PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 24TH MAY 2025
REVIEWED BY MIA BOWEN
5*****
I walked into the Playhouse last night with absolutely no idea what to expect. I wasn’t even familiar with the name of the film, though I recognised Alfred Hitchcock’s name, having directed classics like The Birds and Psycho. The gentleman sitting beside me mentioned that he had high expectations, having seen the film and thoroughly enjoyed it. Curiously, I had done a bit of research and wondered how they could possibly adapt a movie featuring a crop duster biplane, a sleeper train, car chases and Mount Rushmore into a stage play. To my delight, I was pleasantly surprised by the outcome.
Under the direction of Emma Rice, Wise Children brings Hitchcock’s suspenseful narrative to life as a theatrical spectacle, prioritising playful subversion over the tension inherent in the film. The production fully embraces theatricality, featuring six versatile actors who take on multiple roles, complemented by clever props such as suitcases. True to Rice’s penchant for the unexpected, inventive, and entertaining, this show boldly makes its own mark on the Hitchcock spy thriller.
The story centres on Roger Thornhill (Ewan Wardrop), a New York advertising executive who is mistakenly identified as a spy when he stands up to make a phone call in a hotel lobby. From that moment on, he finds himself pursued by state enemies, resulting in a series of misadventures.
The entire cast, along with the creative team, deserves recognition for their incredible contributions, but Katy Owen, who narrates as The Professor, truly stands out. She is a chameleon on stage, exuding charisma, confidence, and a captivating energy that draws the audience in, creating a genuine connection with the performance. Her impeccable comedic timing adds to her brilliance, making her absolutely hilarious.
Wardrop, in the lead role, delivers a captivating performance, perfectly capturing the charm and vulnerability of his character. Patrycja Kujawska supports him beautifully as Eve Kendall, infusing the narrative with depth and intrigue. Meanwhile, Karl Queensborough takes on the mysterious villain Phillip Vandamm and elicits uproarious laughter in his portrayal of Roger’s mother. Vandamm’s two murderous minions, Anna, portrayed by Mirabelle Gremaud, and Valerian, played by Simon Oskarsson, are notably humorous and bring a delightful charm to the performance with their ability to embody a variety of characters. The dynamic interactions among the entire cast on stage were truly captivating!
Rob Howell’s stage and set design, featuring four revolving doors, is exceptionally clever. It allows the actors to make entrances while also serving as different locations. Additionally, the labelled suitcases offer useful cues for both locations and characters, frequently unveiling intriguing props.
There is so much more I could share, but I don’t want to spoil any of the highlights. If you’re in the mood for an evening of top-notch theatrical entertainment that offers a captivating story filled with fun, flair, and plenty of surprises, then I highly recommend you give this a try. I can genuinely say that I have never witnessed anything quite like this on stage.
Darlington Hippodrome – until Saturday 24 May 2025
Reviewed by Alex Sykes
5*****
Set in a time before social media and sexting, and when the ‘M’ in MTV still stood for music, there was the 90s.
Cruel Intentions tells the story of Sebastian (Will Callan) and Kathryn (Nic Myers), step siblings living on the Upper East Side. After reading a copy of Seventeen Magazine, Sebastian and Kathryn make a bet, Sebastian will try to sleep with Annette (Abbie Budden) who is new in town. If Sebastian succeeds, Kathryn will sleep with him as she is the only girl he can’t have, if he fails, Kathryn gets his car.
Along the way, Kathryn and Sebastian also meddle in the love life of Cecile (Lucy Carter) and her music teacher, Ronald (Kevin Yates). With Cecile’s mother (Gabriella WIlliams) playing doing a memorable dance to No Scrubs
With a soundtrack of some of the biggest hits of the 90s, including Genie in a Bottle, Wannabe and Bitter Sweet Symphony, this musical is a brilliant night out whether you have seen the film or not. The band deserve a round of applause for their amazing talent.
Sarah Michelle Gellar, the original Kathryn in the film, provides a voice over at the start of the show, telling people to turn off their “sub par cell phones” and informing the audience that this musical doesn’t feature flying cars, green witches or boy wizards.
My mum was a bit dubious about seeing this as she thought it was going to be another teen girl rom com musical, but by the end of the first act she was absolutely in love with the whole show and although the story is about Kathryn and Sebastian, Nic Myers as Kathryn is the true star of the show.
Whether you see this show in Darlington or elsewhere on the tour, grab a ticket, grab a friend and enjoy a night of 90s nostalgia with an epic soundtrack.
Original Theatre present the world premiere stage tour of Torben Betts’ new thriller Murder at Midnight
starring Jason Durr, Susie Blake and Max Bowden
Murder at Midnight, the brand-new stage thriller from acclaimed writer Torben Betts following his smash-hit success Murder in the Dark, will embark on a UK tour this Autumn. The play will star stage and screen favourites Jason Durr (Heartbeat,Casualty), Susie Blake (Victoria Wood as seen on TV, Coronation Street) and Max Bowden (Birdsong, EastEnders). It will be directed by Philip Franks (Murder in the Dark, The Mousetrap). Further cast and creatives are to be announced.
Murder at Midnight blends razor-sharp wit with chilling suspense, proving that even the best-laid plans can unravel spectacularly when the wrong people are in the wrong place at exactly the wrong time.
It’s New Year’s Eve in rural Kent, and Jonny “The Cyclops” has decided to throw a party. But amidst the drinking, music and fireworks exploding overhead, a twisted trail of destruction emerges. As midnight looms, tarot cards foretell doom, police lights flash in the distance and a killer is in the house. Everyone’s hiding something – but who’s telling the truth?
