Jonathan Church Theatre Productions and Cambridge Arts Theatre present
TWO CIGARETTES IN THE DARK
CASTING IS ANNOUNCED FOR THE UK TOUR OF ‘TWO CIGARETTES IN THE DARK’ BY STEPHEN WYATT.
LIZA GODDARD, MICHAEL LUMSDEN, NATASHA MAGIGI AND TIMOTHY WATSON WILL JOIN DAME PENELOPE KEITH.
DIRECTED BY ALAN STRACHAN, DESIGNED BY SIMON HIGLETT, PRODUCED BY JONATHAN CHURCH THEATRE PRODUCTIONS AND CAMBRIDGE ARTS THEATRE, THIS BITTER-SWEET COMEDY WILL BEGIN PERFORMANCES AT CHICHESTER FESTIVAL THEATRE ON 17 FEBRUARY 2022 AND TOUR TO CAMBRIDGE, GUILDFORD, CARDIFF, RICHMOND, BRIGHTON, BATH AND MALVERN
Casting is announced for the UK tour of Two Cigarettes in the Dark, a brand new play by Stephen Wyatt, directed by Alan Strachan, designed by Simon Higlett and produced by Jonathan Church Theatre Productions and Cambridge Arts Theatre.
As previously announced Dame Penelope Keith (renowned for her many acclaimed roles on stage and television including iconic sitcoms The Good Life and To The Manor Born) will play Isabel. She will be joined by Liza Goddard (whose extensive credits include numerous plays by Alan Ayckbourn, most recently the UK tour of Relatively Speaking, and TV classics such as Bergerac and Doctor Who) as Gwen. Michael Lumsden (who plays regular character Alistair Lloyd in Radio 4’s The Archers and is currently on stage performing in While the Sun Shines at The Orange Tree Theatre) will play Matt. Natasha Magigi (whose stage credits include Pericles, Twelfth Night and The Comedy of Errors for The Globe, Don Quixote for the RSC and The County Wife for Chichester Festival Theatre) will play Winsome. Timothy Watson (known for his long running role as Rob Titchener in Radio 4’s The Archers and recent stage credits such as the UK tour of The Winslow Boy, Shadowlands at Chichester Festival Theatre and Beaux’ Stratagem at National Theatre) will play Luke. The company also includes Juliet Garricks (who makes her professional stage debut with the production) and Hilary Tones (who was most recently on stage in C’est La Vie….Sarah Bernhardt And Me at The Playground Theatre and A Short History of Tractorsin Ukrainian at Hull Truck).
Bright, witty, and fiercely independent, Isabel is not ready to let go just yet.
In a series of encounters with an old friend and her two sons, by turns funny, startling and poignant, home truths are exchanged, and her past begins to emerge. As Isabel confronts her own hidden regrets and family secrets, we learn what hides below the surface of this proud mother, wife, and friend. Finally, Isabel is able to make peace with her life and say goodbye.
This bittersweet comedy will tour next year to Chichester Festival Theatre (17 – 26 February), Cambridge Arts Theatre (3 March – 12 March), Yvonne Arnaud Theatre, Guildford (14 – 19 March), New Theatre, Cardiff (22 – 26 March), Richmond Theatre (28 March – 2 April), Theatre Royal Brighton (4 – 9 April), Theatre Royal Bath (19 – 23 April) and Malvern Theatres (25 – 30 April). Press Night will be on Friday 4 March at Cambridge Arts Theatre.
Two Cigarettes in the Dark is written by Stephen Wyatt, directed by Alan Strachan and designed by Simon Higlett. The lighting designer is Jason Taylor, sound design is by Gregory Clarke and casting is by Helena Palmer CDG.
Jim Jacobs & Warren Casey’s iconic musical GREASE will return to the Dominion Theatre in London’s West End, with new staging and choreography, opening on Tuesday 10 May 2022, with previews from Tuesday 3 May 2022.
GREASE is directed by Nikolai Foster and choreographed by Arlene Phillips. Casting is to be announced.
