up to three teams which will have a selection of their work displayed in Covent Garden’s Central Avenue in the iconic Market Building from 10^th December.

This installation will sit alongside the other Frozen the Musical moments taking place across the estate this festive season, as part of the long-term collaboration between Covent Garden and Disney. Covent Garden has been transformed into a magical Frozen world for visitors with a Frozen forest at the entrance to the Market Building, dusted with snow hourly and playing an instrumental rendition of ‘Let It Go’, and a takeover of the Insta-famous Infinity Chamber, running alongside a range of festive activities across the estate.

Fiona Pearce, Marketing Director for Disney Theatrical Productions, said today, “Disney’s ethos has always been about inspiring the creative voices of tomorrow, and we’re delighted to partner with Central Saint Martin’s on a collaboration around our new production of Frozen. The shear artistry of the world Christopher Oram has created on stage will provide springboard for the students’ creations, and we look forward to seeing the results of their collaborations.”

Sarah Gresty, BA Fashion Course Leader says “BA Fashion at Central Saint Martins is thrilled to be working with Disney. Our relationship started over 20 years ago and we are very excited to have the opportunity to work on Frozen this year.

“Our students and staff are extremely inspired by the Frozen story and the costumes and set design from the theatre production are stunning. 

“Our students loved being able to engage with Christopher Oram and Tasha Ward at the project briefing in the Drury Lane Theatre was an invaluable catalyst for the project. 

We enjoyed presenting the students’ reactions and final projects to Disney and we are confident everyone involved will be delighted with the final outcomes.”

Twitter @FrozenLondon     Facebook /FrozenLondon     Instagram @FrozenLondon

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THE ROYAL SHAKESPEARE COMPANY RELEASES NEW EPISODES OF IN-HOUSE PODCAST SERIES ‘INTERVAL DRINKS’

GUESTS INCLUDE LUCIAN MSAMATI, KATE DICAMILLO, DAVID THRELFALL AND SOPHIE WOOLLEY.

NEW EPISODES AVAILABLE TO DOWNLOAD NOW

Today (Thursday 9 December 2021) the Royal Shakespeare Company releases two new episodes of its in-house podcast, Interval Drinks with a further two to be available for download from Thursday 6 January 2022. The series launched last Spring, bringing together members of the RSC’s 2020/21 acting company with inspirational personalities from the Company’s history.

The four new episodes include an interview with RSC Associate Artist Lucian Msamati (Othello, Pericles), children’s author Kate DiCamillo, who wrote the novel The Magician’s Elephant which inspired the stage adaptation by Nancy Harris and Marc Teitler, currently playing at the Royal Shakespeare Theatre in Stratford-upon-Avon, RSC Associate Artist and star of Channel 4’s Shameless David Threlfall (The Life and Adventures of Nicholas Nickelby, Julius Caesar) and Artistic Director of Augmented Productions, Sophie Woolley.

Interval Drinks is an opportunity to learn more about the life of the RSC from those at the heart of the Company. The Podcast offers audiences a rare insight into the professional journeys of these RSC artists, as well as a chance to explore the craft of modern theatre and discuss some of the biggest issues facing the theatre industry today.

In episode one, actor Alfred Clay, who features in the company of The Comedy of Errors at the Barbican, speaks to RSC Associate Artist Lucian Msamati as he describes how it felt to see live theatre for the first time, growing up in Zimbabwe and founding the first professional multi-racial theatre company in the country. He talks about playing Iago at the RSC, and the hardships of forging an acting career. And he explains his irrational fear of camels.

Episode two features playwright Nancy Harris speaking to children’s author Kate DiCamillo about her inspiration – the “divine spark” that grew into The Magician’s Elephant and how gifting a notebook to a friend led her to create the unique cast of characters. The two writers talk about their writing processes, and Kate shares exactly how many rejection letters she received.

In the third episode, RSC Associate Artist David Threlfall speaks to Zoe Lambert, who can also currently be seen in The Comedy of Errors at the Barbican. They talk about David’s theatre career, from starting out at the RSC, to playing Tommy Cooper and Frank Gallagher in Shameless. Zoe asks David where the character of Frank came from, and David explains why he loves working, how he approaches the characters he plays and the art of creating believable characters for comedy. He also tells us who he would most like to share an interval drink with, in what would be the busiest interval we’ve had so far in the series.

Episode four features Renu Arora, who plays Madame LeVaughn in The Magician’s Elephant, in conversation with Deaf writer and performer Sophie Woolley. Both Renu and Sophie are artists who have needed to adapt their practices following acquiring disabilities. Within the discussion, the pair touch on Sophie’s past work, their experiences of the theatre industry, how their work has changed over time and what advice they would give to other disabled artists wanting to advance their career in the arts. This episode will also be available to download as a BSL interpreted Vodcast via the RSC website.

Previous episodes include conversations with Tim Minchin, John Kani, Paul Chahidi, Justin Audibert, Juliet Gilkes Romero and Adjoa Andoh. Each episode of the series is available to download for free via the RSC website, as well as multiple podcast platforms, including Spotify and Apple Podcasts (formerly iTunes). There is also a vodcast episode with Charlotte Arrowsmith available via the RSC YouTube channel.

New episodes of Interval Drinks will be announced in the new year.

The music is ‘Oberon’s Theme – King of Shadow’, originally composed by Sam Kenyon for A Midsummer Night’s Dream (2016).