Max Bowden said: “I’m excited to begin working on this ambitious new dark comedy from a writer and a team I admire greatly. It’s a new challenge and an exciting shift for my career, and I’m looking forward to working with Original Theatre again.”
Philip Franks said: “Murder at Midnight is a dark and often very funny thriller set in the luxury Kent mansion of a one eyed drug dealer, pig farmer and possible gangland killer, Jonny “The Cyclops”. At midnight on New Year’s Eve his past is catching up with him fast. It’s Feydeau rewritten by Tarantino.”
The tour of Murder at Midnight will play Derby Theatre (5-13 September), Birmingham Rep (16-20 September), Everyman Theatre, Cheltenham (23-27 September), Yvonne Arnaud Theatre, Guildford (30 September-4 October), Malvern Theatres (7-11 October), Palace Theatre, Southend (13-18 October), York Theatre Royal (21-25 October), Devonshire Park Theatre, Eastbourne (27-31 October), New Theatre, Cardiff (4-8 November), Fareham Live (18-22 November) and Churchill Theatre Bromley (25-29 November) with further dates to be announced.
Murder at Midnight is produced by the award-winning Original Theatre who brought audiences Agatha Christie’s The Mirror Crack’d, the sell-out thriller Murder in the Dark and the critically acclaimed drama Birdsong.
For more information, and to book tickets for Murder at Midnight, visit: www.murderplay.com
Norwich Theatre and Valid Productions are delighted to announce the return of their co-production of the critically acclaimed CARLOS ACOSTA’SNUTCRACKER IN HAVANA, choreographed and directed by Carlos Acosta CBE. The ballet will embark on its second UK tour from 31 October 2025 at Aylesbury Waterside Theatre running until 11 February 2026 where it will return to its original home, Norwich Theatre Royal.
NUTCRACKER IN HAVANA originally opened in November 2024 to tremendous reviews and an overwhelming public response which led to sold-out performances across the country. It is a colourful Cuban take on the festive classic, set to an exuberant Cuban newly-commissioned version of the magnificent Tchaikovsky score, arranged by Cuban composer Pepe Gavilondo. Featuring over 20 dancers from Carlos’ Cuban company Acosta Danza, this traditional story is brought to life with ballet at its core but in Carlos’ unique style, seeing dance traditions of Cuba carefully fused and woven throughout the classic tale.
With spectacular video projection and set design by Nina Dunn (9 to 5 Musical, Bonnie and Clyde, Birmingham Royal Ballet’s Don Quixote), Cuba collides with the Land of Sweets, bringing snow to Havana in a visually stunning spectacular treat for all.
Carlos Acosta, said “Creating and touring this first full-length production for Acosta Danza makes me incredibly proud. Watching them fuse together their classical and contemporary dance genres and Cuban Folk, with their sheer joy of dance, to the delight of audiences up and down the country has been a real dream come true for me. The success of the first tour filled me with such pride and I am truly honoured that this very special show is touring again. I am excited for even more audiences to enjoy our Cuban Christmas treat”.
Stephen Crocker, Chief Executive and Creative Director of Norwich Theatre said “To see Nutcracker in Havana embark on its second UK tour is hugely exciting. Realising Carlos’ inspiring vision to bring something unique and fresh to such a well-known story was about creative bravery aligned with a commitment to making Nutcracker connect with new and different audiences. Daring to be different saw the inaugural tour a huge success, playing to sell-out audiences around the country, 39% of who were attending dance for the first time. Validated by both audiences and critics alike, Nutcracker in Havana underscores the power of being brave and embracing innovation and we are delighted that audiences in many more parts of the UK-wide can enjoy this wonderful production in their local theatre this year.”
Casting to be announced.
NUTCRACKER IN HAVANA is choreographed by Carlos Acosta, with video projection, set design and mapping by Nina Dunn, costume design by Angelo Alberto, compositions and arrangements by Pepe Gavilondo Peón and lighting design by Andrew Exeter.
NUTCRACKER IN HAVANA is produced by Norwich Theatre and Valid Productions.
Theatrical charity Acting for Others today announces that more than £110,000 was raised at their fifth annual West End Flea Market, held on Saturday 17 May at St Paul’s Church in Covent Garden. Making it their most successful event to date.
Acting for Others Co-Chairman Sir Stephen Waley-Cohen today said, “We are delighted that the West End Flea Market is going from strength to strength and the wonderful amount raised, which is significantly higher than previous years. Thank you to everyone that attended, supported, and made the event so successful.”
Book of Mormon was this year crowned the Best Dressed Stall, in the competition judged by national stars Christopher Biggins, Dame Arlene Phillips and Janie Dee. The stall included show memorabilia and exclusive props used in the show for sale, they also had a game of ‘Spooky Mormon Hoopla’ for participants to play for a chance to win a selfie or a signed polaroid.
Many other West End shows had stalls including ATG Productions, Back to The Future, Cabaret at The Kit Kat Club, Clueless, Go Live Theatre Projects, Hadestown, Hamilton, Les Misérables, Mamma Mia, Mean Girls, Moulin Rouge, Operation Mincemeat, Phantom of The Opera, SIX, Stiletto, The Book of Mormon, The Devil Wears Prada, The Lightning Thief: The Percy Jackson Musical, The Mousetrap, Mischief &The Play That Goes Wrong, TINA – The Tina Turner Musicaland Titanique, and other attractions included; Go Live Theatre Projects, Theatrical Memorabilia, Tombola, West End Charity Football Club Penalty Shoot-out, My Shot!, Peter Hannah Arts, Ensemble Games and Gifts, Encore Gifts with a Hook a Duck, Jamie’s Bakery, and several Panto Dames.