Colin Ingram, lead producer said: “This is the first new production of Grease in the West End for 29 years, so we are excited to be bringing this grittier version to the Dominion Theatre. All the familiar songs from the film are included, plus some of the songs and script from the very first production which will be new to audiences. Directed by the brilliant Nikolai Foster and choreographed by the legendary Arlene Phillips, they have done an incredible job of reimagining one of the most popular musicals of all time, to make it feel fresh, entertaining and celebratory – something we all need right now.”
GREASE originally opened in Chicago in 1971, followed by a move to Broadway in 1972, where it received seven Tony Award nominations, including one for Best Musical. During the show’s eight-year run at the time, little known actors including Peter Gallagher, Patrick Swayze and John Travolta all appeared in the production, with Richard Gere understudying many roles before going on to star as Danny Zuko in the 1973 London premiere. GREASE was first performed at the Dominion Theatre in 1993 before transferring to the Cambridge Theatre in 1996. It returned to the West End, opening at the Piccadilly Theatre in 2007.
The 1978 film adaptation starring John Travolta and Olivia Newton-John is the fourth highest-grossing live action musical of all time. The musical features beloved songs, including Summer Nights, Greased Lightnin’, Hopelessly Devoted To You and You’re The One That I Want.
GREASE has designs by Colin Richmond, orchestrations and musical supervision by Sarah Travis, lighting design by Ben Cracknell, sound design by Tom Marshall and Richard Brooker and casting by David Grindrod CDG.
This production of GREASE is produced by Colin Ingram for InTheatre Productions, Donovan Mannato, Playing Field, Gavin Kalin, and Curve.
LISTINGS INFORMATION
Dominion Theatre
268-269 Tottenham Court Road
London
W1T 7AQ
Performances: Monday to Saturday at 7.30pm, Thursday* & Saturday at 2.30pm
Dial M for Murder is an interesting story of mystery with a twist of comedy with only a few characters and a story that does not fall far off the standard crime and love script that has been repurposed for screen and stage. The idea is simple, jealous husband plots the murder of his cheating wife but fate and a cunning inspector have other plans. The whole story takes place on a very well designed and detailed stage that could be taken straight out of a magazine for interior design, with every inch of the stage being taken advantage of to create the illusion of a real home.
The performance of the four actors is on point, the husband, Tony Wendice (played by Tom Chambers) is shown as crazy, most times over the top, which makes sense since the character decides that the punishment for adultery, is premeditated murder. The love affair of Margot Wendice (played by Diana Vickers) and Max Halliday (played by Michael Salami) is full of passion and the two have extraordinary chemistry on stage, both feeling very comfortable showing affection and being around each other. Christopher Harper plays two roles, for the first half Captain Lesgate and for the second Inspector Hubbard, with his transition between the two roles being so smooth that the audience needs a minute before they realise it is actually the same person behind both characters.
As a whole, the story is an interesting attempt at partnering thriller with comedy, and it is entertaining throughout. However, every key plot twist of events seems to be happening too easily which takes the realism out of the experience and in the end leaves the audience feeling like something was missing. For example from the wife being choked to death to her regaining her senses and stabbing the killer with a pair of scissors within seconds there is a lack of evidence in that leap of action. Similar points of excess simplification were Captain Lesgate accepting to murder the wife, the wife’s trial outcome, and even why would she be allowed to leave the prison before her death penalty.
Overall, Dial M for Murder is a light play, with many bits of comedy that bring laughter to the theatre and a cast that does a very good job at bringing the characters and their distinctive personalities to life, that ultimately succeeds at making the audience lay back and enjoy a whimsical show.
