Audiences for this show will no doubt come with expectations based upon watching the film Dirty Dancing and this version will certainly not disappoint in terms of matching what they would expect from the dancing (which indeed is very convincingly dirty throughout – much to audience’s delight).
Outstanding dance performances from the outset in particular from Michael O’Reilly as Johnny and Carlie Milner as Penny were really captivating and set the tone for beautifully choreographed and executed routines throughout the show. Kira Malou as Baby was convincingly naive and incompetent at dancing to begin with, and her progression to raunchy dancer and not-so-innocent teen was both sweet and entertaining. Marie Finlayson (ensemble) and Samuel Bailey (as Billy Kostecki) both impressed in terms of vocals, and Colin Charles as Tito Suarez also put in a brilliantly entertaining performance with equally impressive dance and vocal skills. Lizzie Oatley as Lisa Houseman also deserves a special mention for her highly amusing Hula.
The set was nothing to write home about (think lavish high school production values) but the stream of exceptional dance numbers meant that this really didn’t matter.
The plot moves on apace in the stage version and it has to be said that some of the acting was rather stilted and on occasions it was hard to hear dialogue, so if you weren’t familiar with the plot it might have been quite hard to follow the detail of what was going on.
However, the audience clearly knew exactly what to expect from each scene (the woman sitting next to me was reciting the lines along with the actors) and the standing ovation at the finale demonstrated how much fun had been had.
CURVE LAUNCHES APPEAL TO FUND TRAINING FOR YOUNG TECHNICIANS
Money raised during November will support The Andy Nairn Bursaries in Technical Theatre
Leicester’s Curve theatre has launched a three-week fundraising appeal to support the development of young theatre technicians as part of The Andy Nairn Bursaries in Technical Theatre.
Money raised between Tuesday 9 – Friday 26 November will fund an annual 18-month Creative Venue Technician apprenticeship delivered in-house at Curve, as well as ongoing support and development opportunities at the theatre for budding technicians from backgrounds underrepresented in the theatre industry.
Curve, in partnership with Derby Theatre and Nottingham Playhouse, established The Andy Nairn Bursaries in Technical Theatre following the death of Curve’s much-loved Head of Production Andy Nairn on 26 November 2020. Andy was passionate about nurturing the next generation of technicians and believed every young person should have access to the best training opportunities.
The Creative Venue Technician apprenticeship will provide the recipient with training in all aspects of stage craft – including scenery and equipment, automated flying, lighting, sound and video, as well as the skills necessary to progress professionally in the industry.
Speaking about the appeal, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:
“The Andy Nairn Bursaries in Technical Theatre are named in honour of Andy Nairn, our much-missed Head of Production, who passed away last November aged just 34 years old.
“Andy wasn’t only an exceptionally talented and respected technician and production manager, but he was an incredible leader and mentor for those starting out in technical theatre. He was deeply passionate about training the technicians of tomorrow, encouraging people from all backgrounds to embark on a career in the arts. Throughout November, we are asking people to give what they can to support this initiative and help provide training opportunities for young people in Andy’s name.”
All money raised by Curve between 9 – 26 November through online, phone and in-person donations, as well as after-show bucket collections, will go towards the Andy Nairn Bursaries in Technical Theatre.
National Friendly and The Bristol Hippodrome join forces to fund Long-Covid research
Imagine waking up every day, feeling breathlessness, fatigued, muscle aches and not being able to remember much from the previous week. You call your doctor, who understands, but has no treatment to help you. This is the reality for hundreds of thousands of people who are suffering from Long-Covid.
Working together with Southmead Hospital’s official charity, Southmead Hospital Charity, National Friendly and The Bristol Hippodrome are embarking on a fundraising appeal which aims to raise £30,000 to support the Long-Covid research now taking place at the hospital.
The research, known as DISCOVER study, has recruited over 300 patients hospitalised with Covid-19 since March 2020. It was the first UK cohort published, meaning this is the group that has been studied for the longest time.
Right now, a team of renowned researchers from Southmead Hospital is working hard to find out more about Covid-19 and its long-term effects. Renowned for world-leading research through its specialist Research & Innovation Centre, each year 7,000 patients take part in over 500 research studies, with some made possible thanks to the donations of community partners like National Friendly and The Bristol Hippodrome.