There were stars in the church taking selfies and signing posters and goodies for fans including Bronté Barbé, Luke Bayer, Christopher Biggins, Joanne Clifton, Janie Dee, Alfred Enoch, Clare Foster, Em Hoggett, Shanay Holmes, Derek Jacobi, Cassidy Janson, Lily Kerhoas, Alexia Khadime, Debbie Kurup, Josephina Lewis Ortiz, Robert Lindsay, Simon Lipkin, Toby Marlow, Ewan Miller, Lucy Moss, Grace Mouat, Natalie Paris, Mason Park Alexander, Dame Arlene Phillips, Dianne Pilkington, Peter Polycarpou, Sophia Priolo, David Rintoul, Caroline Sheen, Giles Terera, Harriet Thorpe, Rachel Tucker, Tom Read Wilson and Lucy St Louis.
With thanks to Shaftesbury Capital Plc for their generous sponsorship.
FULL CAST FOR RODGERS & HAMMERSTEIN’S DREAM BALLETS: A TRIPLE BILL
Regent’s Park Open Air Theatre today announce the full cast of Rodgers & Hammerstein’s Dream Ballets: A Triple Bill with award-winning musical theatre choreographers Julia Cheng, Shelley Maxwell and Kate Prince re-imagining the dream ballets from Allegro, Oklahoma! and Carousel. The production runs from 19 – 22 June 2025.
For Allegro, choreographed by Julia Cheng, the dancers are Asmara Cammock, Jonadette Carpio, Paris Crossley, Jevan Howard-Jones, Hannah Joseph and Stuart Thomas.
For Oklahoma!, choreographed by Shelley Maxwell, the dancers are Tanisha Addicott, Chris Akrill, José Alves Tania Dimbelo, Nahum McLean and Vanessa Vince-Pang.
For Carousel, choreographed by Kate Prince, the dancers are Deavion Brown, Tommy Franzen, Nethra Menon, Hannah Sandilands, Elijah Smith and Malachi Welch.
Creatives include Simon Hale (Orchestration & Arrangements); Joshie Harriette (Lighting Designer); Nick Lidster (Sound Designer); Alex Parker (Musical Supervisor & Conductor); Yann Seabra (Costume Designer) and Sinfonia Smith Square (Orchestra).
Drew McOnie, Artistic Director, said: “I am thrilled to be welcoming three outstanding groups of dancers to Regent’s Park for what will be a unique celebration of dance and music. I can’t wait to see how they and Shelley Maxwell, Julia Cheng and Kate Prince reimagine these timeless Rodgers & Hammerstein’s Dream Ballets for audiences at the Open Air Theatre.”
A Regent’s Park Open Air Theatre production
Rodgers & Hammerstein’s
DREAM BALLETS: A TRIPLE BILL
Choreography by Julia Cheng (Allegro), Shelley Maxwell (Oklahoma!) & Kate Prince (Carousel)
Thursday 19 June – Sunday 22 June 2025
‘Then out of my dreams I’ll go into a dream with you.’
A timeless celebration of dance and music from three of the UK’s leading musical theatre choreographers, accompanied live on stage by the 26-piece orchestra of the Sinfonia Smith Square, and set to the magical scores of Rodgers & Hammerstein’s dream ballets.
In this enchanting triple bill, the dream ballets are re-imagined for the Regent’s Park Open Air Theatre stage by award-winning musical theatre dance makers Julia Cheng (Fiddler on the Roof) who choreographs the rarely performed Allegro, Shelley Maxwell (Get Up Stand Up!) who choreographs Oklahoma!’s dream ballet and Kate Prince (Message in a Bottle, Zoo Nation) who choreographs the dream ballet from Carousel, all with extended new musical arrangements by Tony Award winner Simon Hale (Girl from the North Country).
A unique opportunity to experience Rodgers & Hammerstein’s music brought to life through dance like never before.
Supported by The Thistle Trust and Cockayne Grants for the Arts, a Donar Advised Fund, held at The Prism Charitable Trust.
Presented by arrangement with Concord Theatricals.
Julia Cheng | Choreographer | Allegro
Training: Drama, Theatre & Performance Studies (University of Surrey), Dance & Drama (Université Lumière Lyon 2, France). For Regent’s Park:Fiddler on the Roof. Theatre/opera/dance work includes:The Legend of 1900 (Shanghai Grand Theatre, China); Cabaret (The Kit Kat Club, West End and Broadway); Macbeth (RSC); Untold (Theater Rotterdam, Belgium and Holland); Warrior Queens (House of Absolute, Sadler’s Wells); The Seven Deadly Sins/Mahagonny Songspiel (Royal Opera House); The Importance of Music to Girls (Kings Place).
Shelley Maxwell | Choreographer | Oklahoma!