Studio at New Wimbledon Theatre – until 19th November 2021
Reviewed by Carly Burlinge
4****
Skin In the Game presents itself as a show where the not-so-distant future has arrived and climate despair is on them all. The world needs to be saved and who better to do it than a game show host Danny (Craig Talbot). Danny has designs of power and leadership and professes that what he is doing, is for the greater good of the people. Everything is being destroyed and “all the people have is smiles, hugs and amazing tv” – game shows brought to you by the one and only Danny. He cares, he’s available and wants to rebuild the country by saving the islands. However, Elizabeth (Kristin Duffy) sees him for what he really is and wants to protect the people and bring him down, although things take a turn for the worse and she finds herself captured by a bumblebee and a troll. Will she be able to save the world and proceed on her mission of bringing Danny down?
All of the cast gave a stand out performance. Craig Talbot lit up the room as the charismatic games show host with a twinkle in his eye. This was well balanced against the passionate performance from Kristin Duffy as the strong politically minded Elizabeth who is convinced, he is up too no good!
There was good quick transition of different characters with simple costume changes making it quick and effective. The show was also very entertaining at times and had the whole audience laughing.
Skin in the Game is a strange, dark play, a thought-provoking show of a not-so-distant dystopian future, that is philosophical and ideological which makes us look at ourselves and our surroundings of today.
Phosphoros theatre brings All the beds I have slept in, written and directed by Dawn Harrison, to the Leeds Playhouse for just one evening. This is an account about lived experiences of seven actors; Tewodros Aregawe, Mohamed Abdu Fahmi, Ali Ghaderi, Talal Hassan, Emirjon Hoxhaj, Mardin Mahmoudpour and Syed Haleem Najibi who all came to the UK as teenage asylum seekers between 2013-20. Telling their experiences is nothing new to them as they had to tell them many times to professionals. At the same time, they are being faced with numerous challenges and uncertainties particularly with the asylum system which has proven controversial in recent times.
Raw, honest and personal first-hand accounts of their experiences with support of movement are shared even though the actors’ journeys have led them to settle in this country. However, for many asylum seekers and refugees today they still face many challenges and hurdles with the risk of no fixed abode and even worse, deportation. This production intends to advocate how the current system is not fit for purpose and how much change is needed.
The actors’ insights gives one opportunity to explore responses and see the need for change and hope that the many refugees yearn for. The said actors also share their experiences of unconditional solidarity and how friendships and collectivity can make a difference through care and kindness. Beds are physically and figuratively best places to seek comfort for the present, relive the good memories of the past, and plan and hope for the future.
All the beds I have slept in is excellently put together and received well by audience members. This play may only be an hour long, approximately, but packed with many stories and how their challenges, their solidarity and acts of kindness shaped them to become the people they are today. There is plenty of room and space to think about the stories that are being told and the issues that are raised. It highlights how the stories are seen are just as crucial as them being heard.
Aylesbury Waterside Theatre – until 20 November 2021
Reviewed by Susan Portman
4.5*****
Direct from London, this acclaimed production of The Lion, the Witch and the Wardrobe came to Aylesbury and starred Samantha Womack as the White Witch.
The story is well known as we join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and say hello to a talking Faun, an unforgettable Lion and the coldest, cruelest White Witch after visiting Narnia after walking through ‘the wardrobe.’
Having loved this story as a child I was really looking forward to witnessing a stage production. Of course the story is essentially about four kids in wartime who go to stay with a professor. They step through a wardrobe and enter Narnia. This was the perfect analogy for me, as I stepped out of the chilly autumn evening, through the doors of the Aylesbury Waterside Theatre into another world – one of colour, sound and vision.
This then was my Narnia for the evening and as soon as the lights dimmed, the journey began. All eyes from the expectant crowd were focused on the stage. The theatre unsurprisingly contained a great many school children, excited and expectant, but then so were the adults.
The cast was led by Samantha Womack (She of Eastenders fame) and supported by several actors who were clearly revelling in the moment. I particularly enjoyed the performances of the young Lucy (Karise Yansen), who was I believe playing in her first major stage role/ Sam Butley played the affable and bumbling Mr. Beaver with great skill, connecting with the audience and getting frequent reactions. Then, I should mention Johnson Willis who played Professor Kirk exceedingly well. What could have been a rather dry part was brought to life as he proffered his wisdom to cast and audience alike.