Kurtis Reece, National Friendly’s PR & Strategic Partnerships Executive explained why they are backing the efforts to understand more about the virus. “We have been helping people to prepare for life’s contingencies for over 150-years, by insuring people’s health and providing them with protection. So, looking after those around us, especially within the Bristol community, our hometown, is the very essence of who we are. Our aim is to make a real difference to people’s lives and this partnership with The Bristol Hippodrome to raise funds for Southmead Hospital Charity will help to do exactly that.”
“In 2019, we managed to raise over £26,000 for the Neonatal Intensive Care Unit (NICU) at Southmead Hospital, so we are confident we can do the same for a something that has truly affected everyone – Covid-19.”
National Friendly is the lead sponsor for The Bristol Hippodrome’s innovative Matinee Mingle aimed at the over 60s and their Creative Learning Programme, which will offer Bristol-based schools the opportunity to enhance and develop students through high quality experiences.
Southmead Hospital Charity will benefit from a concentrated fundraising campaign, across a 12-week period which will begin on the 9th November 2021 and will end on the 12th February 2022.
For audiences, the fundraising will start with Heather’s The Musical followed by a number of performances including Riverdance – The New 25th Anniversary Show and the West End & Broadway Hit Musical Hairspray. It will continue at the annual pantomime, Snow White & The Seven Dwarfs starring Lesley Joseph, Rob Rinder and Andy Ford. It will also include the first UK Tour of the West End blockbuster Dreamgirls and will continue throughout the following performances:’ Bedknobs and Broomsticks, Matthew Bourne’s Nutcracker, Ronan Keating Twenty Twenty and Waitress – theatre goers will be able to donate to the Southmead Hospital research through contactless devices within the theatre.
National Friendly is also running an exclusive online competition with The Bristol Hippodrome, which will see five family tickets go up for grabs for the pantomime performance, which will be used as part of a social media campaign.
Ben Phillips, The Bristol Hippodrome’s Theatre Director, said, “We have a really exciting roster of shows over the next 12 months and we look forward to working with National Friendly and Southmead Hospital to support this crucial research into Long-Covid. Our theatre is a place of happiness, so it’s been difficult throughout the pandemic not being able to offer any of the wonderful live entertainment we host here. We know that by understanding more about Covid-19, we can take steps to prevent its spread, so we can continue to do what we do best – bring delight and culture to the city we love and those who live here.“
Adrian Brown, Southmead Hospital Charity’s Community & Events Manager added, “Many hospital treatments start with research. From treating infections and cancer to pioneering surgery and complex critical care, modern medicine is what it is today because of research. The support of partners like National Friendly and The Bristol Hippodrome can help the hundreds of expert researchers at Southmead Hospital turn pioneering discoveries into real treatments and in time, hopefully help people across the world suffering from Long-Covid.”
“The symptoms of Long-Covid can be wide-ranging, long-lasting and for some, life-changing. If we want to control Coronavirus, we must develop our knowledge of how the virus spreads, the symptoms it causes and its long-term impact. The research happening here at Southmead will play an important role in that.
“National Friendly and The Bristol Hippodrome know just how important it is to support the local community they serve and we are incredibly grateful for their support.”
I was totally razzled, dazzled and blown away by this production of Chicago. From the minute the Orchestra played the opening bars I knew I was in for a superb night at the theatre and oh how right I was, Broadway had arrived in Hull!
Way back in 1978 I was lucky enough to see the first British production of Chicago at the Sheffield Crucible and it was incredible, so fresh and original compared to other theatre productions. So, I am in total awe of the fact that 43 years later I sat in Hull New Theatre and was stunned by this production’s freshness, uniqueness and sheer genius. Everything about this performance just shone out with class.
Chicago The Musical is set in the 1920’s, an era in Chicago of jazz, gangsters, prohibition and general seediness. It is set in Cook County Jail and tells the unlikely tale of Roxie Hart (Faye Brookes) who has murdered her lover, but sets out with the help of the slick lawyer Billy Flynn (Darren Day) to clear herself of the murder. Roxie has an intense rivalry with her cell mate Velma Kelly (Djalenga Scott) as they vie for publicity. Also added into the mix is the stories of the other cell mates. With lyrics by Fred Ebb, music by John Kander and the book by Fred Ebb and Bob Fosse, Chicago is based on the play by Maurine Dallas Watkins.
Make no mistake Chicago The Musical tells a dark tale but John Kander’s wonderful music will have you singing along in delight, until you suddenly realise what the lyrics are. Kander and Ebb have created such a clever musical illusion that masks the darkness of the situation.
The entire production has no scenery, the Orchestra are on stage throughout on a stepped dais and the action unfolds in front of them with clever lighting and sometimes the use of a chair. To be able to totally enthral a full theatre and convincingly tell the story with so little shows the immense talent of the entire cast.