As Choreographer:Starter for Ten (Bristol Old Vic); The Time Traveller’s Wife: The Musical (Apollo Theatre); The Secret Life of Bees (Almeida); The Ballet Boyz “England on Fire” (Sadler’s Wells); Get Up, Stand Up! The Bob Marley Musical (Lyric Theatre); Equus (Stratford East/Trafalgar Studios); ‘Master Harold’ …and the boys (National Theatre); Cinderella (Lyric Hammersmith). As Movement Director:After Life, Hansard, Antony & Cleopatra, Twelfth Night (National Theatre); Nine Night (National Theatre/Trafalgar Studios); Love’s Labour’s Lost and Tartuffe (RSC); Macbeth (Donmar Warehouse/Harold Pinter); Barcelona (Duke of York Theatre); Mlima’s Tale (Kiln); Beneatha’s Place, Untitled F*ck m*ss S**gon Play (Royal Exchange Manchester & Young Vic ); Winter, Why It’s Kicking Off Everywhere and Cuttin’ It (Young Vic); Best of Enemies (Young Vic/Noel Coward Theatre); Shifters (Bush/Duke of York Theatre); Alma Mater (Almeida); August in England (Bush); J’Ouvert (Harold Pinter); Macbeth (Shakespeare’s Globe); King Hedley II (Stratford East); Cougar and Dealing with Clair (Orange Tree); Faustus (Headlong at Lyric & Birmingham Repertory Theatre); A Streetcar Named Desire (Nuffield, Southampton); Apologia (English Theatre Frankfurt); Grey (Oval House); Rules for Living (Royal & Derngate/ The Rose, Kingston). TV & Film includes:Anansi Boys (Amazon); Joan (ITV); The Marvels (Disney); Romeo and Juliet (Sky Arts/PBS/National Theatre); ear for eye (BBC/Fruit Tree Media). Shelley Maxwell won the award for Best Choreographer at the inaugural Black British Theatre Awards in 2019 for her work on Equus.
Kate Prince | Choreographer | Carousel
Theatre includes (with ZooNation):Sylvia (Old Vic); Into the Hoods (Novello, West End); Some Like it Hip Hop (Sadler’s Wells Peacock & UK tour); Message in a Bottle (Sadler’s Wells & Universal Music, World Tour); The Mad Hatter’s Tea Party (Royal Opera House Linbury Studio & The Roundhouse); Groove on Down the Road (SouthBank Centre). TV includes:Imagine: Kate Prince – Every Move She Makes (BBC); Strictly Come Dancing; So You Think You Can Dance; The Royal Variety Show; Top of the Pops; CD:UK. Film includes:Everybody’s Talking About Jamie (Warp, Film 4, New Regency & Amazon); Message in a Bottle (PBS America); StreetDance 3D (BBC Films & Vertigo); The Holloway Laundrette (writer & co-directed, BAFTA/Channel 4). Other theatre includes:Everybody’s Talking About Jamie (Sheffield Crucible & West End); Ballyturk (National Theatre); Shoes (Sadler’s Wells); I Can’t Sing: the X-Factor Musical (Palladium); A Mad World My Masters (RSC). Events include:Nelson Mandela’s 90th birthday celebrations; Beijing Olympic & Paralympic Handover Ceremonies (ZooNation). Kate is a writer, director and choreographer and the Artistic Director of ZooNation: The Kate Prince Company which she founded in 2002. She is an Associate Artist at both The Old Vic and Sadler’s Wells, where ZooNation is also a Resident Company. Kate’s work has been nominated for five Olivier Awards, a South Bank Sky Arts Award, a WhatsOnStage Award and three Critic’s Circle National Dance Awards – winning the latter in 2024 for Best Mid Scale Dance Company. She has an MA from the University of Edinburgh, an Honorary Doctorate from the University of Winchester and an MBE for services to dance.
Asmara Cammock | Allegro
Training: The Brit School for Performing Arts and Technology, Northern School of Contemporary Dance, Runway House. Theatre and dance include: Wicked (Apollo Victoria Theatre); Cabaret (The Kit Kat Club); Lion King (UK & Ireland Tour); ACE Dance And Music (Phoenix Dance Theatre); WizKidlive concert (The O2). Commercials include: The BBC; Hyundai; Tampax; Starbucks; Google; JD Sports. Other credits include: London Fashion Week; It’s not loving if it’s not with you (The 1975 music video); Love I’m Given (Ellie Goulding music video).
Jonadette Carpio | AllegroCrews include: Buckness Personified, Fiya House. Theatre and dance includes:Seven Deadly Sins (Royal Opera House); East Wall (Hofesh Shechter, Tower of London); Ma Vie (Northern Ballet, Royal Opera House/Leeds Playhouse Theatre); Veljo Tormis – Curse Upon Iron (BBC Choir). Film includes: Syllabub in Cats. Jonadette is a strong female dance-artist specialising in the styles of Krump, Popping and Hip-Hop. She was a finalist on BBC Young Dancer.
Paris Crossley | AllegroCompanies and choreographers worked with include: Russell Maliphant, Boy Blue, House of Absolute, Just Us, Cirque Bijou, Kadir ’Amigo’ Memis. Competitions include: Break Ya Neck – Popping x HipHop (Winner); Get Ready For The Next Battle 2024 – All Styles (Winner); Bside Festival 2024 – 4 VS 4 All Styles (Winner); JOAT 2024 – Popping (Semi-Finalist); Random Circles 2023 – Popping (Winner); Ladies of Hip Hop 2023 – Popping (Winner); Summer Dance Forever – Popping (x3 judges rounds/Best Six); Challenge South Concept 2021 – Popping (Winner). Artists worked with include: Rita Ora; Dua Lipa; Benjamin Clementine; Ed Sheeran. Commercials include: Nike; Puma; Sweaty Betty. Paris has been an associate artist with Dance East since 2022.
Jevan Howard-Jones | AllegroTraining: London Contemporary Dance School, The Brit School. Film includes:Wicked. As Choreographer:Cable Street (Southwark Playhouse Borough & Elephant); Peter Pan (Hall for Cornwall) As Associate and Assistant Choreographer:Lion, Witch and the Wardrobe (Gillian Lynne West End/UK Tour). As Movement Director: Insurrection (Royal Opera House); Buckets (The Courtyard Theatre).