Robyn Sinclair, Shaka Kalokoh and Ammar Duffus played Lucy’s siblings with aplomb, and I felt that they weren’t just acting but enjoying their moments under the spotlights, as a team.
I do want to say a word about the puppeteers in this production, without giving too much away. They executed a clever concept in such a way as to forgot the people were there, and I focused only on the ‘puppets’ which is the best compliment I can give them
One might wonder how to make a white witch fly, how best to bring the mighty Aslan to life onstage and indeed how to set and change the scenes for the forty-five different sections of action. The set was splendid in conception, and the lighting, music, costumes and choreography were first-class. Making those scene changes was efficient and clever – with musicians also playing acting parts on stage, doubling up so to speak to give maximum effect. Then there was the magic. Oh yes, Chris Fisher is a magician and illusionist and he has incorporated some stunning moments into this play. Well, Narnia really should have magic after all.
Such illusions, combined at times with the most stirring music (both uplifting and foreboding) raised the hairs on my neck. The imagery was captivating, and it really was as if I was in Narnia myself. I mean, how do you make someone disappear on stage literally in front of your eyes? It happened.
The quirky and clever dance routines made maximum use of the stage and I have to say that the costumes were phenomenal in their creation and presentation and very cleverly done. The lighting was imaginative and the use of silhouettes in key moments was a stroke of genius. The music, in tandem with the choreography, stirred the imagination, transporting the audience deeper into the wonder and unpredictability of Narnia. The story unfolded in a logical and seamless manner, taking us ‘through the book’ so to speak.
So how did the producer present the mighty Aslan on stage? Well I don’t want to spoil the show so I won’t be specific. Suffice to say that it was done in such a way that one will have a view either way – whether or not they like it. Personally I thought it was extremely clever, but you’ll need to see the show and make your own mind up. As for the white witch – there was one moment just before the interval that made the audience gasp. It was so unexpected, and so brilliant in its conception that spontaneous applause broke out. Samantha Womack must love playing that role, I know I would!
I refuse to select a standout performer despite there being a headline name. I thought that this show was shared as a team, and that is to their credit. One is inclined to think ‘how can this story be reproduced on stage?’ The creative team and cast have managed to do this in such a way that you wonder if it could ever be bettered.
It exceeded my own expectations and took me back (as it undoubtedly did for many) to a time as kids when we truly believed in the power of magic, of snow queens, immense lions and faraway lands. Cair Paravel exists in our hearts, and the essence of the story, where despite adversity and setbacks, we can still find magic and wonder in the most unexpected of places is a lesson for life, just as CS Lewis would surely wish it to be.
Liverpool Empire Theatre – until 20th November 2021
Review by Carla Whittaker
4****
The smash hit Grease the Musical is playing to sell-out crowds at the Liverpool Empire Theatre until 20th November 2021. I was exceptionally lucky to be able to get a ticket to see Grease the Musical at the Empire as it had been on my ‘to see’ list for some time, and what better place to see it than at the ever so popular Liverpool Empire Theatre, which is renowned for its traditional décor, intimate seating, and hospitality. I must first acknowledge the staff. I attended the Liverpool Empire to watch Grease the Musical with my friend, who has a visual impairment, and has a guide dog. The staff were exceptionally supportive and attentive and even offered to take care of the guide dog whilst the show was on!
