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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 

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Twitter @WhatsOnStage #WOSAwards

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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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Covent Garden:

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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).

The POD, Iris Theatre – until 11 December 2021

Reviewed by Claire Roderick

3***

Travelling back to their family home for Christmas, Blake, Laura and Mia find out that their Nanna Sue will be there. This could well be her last Christmas, so they want to give her something special, so their standby novelty lip balm won’t do. Mia suggests they perform one of the Nativity plays they performed as children.

There are lots of laughs in Eden Tredwell’s bittersweet comedy as the trio perform their Nativity with bedsheets and Leprechaun hats as costumes. But as Blake (Charlie Archer) works his way through the script with a bottle of wine to get rid of his nerves, he changes from sarcastic but charmingly nervous into a more belligerent and intolerant character, opening old wounds and grudges that halt the show. Laura Pigott has a ball with Mia’s theatrical affectations and egocentricity –she feels that Mary would have expressed her emotions through song on the long journey to Bethlehem, so performs a hilarious power ballad. Laura (Sarah Whitehouse) has obviously played peacemaker between her brother and sister all their lives, but she can’t fix this rift, not even with the annual family Secret Santa.

The cast have wonderful chemistry and are thoroughly believable as siblings. Eden Tredwell excels in differentiating the childish Nativity script with their adult bickering and silly family traditions. Director Jack Bence keeps the action authentically shambolic until things break down into stillness and silence as truths hit home. The siblings’ quiet acceptance that they have drifted apart and don’t really know or understand each other anymore is nicely understated. The contrast between the festive shenanigans and the arguments darkens the mood until a quiet but uplifting Christmas song brings everybody together – capturing the emotional highs and lows that a day trapped with family members you see only once a year can cause.

The Last Nativity is full of ridiculous moments – a very funny dysfunctional family Christmas.

The Lyceum Theatre, Sheffield – until 3rd January 2022

Reviewed by Sophie Dodworth

4****

The Lyceum is feeling festive and flamboyant with the annual Christmas pantomime in full swing. There is a real buzz in the auditorium and what a bonus to have the audience (mainly led by the school groups) sing along to ‘All I Want for Christmas’. The energy is already oozing out of all possible places…helped along by the musicians smartly placed in the boxes next to the stage.

Paul Hendy has written a strong and engaging script, feeling punchy, modern and majestic. There isn’t really any down time or periods where you were wishing that things would hurry along. The story of Sleeping Beauty and her ever long sleep induced by the witch, manipulating her in to pricking her own finger, poisoning her; and then sleeping for 100 years while she waits for a prince to kiss her back to life, is intact, just with a modern spin. And lots of current and possibly controversial-to-some references.

The cast were excellent, all so very committed and ready to execute their roles with gust. Fairy Moonbeam (Janine Duvitski) drew you in right from the start, many of the kids warming to her and getting excited when she appeared back on. She almost made the production that bit more comforting. Nurse Nellie (Damian Williams) was your typical dame, as expected, lots of flirty references and gags galore. Jangles was played by Ben Thornton, the most energetic member of cast on stage! He really came across as enjoying the time he spends on stage which is so important to portray to your audience. Lucas Rush playing Carabosse really steals the show as the ‘baddie’! what a villain. Just a perfect match for this role and very convincing, some of the younger children really buying in to this scary man. Prince (Dominic Sibanda) and Beauty (Hannah Everest) make a really suitable pairing on the stage, both very sweet, beautiful voices and a charismatic duo. Two Cheeky Monkeys (the Dragon Keepers) must also get a very big mention, what a visual treat. Their displays with fire were jaw-dropping, very talented and a great touch for the pantomime.

The Musical Director (James Harrison) must get a mention for his contribution to the performance at the side of the stage, really adding to the atmosphere and giving it that something extra. The music was faultless and complemented the show while uplifting the audience, as did the choreography by Sarah Langley. Helga Wood and Terry Parsons did an outstanding job with the costumes, lots of fine detail and that didn’t go unnoticed, the glitter and sparkles were needed and appreciated.

Overall, a really solid pantomime with lots of content, keeping you on your toes, making you want to move your feet and having you leave the theatre with that warm, fuzzy feeling.

New Victoria Theatre, Woking – until 2 January 2022

Reviewed by Joanna Huggett.

5*****

My 10 year-old daughter Amelia and I went to see the panto, and we both really enjoyed it. We thought the set and costumes were colorful. The cast were very good at involving the audience, and the audience were very interactive in return. We found the show very funny and it had a real ‘feel good’ factor about it.

We enjoyed the music, and the pop songs sung by the cast. We particularly enjoyed ‘Dynamite’ sung by Prince Harry, played by Benjamin Purkiss. We also loved ‘You raise me up’ sung by the seven dwarfs. The dwarfs were played by Joe Thompson-Oubari, Matthew Chase, Jordan Dutton, Matt Faull, Thomas Kalek, Matthew Maddison, and Charlie Waddell.

In terms of performances, our favourite characters were Muddles, played by Aaron James, and the Man in the Mirror, played by Gok Wan. We enjoyed the jokes told by Aaron James, and thought he was very clever at remembering them all! And we thought his comic timing was excellent. We also loved seeing Gok Wan and found him very genuine with the audience and other actors alike. We enjoyed the performances of Queen Lucretia, played by Harriet Thorpe, and Snow White, played by Rebekah Lowings.

We liked the flying pterodactyl at the end of Act One. We also enjoyed the performance of the 12 days of Christmas in Act two, and the finale wedding scene. We thought the choreography of the ensemble was excellent throughout.

New Wimbledon Theatre – until 2^nd January 2022

Reviewed by Carly Burlinge 

5*****

Wimbledon brings this year’s pantomime of Dick Whittington a show for all with many laughs and much entertainment. Dick Whittington (Shane Richie) embarks on a journey from London town with Captain Cockles (Peter Piper) at his side that takes him to the high seas in order to save the town from the Evil Queen Rat (Rachel Izen). She wants to take over London with the help from her evil rodents!!! With guidance from Fairy Bow Bells (Shona White) will he be able to succeed and win the heart of the beautiful Alice (Hiba Elchikhe) and take her hand in marriage?!

Shane Richie gave an outstanding performance keeping both adults and children well entertained with a good mixture of adult humour thrown in, as well as watching every child in the audience smile from ear to ear. He’s certainly the main man throughout the show and does it with ease!

Peter Piper had a great connection on stage with Shane offering much enjoyment on the stage with the yearly audience participation of “Oh no it wasn’t – Oh yes it was” storyline. I can honestly say it put a big smile on my face watching the children get so involved. I’m pretty sure some of them must have lost their voices with the participation.

Alongside with the outrageous costumes full of glitter and glam, some astounding backdrops that just kept coming! Sparkling fireworks that lit the eyes of many and a floating motorbike that made this performance enchanting and spectacular to watch. Did I forget to mention The Kitty Cat (Briana Craig) that was mute throughout but provided some excellent movement with such ease which was mesmerising to watch.

Last of all what fabulous dancers with tremendous and remarkable choreography, they all had such a good connection on stage. The whole production was just outstanding and definitely put us in the Christmas spirit to start the season off. Truly Fantastic!