Djalenga Scott as Velma Kelly opened the show with a fabulous rendition of “All That Jazz”, her singing voice is superb. She has superb timing and musicality and her dancing was fabulous, she was the lynch pin of the production.
Faye Brookes gave Roxie Hart exactly the right amount of deviousness, sassiness and downright duplicity. Her singing and dancing were outstanding and her performance as the ventriloquist dummy in “We Both Reached For The Gun” was off the scale.
Darren Day’s Billy Flynn had exactly the right amount of slick deviousness with a touch of sleaze. The performance of “All I Care About” with the Girls and their fans was great fun. His rendition of “Razzle Dazzle” with the full company was excellent.
Mention should also go to Sinitta Malone as Mama Morton, delivered in a quiet and calm fashion, she really has an outstanding singing voice. Joel Montague as the downtrodden and put-upon husband Amos Hart was just right and I loved his performance of “Mister Cellophane”.
The ensemble is outstanding from start to finish, their dancing is incredible, the choreography superbly delivered – tight,sharp, stylish sexy and sassy!
The music drives this show and Musical Director Andrew Hilton and his orchestra were outstanding. What a treat it was to have them play us out, except of course most of the audience stayed to hear them and give them the huge roar they so richly deserved.
There is no part of this production that is not outstanding, the music, the singing, the dancing all come together to produce a complete work of genius. Fresh, original and totally unique Chicago provides the ultimate razzle dazzle, it is a piece of perfection.
Sonia Friedman Productions Scott Landis GFour Productions, Larry Magid, Tulchin Bartner Productions in association with Jane Bergère
THE SHARK IS BROKEN Written by Ian Shaw and Joseph Nixon
DUE TO POPULAR DEMAND ‘THE SHARK IS BROKEN’ WILL EXTEND UNTIL 13 FEBRUARY 2022 AT THE AMBASSADORS THEATRE WITH TICKETS FOR THE NEW PERFORMANCES ON SALE TODAY AT 10AM.
THE PLAY WAS MET WITH CRITICAL ACCLAIM WHEN IT OPENED LAST MONTH FOLLOWING A SELL-OUT RUN AT THE EDINBURGH FESTIVAL FRINGE IN 2019.
CO-WRITTEN BY ROBERT SHAW’S SON IAN AND JOSEPH NIXON, THIS BRILLIANTLY FUNNY, DEEPLY MOVING PLAY TAKES AUDIENCES BEHIND THE SCENES OF THE BLOCKBUSTER JAWS.
IAN SHAW PLAYS HIS FATHER ROBERT SHAW ALONGSIDE LIAM MURRAY SCOTT AS RICHARD DREYFUSS AND DEMETRI GORITSAS AS ROY SCHEIDER.
Sonia Friedman Productions is thrilled to announce that the ‘The Shark is Broken’ will extend its run at the Ambassadors Theatre until 13 February 2022. The production made a big splash when it opened in the West End last month receiving critical acclaim and delighting audiences. Co-written by Robert Shaw’s son Ian Shaw and Joseph Nixon, this brilliantly funny play, directed by Guy Masterson, reveals the hilarious and moving behind-the-scenes drama on Steven Spielberg’s blockbuster movie JAWS. Tickets for the new booking period are on sale now at thesharkisbroken.com. New Sunday matinee performances at 2.30pm have been added to the schedule. The run was previously scheduled to end on 15 January.
Producer Sonia Friedman said today ‘It’s with immense pride and joy that we’re announcing this extension of ‘The Shark is Broken’ at the Ambassador’s Theatre – put simply, we’re gonna need a bigger run! Having been suspended for 16 months in 2020, just before rehearsals were due to commence, it’s fantastic that this new play has finally opened in the West End to such a rapturous response, with our dedicated audiences travelling from all over the UK to see this entertaining yet profound look behind the scenes of one of the most famous films ever made.’
Ian Shaw plays his father Robert Shaw in The Shark is Broken alongside Liam Murray Scott as Richard Dreyfuss, and Demetri Goritsas as Roy Scheider.
Martha’s Vineyard, 1974: shooting on ‘Jaws’ has stalled. The film’s lead actors – Robert Shaw, Roy Scheider and Richard Dreyfuss – are stuck on a boat, at the mercy of foul weather and a faulty mechanical co-star. Awash with alcohol and ambition, three hammered sharks start to bare their teeth…
The Shark is Broken is written by Ian Shaw and Joseph Nixon, directed by Guy Masterson, set and costume are by Duncan Henderson, lighting is by Jon Clark, sound and music are by Adam Cork and video is by Nina Dunn. Casting is by Julia Horan CDG.