Grease the Musical is a musical theatre classic which draws people back time and time again. The scene is set in Rydell High School, in the late 1950’s which tells the story of Sandy Dumbrowski [Ellie Kingdon] and heart-throb Danny Zuko [Dan Partridge] who find themselves thrown together unexpectedly for their final year of school after a summer romance. Their chemistry was electric! The story then follows them and their friends as they navigate peer pressure, love, politics and early rock and roll. Entwined within the production are the true iconic Grease hits classics such as Summer Loving, Greased Lightning and You’re the One I want breathed new life into the production. The music was accompanied by amazing strong vocals, particularly from Sandy who has such a beautiful, powerful voice which was impeccable. The cast did an amazing job of getting the audience upon on their feet; dancing, clapping and of course singing! The dancing choreographed by former Strictly Judge Arlene Phillip’s is energetic, precise and really showcase the casts impressive accomplished move sets. The backdrop for the production was magnificent with frequent backdrop changes. Credit should be given to the costume and props department as this was absolutely fabulous. Although, his part in the first half was limited, Peter Andre as DJ Vince Fontaine and Teen Angel stole the show for me, I can hardly believe Grease is the first time Peter has performed in musical theatre. Peter absolutely oozes confidence, and gives his absolute all to the show, with a leopard print tux, hip thrusts and a great voice. The audience loved him!
If you want to rewind the years back to an era of the birth of rock and roll, and looking for a high energy show get yourself to see the fantastic Grease the Musical playing at the Liverpool Empire Theatre until the 20th November 2021 and will continue touring. You won’t be disappointed!
Cast announced for world premiere of new comedy, Sheila’s Island by Tim Firth UK Tour – February – May 2022
Olivier Award winner Sara Crowe (Private Lives, Aldwych Theatre; Calendar Girls the Musical, UK Tour and West End; Four Weddings and a Funeral), Eastern Eye Award winner Rina Fatania (Waking/Walking, Kiln Theatre; Dead Dog in a Suitcase, UK and International tour), Judy Flynn (The Brittas Empire, BBC; Dinnerladies, BBC), and Abigail Thaw (Endeavour, ITV) have been cast in Yvonne Arnaud’s production of Sheila’s Island by Tim Firth (Calendar Girls, Kinky Boots, The Band). This sparkling, sharp-witted new comedy is akin to The Office meets Lord of the Flies meets Miranda
Rooted in the everyday lives of four women finding themselves truly out of their comfort zones, Sheila’s Island examines what lies beneath the superficiality of office relationships. With vulnerability, viciousness, painful honesty and great wit, we can all (female or male) see some of ourselves in Sheila, Denise, Fay and Julie.
Tim Firth comments, As a male writer I initially thought what happens on the island could only happen between men. It took Joanna Read to remind me that shoddy, childish and viciously destructive behaviour is not the exclusive preserve of the male sex.
Joanna Read, Director of Sheila’s Island and Chief Executive of Yvonne Arnaud Theatre comments, I’ve had a very enjoyable time demonstrating to Tim quite how mean women can be. I’m thrilled to be working with such a talented, well-known cast. They have so much comedy experience between them it’s going to be hysterical working together.
Bonfire night 2019 and Sheila, Denise, Julie, and Fay are Team C in Pennine Mineral Water Ltd.’s annual outward bound team-building weekend. Somehow, Marketing Manager Sheila has been nominated team leader, and, using her cryptic crossword solving skills, has unwittingly stranded her team on an island in the Lake District. As the mobile batteries die, and cold and hunger take over, our intrepid heroines find themselves called on to manufacture escape routes using cable ties and spatulas and create a rescue flag with plastic plates and a toasting fork. Is it possible to build an adequate night shelter with a prom dress and a sleeveless jumper? Is there an I in Team? And do endless verses of Kumbaya really keep up spirits?
Sheila’s Island is a sparkling new version of Tim Firth’s sharp-witted and highly acclaimed comedy Neville’s Island. It will be directed by Yvonne Arnaud Theatre’s Director and Chief Executive Joanna Read.
The Yvonne Arnaud Theatre opened its doors in 1965 and built an impressive reputation as a producer of significant work much of which transferred to the West End and toured nationally. This new tour is at the forefront of Joanna Read’s commitment to re-establishing the theatre as a maker of great productions for Guildford, and beyond.
Lucie Jones, Ryan Reid, Sophie-Louise Dann and Gary Wilmot
to join Helen Woolf from 1 February 202
Tony, Olivier & Grammy Award-winning musical
now booking to 27 November 2022
www.WickedTheMusical.co.uk
Wicked, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, is proud to announce that Lucie Jones (Elphaba), Ryan Reid (Fiyero), Sophie-Louise Dann (Madame Morrible) and Gary Wilmot (The Wizard)will lead the new London cast at the Apollo Victoria Theatre from Tuesday 1 February 2022.