Hannah Joseph | Allegro
Training: Rambert School of Ballet and Contemporary Dance.
Companies include: Company Wayne McGregor.
Choreographers worked with include: Botis Seva, Russell Maliphant, Alesandra Seutin, Alexander Whitley and Matthew Bourne.
Performances includes:UniVerse: A Dark Crystal Odyssey, AutoBiography, Deepstaria (Company Wayne McGregor); Matthew Bourne’s Romeo+Juliet (New Adventures, Sadler’s Wells); Moschino SS24 Milan Fashion Week; London Fashion Week 2024; Hermès Brides de Gala.
As Choreographer and Performer:BBC Young Dancer 2022 (The Roundhouse); AX2 for Legacy (Royal Ballet, Linbury Theatre).
As Choreographer: SUN (Nowness); Ax.One for Festival of New Choreography (Royal Ballet)
Hannah was a finalist on BBC Young Dancer 2022.
Stuart Thomas | Allegro Training: London Studio Centre (Full Scholarship Award). Companies include: Union Dance Company; William Chase On Company, New York; Jiving Lindy Hoppers; William Louthers Dance and Theatre Co-operation; Jerusalem Dance Theatre; Souls in Motion. Theatre includes: King – The story of Martin Luther King Jr.; Josephine (The Fortune Theatre); Harvest Moon Ball (Southbank). Film includes:Voyager; Signals (Film on 4); The Technics; Rage & Desire (Film on 4). Other credits include: Red Shoes (Kate Bush music video).
Tanisha Addicott | Oklahoma!Training: Rambert School of Ballet and Contemporary Dance. Theatre and dance include: Matthew Bourne’s Romeo & Juliet (New Adventures, UK & International Tour); Shoot the Cameraman (As We Are, India Tour); Eshu at the Crossroads (Theatre Rites & Miguel Altunaga, UK Tour – Original cast); The Little Match Girl (Ballo Arthur Pita, UK Tour); My Glimmer Boo / Toasted (Blue Makwana for Sadler’s Wells Young Associates, Sadler’s Wells Theatre); The Sisters of Elva Hill / Tales of Jenny Greenteeth (Ballet Folk, UK Tour).
Chris Akrill | Oklahoma!Training: Northern Ballet Theatre. For Regent’s Park:To Kill a Mockingbird Theatre and dance includes:Osipova/Linbury (Royal Ballet, Linbury Theatre); Little Shop Of Horrors (Crucible Theatre Sheffield); Hex (National Theatre); White Hare, The Most Incredible Thing (Sadler’s Wells); To Kill a Mockingbird (The Barbican); Cabaret (Lyric Theatre); Dr Dee (English National Opera); Waiting for Godot (BeMe Theatre Munich); The Hairy Ape (The Old Vic); The Expected, The Odyssey (Wilton’s Music Hall); The White Bike (The Space); Stepmother/Stepfather, While You Are Here (The Place); The Wind in the Willows (Duchess Theatre); Pinocchio, Ghosts, Captain Alving, Three and Four Quarters, If Play is Play, The Canticles (The Royal Opera House, Linbury Theatre); Swan Lake, A Study of Entertainment (Cullberg Ballet, Stockholm); Carmen (International Tour, Cullberg Ballet); Romeo and Juliet, A Christmas Carol (UK Tour, Northern Ballet); Sleeping Beauty (Hannover Ballet). TV includes: Stan Lee’s Lucky Man (Sky One); Little Grey Fergie, House of the Dragon (HBO); Taboo (FX). Film includes:Romeo and Juliet (National Theatre); Muppets Most Wanted (Walt Disney Pictures);The Corridor (Black Dog Films, RSA Films); London Road (Cuba Pictures). As Choreographer and Movement Director:Mametz (National Theatre Wales); Imogen (Shakespeare’s Globe). As Assistant Choreographer: Home I’m Darling (National Theatre). Chris is the co-creator and co-director of the award-winning company HeadSpaceDance, which was awarded the Best Independent Company at the Critic’s Circle National Dance Award in 2017. He was nominated for Outstanding Male Performance (Modern) by the Critics’ Circle National Dance Award, the Christer Holgersons award from the Carina Ari Memorial Foundation, and the Riksteatern Award for Artistic Contributions & Excellence In Dance.
José Alves | Oklahoma! Training: Adalgisa Rolim Ballet School, Bolshoi Theatre School (Brazil). Companies include: Ballet Company of the Young (Palace of Arts), Teatr Muzyczny w Łódz, Ballet Black, Polski Teatr Tańca, New English Ballet Theatre. Choreographers worked with include: Javier de Frutos, Will Tuckett, Ludovic Ondiviela, Arthur Pita, Mark Bruce, Annabelle Lopez-Ochoa, Cathy Marston, Sophie Laplane, Mthuthuzeli November, Peter Leung, Martin Lawrance, Gregory Maqoma, Cassa Pancho. Theatre and dance include:A Dream Within a Midsummer Night’s Dream (Arthur Pita); Second Coming (Mark Bruce); Captured (Martin Lawrence); Red Riding Hood (Annabelle Lopez-Ochoa); Dopamine (you make my levels go silly) (Ludovic Ondiviela, BBC); The Suit (Cathy Marston); Say It Loud (Cassa Pancho and Company); EIGHTFOLD: Love, Le Train Bleu (for Men in Motion Gala, London Coliseum); Melissa Hamilton’s Grand Ballet Gala (Grand Opera House Belfast). Other credits include: Samba (Ricky Martin Music Video). Joséwon the 2018 Critics’ Circle National Dance Award for Outstanding Male Classical Dancer for his role in The Suit. He is the subject of a biography, A História De Um Bailarino Incomum (2021) by Taís Fernanda Reis.