Hair, Wigs and Make-up is by Carole Hancock, the Associate Director is Martha Geelan, the Costume Associate is Deborah Andrews, the Associate Lighting Designer is Simisola Majekodunmi and the Fight Director is Yarit Dor
Not perfect? Then join the club with An Evening with the Good Enough Mums Club!
A concert tour of songs from the Good Enough Mums Club musical Created by Emily Beecher
The Good Enough Mums Club is a new musical, produced, written, directed and performed by mums, featuring songs such as “Only My Nose Is The Same”, “The Price To Be Paid” and “WTF’s Up With Kid’s TV?”. Toddle through the highs, lows and sleep deprivation of motherhood. From peeing on sticks to drooping tits, they share the love and dispel the myths with enough wipes on hand to mop the tears and clean away the snotty laughter.
In the safety of a local community hall, five mothers regularly meet with their young children, to share, compare, commiserate and comfort one another through the tough first years of motherhood. When the Council threatens to close their local playgroup, five women thrown together by motherhood, overcome their isolation, loneliness, judgment and perfectionism to discover that they’re stronger as a group than as individuals, and that sometimes, being good enough is best.
An Evening With The Good Enough Mums Club is a concert tour ahead of the full musical tour in 2023.
Hippodrome Associates, The Good Enough Mums Club, was established in 2013 and all their work is produced, directed, arranged, and performed by mothers. The team create with the aim to combat perfectionism and spread a message of self-love, acceptance and community, one mum at a time.
Writer Emily Beecher said, “The Good Enough Mums Club grew out of my own darkest days of motherhood fighting postnatal depression and postnatal psychosis. When I shared my story, other women shared their own experiences with me, and it was so brilliant to realise all these things I thought I had been alone in, were actually things that connected us. After the incredibly difficult last 18 months I think we need to, more than ever remember we’re in this together and celebrate all the things, good and bad, that unite us as mums.”
An Evening With The Good Enough Mums Club is at Birmingham Hippodrome’s Patrick Studio Thursday 18 – Friday 19 November. Tickets can be booked at www.birminghamhippodrome.com or by calling 0844 338 5000*
*0844 calls will cost you 4.5p per minute plus your phone company’s access charge.
Leading the cast in the highly celebrated return of Heathers the Musical is Ailsa Davidson in the role of high school geek Veronica Sawyer and Freddie King as the dark and moody teen Jason ‘J.D’ Dean.
In the eponymous roles of ‘The Heathers’ are cast members Emma Kingston as Heather Chandler, Inez Budd as Heather Duke and Teleri Hughes as Heather McNamara (who previously understudied the role at the Theatre Royal Haymarket earlier this year).
They are joined by Vicki Lee Taylor (Ms Fleming/Veronica’s Mom), Lizzie Bea (Martha Dunnstock), George Maddison (Kurt Kelly), Tom Scanlon (Ram Sweeney), Kieran Brown (Ram’s Dad/Coach Ripper), Jacob Fowler (Ensemble U/S Jason J.D Dean, Beleaguered geek), Jordan Cunningham (ensemble/U/S Kurt Kelly & Kurt’s dad/hipster dork/officer), Iván Fernández González (Ensemble/U/S Ram Sweeney/Preppy Stud/Officer), Eliza Waters (Ensemble/U/S Heather Duke/Young Republicanette), Mary-Jean Caldwell (Ensemble/U/S Martha Dunnstock/Mrs Fleming/Veronica’s mom/Stoner Chick), Hannah Lowther (Ensemble/U/S Heather Chandler & Heather McNamara/New Wave Party Girl) and Kayleigh McKnight (Ensemble/U/S Veronica Sawyer/Drama Club Drama Queen).
Further cast members will be announced in due course.
Heathers the Musical, thewickedly funny and high-octane rock musical returns to its original London home at The Other Palace, opening on 25 November 2021, for a season until 20 February 2022.
Produced by Bill Kenwright and Paul Taylor-Mills, the musical started its UK journey with a cult following and was a box office record-breaker at The Other Palace in 2018, before transferring to the Theatre Royal Haymarket for a limited season later that year. The production then returned to the Haymarket and played a hugely successful summer season this year, kick-starting the West End’s pandemic recovery.