They will join Helen Woolf,who returns from maternity leave to continue her acclaimed performance as Glinda, Carina Gillespie (Nessarose), Nicholas McLean (Boq), Simeon Truby (Doctor Dillamond), Amy Webb (Standby for Elphaba) and Charli Baptie* (Standby for Glinda), who all continue in their starring roles.
Laura Pick (Elphaba), Sophie Evans (Glinda), Alistair Brammer (Fiyero), Kim Ismay (Madame Morrible) and Andy Hockley (The Wizard) will all play their final performances on Sunday 30 January 2022.
The complete new London cast from Tuesday 1 February 2022 will be: Lucie Jones (Elphaba), Helen Woolf (Glinda), Ryan Reid (Fiyero), Sophie-Louise Dann (Madame Morrible), Gary Wilmot (The Wizard), Carina Gillespie (Nessarose), Nicholas McLean (Boq), Simeon Truby (Doctor Dillamond), Amy Webb (Standby for Elphaba), Charli Baptie* (Standby for Glinda), Yuki Abe, Kofi Aidoo-Appiah, Meg Astin, Alishia-Marie Blake, Pàje Campbell, Grace Chapman**, Michael Colbourne, Fergus Dale, Nolan Edwards, Nicola Espallardo, Danny Fogarty, Laura Harrison, Amie Hibbert, Lucie Horsfall, Samuel How, Christian Knight, Nick Len, Jasmine Leung, Rhidian Marc, PaddyJoe Martin, Jessica-Alice McCluskey, Stacey McGuire, Harry Mills, Lewis Newton, Natalie Spriggs, Samantha Thomas***, Joe Thompson-Oubari and James Titchener.
*Maternity cover for Lisa-Anne Wood. **Maternity cover for Maggie Lynne. ***Maternity cover for Joanna Sawyer. Cast subject to change.
Wicked Executive Producer (UK) Michael McCabe said:
“We’re thrilled to announce that the new cast of Wicked from 1 February 2022 will be led by the sensational Lucie Jones as Elphaba, West End ‘Dreamgirls’ star Ryan Reid as Fiyero, two-time Olivier Award nominee Sophie-Louise Dann as Madame Morrible and Gary Wilmot – whose prolific 40+ year career has made him one of the UK’s most popular actors and entertainers – as The Wizard. They will join Helen Woolf, who returns from maternity leave to continue her acclaimed performance as Glinda, together with 17current cast members who continue with us, including Carina Gillespie as Nessarose, Nicholas McLean as Boq, Simeon Truby as Doctor Dillamond, Amy Webb as Standby for Elphaba and Charli Baptie as Standby for Glinda. We are also extremely proud to welcome Yuki Abe, Kofi Aidoo-Appiah, Alishia-Marie Blake, Pàje Campbell, Fergus Dale, Nicola Espallardo, Danny Fogarty, Laura Harrison, Amie Hibbert, Samuel How, Christian Knight, Jasmine Leung, PaddyJoe Martin, Harry Mills, Lewis Newton and Joe Thompson-Oubari to our ensemble.”
“One of the most successful musicals of all time” (BBC News) and now in its landmark 16th year, Wicked has recently extended booking to Sunday 27 November 2022 and plays Tuesday-Saturday evening performances at 7.30pm with matinees on Wednesday, Saturday and Sunday at 2.30pm. The following six extra Christmas shows have also been added: Tuesday 21 December @ 2:30pm, Friday 24 December @ 2.30pm, Monday 27 December @ 2:30pm & 7:30pm, Thursday 30 December @ 2:30pm and Friday 31 December @ 2.30pm 2021. Visit www.WickedTheMusical.co.uk for information and tickets.