Tania Dimbelo | Oklahoma!Training: Rambert School of Ballet and Contemporary Dance. Theatre and dance includes: Good Toes Naughty Toes (Thick & Tight, Royal Opera House); England on Fire (BalletBoyz, Sadler’s Wells); Silent Lines (Russell Maliphant); Congregation (Botis Seva); Animalis (Dane Hurst, Dulwich Picture Gallery); BEAUTIFUL (Sweetshop Revolution). Film includes:Wicked; BlackBirdRedRose (short film by Mark Bruce) Other credits include: Nike (Cyber Week Campaign); EE (Full Works Plan Advertisement); Playscape (FKA Twigs music video); SS22 London Fashion Week. As Assistant Movement Director: SS25 Paris Fashion Week.
Nahum McLean | Oklahoma!Training: The Hammond School (UK), Prodanza Ballet Academy (Cuba), The Ailey School (New York). Theatre and dance include: Richard Alston Dance Company (Sadler’s Wells); West Side Story (International Tour); Inala – A Zulu Ballet (Peacock Theatre & International Tour); The Wiz 40th Anniversary Concert (SummerStage NYC); Find Your Eyes (Factory International); House of Flamenca (Peacock Theatre);Complexions Contemporary Ballet (Park Avenue Armory);Alvin Ailey American Dance Theater(Lincoln Center); Camille A. Brown and Dancers (New York City Center); New York Dance Lab (Guggenheim). Film includes: Beetlejuice, Beetlejuice (Warner Bros); Barbie (Warner Bros); Knuckles (Paramount).
Vanessa Vince-Pang | Oklahoma!Training: Rambert School Of Ballet & Contemporary Dance. Performances include: Salt Of The Earth (Venice Biennale); Human Rights 75 Concert (United Nations International Broadcast); VOGUE World (Theatre Royal Drury Lane); Jungle Book Reimagined (Akram Khan, International Tour); Tour De France (Leeds Arena); Laurence Olivier Awards (Theatre Royal Drury Lane); Phoenix Dance Theatre(International Tour). As Assistant Choreographer:Jesus Christ Superstar (Watermill Theatre). TV & Film includes:Wicked, The Marvels (Feature films) Wednesday, Sandman, Too Much, Enola Holmes 2 (Netflix); Dope Girls, Jonathan Strange & Mr Norrell (BBC); Everything But The Girl: Run A Red Light. Commercials include: Magic FM, Legoland, Swarovski x Ariana Grande, Dua Lipa x O2, Sky Arts, Tern Bicycles. Vanessa was nominated for a National Dance Award and Dancer Of The Month in the Dancing Times. She was an external examiner and mentor for the Northern School of Contemporary Dance and currently a mentor at the London Contemporary Dance School’s MA Programme. She is also a former trustee of the National Youth Ballet and ThickSkin Theatre.
Deavion Brown | Carousel Training: TDM Stage School, Liverpool Institute of Performing Arts. Theatre and dance include: Thriller Live; Message in a Bottle (ZooNation, International Tour). Film includes: Everybody’s Talking About Jamie.
Tommy Franzen | CarouselTraining: Urdang Academy. Theatre and dance include:Message in a Bottle, Some Like It Hip Hop (ZooNation). Film includes:Harry Potter and the Goblet of Fire;Mamma Mia!; Mamma Mia 2 – Here We Go Again;Aladdin; Cats; Tomorrow Morning; Snow White; Everybody Is Talking About Jamie. As Choreographer:Strictly Come Dancing. As Associate Director & Choreographer:Your Lie In April (Europe Premiere). As Assistant Choreographer:Burlesque The Musical (World Premiere). Tommy won Outstanding Male Performance at the National Dance Awards and was nominated for the Breakthrough Award at The Times Southbank Sky Arts Awards and Outstanding Achievement in Dance at the Olivier Awards. Tommy was awarded second place in BBC’s So You Think You Can Dance in 2010.
Nethra Menon | CarouselTraining: The Liverpool Institute for Performing Arts. Theatre and dance include: Cabaret (Kit Kat Club); The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); Message In A Bottle (ZooNation, North American Tour); Saudi Games Opening Ceremony (King Fahd Stadium); Boomtown Festival Opening Ceremony (Winchester); Eurovision Song Contest Opening Ceremony (St. George’s Hall); Filmfare Awards(Jio Garden, Mumbai). Film includes: Jagga Jasoos, Hrudyantar.
Hannah Sandilands | CarouselTheatre and dance includes:Message in a Bottle (ZooNation, Original Cast/World Tour). Film & TV includes: Message in a Bottle: The Movie; BBC The Greatest Dancer; Better Man; The Voice UK Finals; Apartment 7A. As Assistant Choreographer:Strictly Come Dancing.
Elijah Smith | CarouselCompanies include: ZooNation: The Kate Prince Company, Flawless, Boy Blue. Theatre and dance include: The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); A Night with Boy Blue (Boy Blue, Barbican); The Flawless 20th Anniversary Show (Flawless, Peacock Theatre). As choreographer: ZooNation Youth Company (Royal Opera House); D’Eli Collective (Move It); The Movement Factory (Nike Town).