With a dazzling book, music and lyrics by Kevin Murphy and Laurence O’Keefe, Heathers the Musical is based on one of the greatest cult teen films of all time, and starred Winona Ryder and Christian Slater. The production is directed by Andy Fickman, withchoreography by Thriller Live’s Gary Lloyd, designs by David Shields, lighting by Ben Cracknell and sound by Dan Samson.
Westerberg High’s Veronica Sawyer is just another nobody dreaming of a better day. But when she joins the beautiful and impossibly cruel Heathers, her dreams of popularity may finally come true. Mysterious teen rebel JD teaches her that it might kill to be a nobody, but it is murder being a somebody…
The UK premiere of Heathers the Musical enjoyed two record-breaking opening seasons, launching at London’s The Other Palace and transferring to the Theatre Royal Haymarket in 2018; going on to win the WhatsOnStage award for Best New Musical 2019.
The production before embarked on its Number 1. UK and Ireland tour this summer. The tour continues its run this autumn-winter calling at Brighton, Wimbledon, Bristol, Milton Keynes, High Wycombe and Cardiff, completing its run in Edinburgh on 11 December 2021.
Past Production Images – 2021 West End Cast – Heathers the MusicalTheatre Royal Haymarket – Photos by Pamela Raith
LISTINGS
Bill Kenwright & Paul Taylor-Mills present
HEATHERS THE MUSICAL
Book, Music & Lyrics by Laurence O’Keefe & Kevin Murphy
Directed by Andy Fickman
Associate Director and Choreography by Gary Lloyd
Design by David Shields
Lighting by Ben Cracknell
Sound by Dan Samson
Venue: The Other Palace
Dates: 25 November 2021 – 20 February 2022
Running Time: Approx. 2 hours 30 minutes including interval
Calling all #CornNuts – Be the first to hear the latest Heathersthe Musical gossip and further details on dates, venues and on-sales by following us on the following:
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Past Production Images: Available to download HERE
Ahead of performances starting for CABARET at the KIT KAT CLUB on Monday 15 November, shots of the show in rehearsals have been released
CABARET stars Eddie Redmayne as ‘The Emcee’, Jessie Buckley as ‘Sally Bowles’ Omari Douglas as ‘Cliff Bradshaw’, Liza Sadovy as ‘Fraulein Schneider’, Elliot Levey as ‘Herr Schultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’. The cast is completed by Josh Andrews,Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.
www.kitkat.club
One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.
CABARET is directed by Rebecca Frecknall (the Almeida’s Olivier Award winning Summer and Smoke, The Duchess of Malfi, Three Sisters), set and costume design is by Tom Scutt (A Very Expensive Poison, Constellations, King Charles III, Jesus Christ Superstar, collaborations with Sam Smith, Christine and the Queens) with choreography by Julia Cheng (founder of the House of Absolute, Philharmonia Orchestra Artist in Residence, recipient of the runner-up prize for Hip Hop Dance futures, Resident Choreographer for the Royal Academy of Dance, Judge and mentor for BBC Young Dancer and Breakin’ Convention – the UK’s biggest Hip Hop Festival, collaborations with London Fashion Week, Google and Dr Martens). Musical supervision and direction is by Jennifer Whyte (Les Misérables film, Caroline Or Change, Parade). Lighting design is by Isabella Byrd (Heroes of the Fourth Turning and Light Shining in Buckinghamshire – both in New York, Daddy – A Melodrama at the Almeida and The Flick at the National theatre) with sound design by Nick Lidster (City of Angels, Passion, Pacific Overtures and Parade at the Donmar Warehouse, Sweeney Todd and On The Town for English National Opera, A Chorus Line, Les Misérables and Miss Saigon). The casting director is Stuart Burt (& Juliet, The Drifters Girl and 2021 CDG Award for Best Casting in Theatre for Cyrano De Bergerac) and the associate director is Jordan Fein. Angus MacRae is the Prologue composer. Fight direction is by Jonathan Holby. The dialect coach is Michaela Kennen and the voice coaches are Claire Underwood and Mark Meylan.
CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.