Lucie Jones (Elphaba) is an award-winning actor and solo artist. Born in the Welsh village of Pentyrch, Lucie first came to national prominence as a finalist in ITV’s The X Factor in 2009, mentored by Dannii Minogue. Alongside her fellow contestants, she also featured in a 56-date sell-out national arena tour, The X-Factor Live, and recorded the number-one selling single You Are Not Alone. Lucie is starring until 27 November 2021 as ‘Jenna Hunterson’ in the UK Tour of the musical Waitress, a role she previously played in the West End, where her celebrated performance won her three awards. Her acclaimed and prolific career has seen her perform all over the world in both concerts and musicals, including her 2010 West End debut as ‘Cosette’ in Les Misérables. In 2017, Lucie was invited to take part in the live televised final of Eurovision: You Decide. After subsequently winning the public vote, she went on to represent the UK at the Eurovision Song Contest in Kiev, performing her song Never Give Up On You to a global audience of over 300 million people. Her acclaimed album, Lucie Jones – Live at the Adelphi, is available on CD and all streaming formats. Prior to joining Wicked, Lucie will be appearing in concert in Cardiff and London on 13 and 14 December respectively.
Ryan Reid (Fiyero) trained at ArtsEd, graduating in 2013. He was in the original London cast of Dreamgirls, directed by Casey Nicolaw, subsequently taking over the leading role of ‘Curtis Taylor, Jr.’. Ryan’s other credits include ‘Marvin’ in Sweet Charity at the Donmar Warehouse; Lin-Manuel Miranda’s In The Heights at the King’s Cross Theatre; the original UK Tour of Shrek The Musical and Blues In The Night at the Hackney Empire.
Sophie-Louise Dann (Madame Morrible) is a two-time Olivier Award nominee. Her many starring roles in the West End include ‘Celia’ in Gary Barlow and Tim Firth’s musical The Girls; ‘Paula Paxton’ in Gurinder Chadha’s Bend it Like Beckham; ‘Barbara Castle’ in Made in Dagenham, alongside Gemma Arterton, and, most recently, ‘Fergie’ in The Windsors: Endgame. She has appeared extensively at theatres and concert halls across the UK, including as ‘Madame Thénardier’ in the UK & Ireland Tour of Les Misérables, ‘Mrs Lovett’ in Sweeney Todd (Mercury Theatre, Colchester) and ‘Widow Corney’ in Oliver! (Grange Park Opera). In Paris, she played ‘Dot’ opposite Julian Ovenden in Stephen Sondheim’s Sunday in the Park with George (Théâtre du Châtelet).
Gary_Wilmot photographed by Wolf Marloh
Gary Wilmot (The Wizard), the much-loved actor, singer, comedian, impressionist and presenter, first came to national prominence on the popular ITV show New Faces in 1978. Over the subsequent 40+ years, his prolific career has encompassed hundreds of television appearances, with shows including Cue Gary! (ITV), Saturday Gang (LWT), Copy Cats (LWT) and the spectacular Showstoppers (BBC1), and multiple stage roles, including his acclaimed West End debut in 1989 as ‘Bill Snibson’ in Me and My Girl, ‘Joe’ in Simon Callow’s production of Carmen Jones (The Old Vic) and, most recently, ‘Jethro’ in The Prince of Egypt and ‘Elisha Whitney’ in Anything Goes. His now legendary performances in pantomime at the London Palladium include Goldilocks and the Three Bears, Dick Whittington, Snow White and the Seven Dwarfs and Pantoland. He has appeared on the Royal Variety Performance, been the subject of This Is Your Life (1986) and received an MBE in the 2018 Queen’s Birthday Honours List for services to Drama and Charity.
Already the 9th longest running musical in West End theatre history, Wicked has been “wowing London audiences for 15 years” (Sky News) and has now been seen by more than 10 million people in London alone (and 60 million worldwide). “The global sensation” (Independent) is the winner of over 100 major international awards, including three Tony Awards, two Olivier Awards, a Grammy Award and ten theatregoer-voted WhatsOnStage Awards (including ‘Best Musical’ and three for ‘Best West End Show’).