Malachi Welch | Carousel Training: The BRIT school, London Contemporary Dance School. Companies include: Boy Blue Entertainment, ZooNation: A Kate Prince Company. Theatre and dance include: Disney’s The Lion King (Lyceum Theatre); Lord of the Flies (New Adventures, Sadler’s Wells); Traplord (@180 Studios); Message in a Bottle (ZooNation, International Tour); The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); Our Mighty Groove (Sadler’s Wells East).
BOX OFFICE INFORMATION
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This summer, Charing Cross Theatre will stage the world premiere of The Daughter of Time, a brand-new stage adaptation of Josephine Tey’s seminal crime novel.
Adapted by playwright M. Kilburg Reedy and directed by Jenny Eastop, the production begins performances on Friday 18 July 2025 for a strictly limited run until Saturday 13 September, with a Gala Press Night on Friday 25 July, marking what would have been Tey’s 129th birthday.
Presented by Excelsior Entertainment, Mercurius Theatre and Steven M. Levy for Charing Cross Theatre Productions Ltd., The Daughter of Time reimagines Tey’s genre-defining novel – ranked No.1 in the British Crime Writers’ Association’s list of the Top 100 Crime Novels of All Time – for the stage, blending mystery, wit and romance with a powerful inquiry into how history is written.
London, 1950.
Inspector Alan Grant, laid up in hospital, investigates the alleged crimes of Richard III and the murder of the Princes in the Tower as a “cold case file.” What begins as a distraction becomes an urgent mission, as Grant tangles with two scheming Shakespearean actors, a couple of opinionated nurses, his own sceptical deputy, and a lovesick young American historical researcher to solve his case. And along the way, he might just solve the mystery of his own heart.
Playwright M. Kilburg Reedy said, “Like so many other readers, I was fascinated by Josephine Tey’s brilliant novel when I first came across it and felt inspired to dig deeper into Richard III’s story. What drew me in was a sense of injustice done to Richard and the question of how a historical record can be distorted for political purposes – including even recent events within everyone’s living memory. As a playwright, it was a challenge to make Inspector Grant’s famous inquiry dynamic and theatrical, so I introduced some other elements and even a new character to the story, while remaining true enough to the novel’s DNA that I hope to satisfy Tey’s most ardent fans. I also hope I’ve made an argument that prods even the Richard antagonists to look at the evidence, and lack of evidence, with fresh eyes.”
Philippa Langley MBE, the researcher behind the 2012 discovery of Richard III’s remains and Deputy Chair of the Richard III Society, said, “Kilburg has written a gripping play that makes an eloquent defense case for Richard III based on Josephine Tey’s landmark work. Last summer, when Kilburg brought a company of actors to perform a staged reading of it during the Society’s 2024 Centenary celebrations at Middleham in Yorkshire, the membership and local community audience were absolutely delighted with it. The opening night on Tey’s birthday feels as if it was meant to be, and I’m incredibly excited to see the play getting the premiere it deserves.”
Director Jenny Eastop added “I read The Daughter of Time years ago and remember how astonishingly eye-opening it is, not only the truth about Richard III of course but also the ability of those in power to re-write history to create an alternate “truth”. Kilburg Reedy’s play brings the characters brilliantly springing off the page with dramatic life but is also a trumpet call from history to make us question who is in control of writing ‘truth’.”
Production Designer Bob Sterrett said, “The Daughter of Time has everything that’s fun – a murder mystery, a cold case file, a love story, and Kings and Queens with an added Shakespearean edge.”
Steven Levy, Director of Charing Cross Theatre, commented, “Our theatre is perhaps best known for its musical productions, but we make a concerted effort to present at least one dramatic production each year that really stands out to us. We are proud to be presenting The Daughter of Time, a play which we believe is a uniquely entertaining and challenging work that our audiences will derive immense pleasure from.”
Greg Frankenfield, for Excelsior Entertainment, added, “This is a play for our times – exploring misinformation, public perception, and the fight for truth. It couldn’t be more relevant.”
The Daughter of Time, based on the novel by Josephine Tey, is written by M. Kilburg Reedy, directed by Jenny Eastop, with set and costume design by Bob Sterrett, lighting design by Oliver McNally, composition by Haddon Kime, sound design by Andrew Johnson, hair, make-up and wigs by Diana Estrada Hudson, casting by Neil Rutherford, production management by James Anderton. The Daughter of Time is produced by Excelsior Entertainment, Mercurius Theatre, and Steven M. Levy for Charing Cross Theatre Productions Limited.
Full casting and creative team to be announced shortly.
JACK HOLDEN COMMISSIONED BY THOMAS HOPKINS PRODUCTIONS TO WRITE NEW BOOK FOR A NEW VERSION OF
BOY GEORGE’S TABOO
An utterly FABULOUS new take on the original musical that sparked conversations everywhere!
Producer Thomas Hopkins has been developing a new version of Boy George’s hit musical Taboo for the last few years and is pleased to announce that he has now commissioned a new book by Olivier-nominated writer and performer Jack Holden (best -known for his critically-acclaimed West End production of Cruise and more recently KENREX at Sheffield and Southwark Playhouse) and Boy George, based on the original book by Mark Davies Markham.
Taboo is not just a musical; it’s a vibrant portrait of a brief yet unforgettable era—the dazzling 1980s London. These were years of glorious self-indulgence, set against the backdrop of mass unemployment and societal upheaval. The youth of the time rebelled, expressing themselves through audacious fashions and a decadent nightlife scene. They were the ‘New Romantics,’ spearheading a cultural movement that left an indelible mark on pop, fashion, and global culture.
This week, a closed reading of the first draft is taking place in London, where select Broadway and West End producers and venues will gather to discuss the next pivotal steps for this exciting production.