Based on the novel by Gregory Maguire, Wicked imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from The Wonderful Wizard of Oz and reveals the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming Glinda The Good and the Wicked Witch of the West.
Wickedhas music and lyrics by multi-Oscar, Golden Globe and Grammy Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt, Disney’s Pocahontas, The Hunchback of Notre Dame, Enchanted and its forthcoming sequel Disenchanted). It is based on the bestselling novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Emmy and Tony Award nominee Winnie Holzman, creator of the landmark American television series My So-Called Life. Musical staging is by Tony Award-winner Wayne Cilento with direction by two-time Tony Award-winner Joe Mantello.
Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone. Executive Producer (UK) Michael McCabe.
Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire is published in the UK by Headline (the book is recommended for readers aged 16+). Wicked: The Grimmerie, a behind-the-scenes look at the musical by David Cote, is published in the UK by Hyperion.
Audience Protocols
The Apollo Victoria Theatre, owned and operated by the Ambassador Theatre Group, maintains stringent public health and COVID-secure audience protocols throughout the venue. On arrival, as well as showing an eTicket, audience members over 18 will be required to show an NHS COVID Pass* detailing either Full Vaccination, a Negative PCR/LFTest OR Natural Immunity. The venue also operates cashless payments (including Apple Pay and Google Pay) and at-seat ordering/delivery as well as enhanced cleaning practices and increased air flow. Sanitation stations are available throughout the theatre, including at entry doors.
All theatre staff wear face coverings, and, for the safety of all patrons, it is expected that audience
members will wear face coverings when entering and moving around the venue and while seated.
*Or equivalent documentation issued in Scotland, Wales, Northern Ireland or Non-UK.
WHATSONSTAGE AWARDS RETURN FOR THEIR 22ND YEAR WITH THE CEREMONY TAKING PLACE ON
SUNDAY 27 FEBRUARY AT THE PRINCE OF WALES THEATRE
VOTING FOR THIS YEAR’S NOMINEES NOW OPEN WITH RECONFIGURED
NOMINATION PROCESS TO BROADEN ELIGIBILITY
WhatsOnStage today announces that the 22nd Annual WhatsOnStage Awards will take place on Sunday27 February 2022 at the Prince of Wales Theatre. As well as seeing the winners crowned across a range of categories, theatregoers will also enjoy a host of exclusive live performances from top West End talent. The event is co-produced with Paul Taylor-Mills and Sita McIntosh.
Now in their 22nd year, the WhatsOnStage Awards are the only major theatre awards decided by the theatregoers themselves.
Nominations are now open and will close on Friday 26 November 2021 ahead of the shortlists being announced. Voting then opens on Thursday 9 December 2021, closing on Friday 21 January 2022, with the winners being announced at the awards concert on Sunday 27 February 2022.
The shortlist for the technical categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) will be once again decided by an independent panel of industry experts appointed by WhatsOnStage. Their shortlists will then be voted on by the general public.
This year, WhatsOnStage will alter the eligibility for the performance categories. For each of the following:
Best Performance in a Leading Role in a Musical
Best Performance in a Leading Role in a Play
Best Performance in a Supporting Role in a Musical
Best Performance in a Supporting Role in a Play
Readers will be able to nominate two individuals per category. Once nominations have closed, WhatsOnStage will identify the names with the most votes and then compile the shortlist by liaising with those nominees to determine where they would prefer to be represented.
WhatsOnStage’s Sarah Coleman said today: “It feels like a lifetime since we last came together at the Prince of Wales Theatre in March 2020 to celebrate that joyous, unbreakable link between performers and audiences. Our 21st Annual WhatsOnStage Awards earlier this year were a chance to find light amongst the darkness of lockdown, celebrate the kindness of our theatre community and highlight the remarkable digital innovation that has taken place during the pandemic, but as theatres reopen across the world we are itching to be back in the room where it happens next February for our 22nd round of awards. Who wins is now in your hands!”