Thomas Hopkins said, “This event marks a significant moment in the evolution of Boy George’s Taboo, as industry insiders get a first glimpse of what promises to be the rebirth of this groundbreaking musical. This time, the production is ready to SLAY!”
Jack Holden said, “I’m absolutely delighted to be collaborating with the legend that is Boy George on the phenomenon that is Taboo.”
Boy George said, “I feel the time is right for a new vision of TABOO as through its vibrant themes of identity and creative expression, Taboo serves as a poignant reminder that in this ever-evolving world, we must stay true to ourselves and celebrate individuality.”
Jack Holden said, “Taboo is filthy, fabulous and full of heart — reworking the book is an outrageous joy. Boy George’s world still bites, sparkles, and aches with everything it means to be different, daring and loved.”
Further details on next steps for the show to be announced in due course.
Bath Forum – 17th May. Touring until 8th June 2025
Reviewed by Jacqui Radford
4****
After a ‘break in service’, Strictly Come Dancing stars, Aljaž Škorjanec and Janette Manrara are back on tour. Promising ‘A Night to Remember’, the show is big on dance, big on music and big on energy. It is a show that appeals to dance fans and big band lovers alike.
As you would expect, Aljaž and Janette have incorporated classic Latin and Ballroom dance into the show and their routines; fulfilling anticipation for stalwart fans and acknowledging the effect that ‘Strictly Come Dancing’ has had on UK audiences. However, they have also incorporated opportunities for more dance styles and new stars to showcase their own style and interpretation. Contemporary, Lindy Hop and even Tap dance are featured, supporting their stance that all styles of dance should be celebrated. The supporting dancers embraced the occasion and brought high energy to the stage; the only downside being that we saw less of Aljaž and Janette.
The live music is held together by Tom Seals with his ‘boogie woogie’ style, his live band and singer Jill Marie Cooper. The combined group provide incredible Jazz and Blues style music for songs that include Frank Sinatra classics, Elvis, Michael Jackson and more recent tunes such as Benson Boone’s ‘Beautiful Things’.
Aljaž and Janette have picked out the ‘best in the business’ to support them to deliver a show that feels like a huge jazz bar celebration. They clearly love what they do, have a deep connection with each other and huge respect for the contribution that live music makes to live dance performance.
The show celebrates big band music, a full range of dance styles and ultimately the joy and extra dimension that combining live music and dance brings to a night out. The promise of ‘A Night to Remember’ is fulfilled. All that is missing is a promise that Aljaž and Janette will be back with more shows this year!
Royal and Derngate Theatre Northampton – 17th May 2025
Review by Amanda Allen
5*****
The Birmingham Royal Ballet’s latest initiative, BRB2: Diaghilev and the Birth of Modern Ballet is Carlos Acosta’s Ballet Celebration, its designed to spotlight rising stars and delivers a double bill that pays homage to ballet’s transformative past while celebrating its dynamic present. The production is a tightly curated journey through the revolutionary works of the Ballets Russes, the early 20th-century company that redefined the art form. Visually rich and stylistically diverse, the program includes faithful renditions of iconic pieces like Les Sylphides and Le Spectre de la Rose. These works not only demonstrate the dancers’ versatility but also contextualize Diaghilev’s influence as a curator of innovation.
The programme opened with a rendition of Les Sylphides, a Classic, fluid and emotive start. The dancer’s glide across the stage with serpentine grace, their bodies echoing the sensibility that Acosta has championed in recent years. The choreography is sculptural and organic, pushing the dancers beyond classical confines while highlighting their adaptability. Performed in a beautifully classic style this was an excellent introduction to an afternoon of sublime movement.
The second half opens with “Sheherazade”, a bravura pas de deux that demands both explosive power and classical precision. Here, the lead pair deliver a dazzling performance, with secure pirouettes, immaculate lines, and commanding stage presence. It’s hard to believe these dancers are still at the start of their professional careers. The rest of the Second half showcased a vibrant selection of short works that highlight the versatility and commitment of the young dancers. From the very first piece, the ensemble demonstrates maturity beyond their years, with technically secure performances underscored by emotional depth. There’s an infectious passion on stage — a clear sign that Acosta’s nurturing influence and global vision have left an indelible mark on this next generation. The standout performance for me was The Firebird, which crackled with bold colour and precise foot work. The young BRB2 dancers rose to every challenge, embodying the mythical with astonishing control and nuance. Their energy was infectious, bringing fresh perspective to century-old choreography.
The entire programme was beautifully fluid, offering many a shift in tone and style. Acosta’s curation shows excellent classic choreography with a young ensemble at its best, reinforcing the importance of heritage in ballet, while also making a bold statement about its future. What sets this performance apart for me is not only the calibre of dancing but the palpable sense of purpose. BRB2 is not merely a showcase; it is a statement — an investment in the future of British ballet. The dancers’ commitment and potential shine through in every phrase, and the audience is left with the sense that they are witnessing stars in the making.
The staging and set designs are simple but elegant with lighting and costume choices that allow the dancers and choreography to remain the central focus. The programme moves at a brisk and satisfying pace, never lingering too long on any one mood or style making for a performance that ended far to soon for me. This is a wonderful way to introduce a new audience to the classical style of ballet with a contemporary twist, and I would encourage anyone to go along and see it if you can because by the time the curtain fell, it was clear that BRB2 is more than just a training ground — it’s a launchpad. Carlos Acosta’s vision is as inclusive as it is inspired, and this Ballet Celebration proves that the future of ballet is not only secure but scintillatingly bright.