FIVE SCOTTISH GIRLS TAKE LONDON’S WEST END BY STORM
PRIDE AND PREJUDICE* (*SORT OF) AT THE CRITERION THEATRE HAS RECEIVED REVIEWS THAT THEY COULD ONLY DREAM OF
AFTER OPENING IN LONDON’S WEST END ON WEDNESDAY LAST WEEK THE TILLS IN THE BOX OFFICE WERE RINGING AS IT TOOK A GIGANTIC £250,000 IN 24 HOURS
https://www.youtube.com/watch?v=A0Arrd_KrjA
Celebrities from Stephen Fry to Sheridan Smith have raved about Isobel McArthur’s unique and audacious retelling of Jane Austen’s classic love story. Men, money and microphones are fought over in this irreverent but affectionate adaptation, which includes pop classics such as Every Day I Write the Book, Young Hearts Run Free, Will You Love Me Tomorrow, I Got You Babe and You’re So Vain. Five actresses portray the young female servants who retell one of literature’s most famous stories, and these same five actresses play every other character, as well as singing and playing instruments.
Olivier and Tony Award-winning producer David Pugh is delighted to announce that, due to the incredible reception that the glittering West End has given the Tron Theatre Glasgow, the Royal Lyceum Theatre Edinburgh and Blood of the Young’s production of PRIDE & PREJUDICE* (*SORT OF) by Isobel McArthurafter Jane Austen, the booking period has been extended by phenomenal demand to Sunday 17 April 2022 at the Criterion Theatre.
David Pugh said “In 40 years of producing in the West End, I have never seen such an incredible response to every performance so far and I am delighted that the show will continue on with seat prices that everyone can afford – £9.50 – £59.50 with no premium seats.”
The cast of the original Tron Theatre production has been reunited. Writer and director Isobel McArthur (Wendy and Peter Pan, Alice’s Adventures in Wonderland, The Lyceum; Cyrano de Bergerac, The Lyceum, National Theatre of Scotland, Citizens Theatre; Daphne Oram’s Wonderful World of Sound, Blood of the Young, Tron Theatre, Scottish Tour; Robin Hood, Manhattan Children’s Theatre; Avoidable Climbing, Take Me Somewhere, Citizens Theatre) once again plays Darcy and Mrs Bennet. Also in the cast are Tori Burgess (Alice’s Adventures in Wonderland, The Lyceum; Bear Pit, Blood of the Young; Secret Show 1, Blood of the Young & Tron Theatre; Margaret Saves Scotland, Oran Mor, Traverse, Lemon Tree, Marilyn Imrie) as Lydia and Mr Collins, Christina Gordon (Glory on Earth, The Lyceum; The Cheviot, The Stag and the Black, Black Oil, National Theatre of Scotland, Dundee Rep; Mancub, Cumbernauld Theatre; Rocket Post, National Theatre of Scotland) as Lady Catherine de Bourgh and Jane, Hannah Jarrett-Scott (Glory on Earth, The Lyceum; The Taming of the Shrew, Sherman Theatre, Tron Theatre; The Wolves, Theatre Royal Stratford East; A Bottle of Wine and Patsy Cline, Gilded Baloon) as Charlotte Lucas and Charles Bingley and Meghan Tyler (A Streetcar Named Desire, Lyric Theatre Belfast; Medicine, Off the Middle with The Hope Theatre; The Persians, Oran Mor, Traverse Theatre; Look Back in Anger, Cumbernauld Theatre; Two Gentlemen of Verona, A Midsummer Night’s Dream, Guildford Shakespeare Company; Shetland, BBC) as Lizzie Bennet.
PRIDE & PREJUDICE* (*SORT OF) is directed by Isobel McArthur and Simon Harvey, with comedy staging by Jos Houben, design by Ana Inés Jabares-Pita, lighting by Colin Grenfell, musical supervision by Michael John McCarthy, sound design by Michael John McCarthy and Luke Swaffield for Autograph and choreography by Emily Jane Boyle.
David Pugh presents Tron Theatre Company, the Royal Lyceum Theatre Edinburgh and Blood of the Young’s production of PRIDE & PREJUDICE* (*SORT OF) with co-producers Birmingham Repertory Theatre, Bristol Old Vic, Leeds Playhouse, Northern Stage and Oxford Playhouse.
The producers of Dolly Parton’s smash-hit 9 TO 5 THE MUSICAL are delighted to announce that television and musical theatre star Claire Sweeney will join the production as ‘Violet Newstead’ from 13 January until 5 March 2022. Full tour schedule below.
Claire Sweeney has a television and theatre career which spans over 20 years. She is probably best known for playing the role of ‘Lindsey Corkhill’ in “Brookside”. Her other television credits include “Clocking Off” and “Merseybeat” along with a presenting role on “60 Minute Makeover” and as a panellist on ITV’s “Loose Women”. Claire’s West End roles include ‘Roxie Hart’ in “Chicago” and ‘Miss Adelaide” in “Guys and Dolls”. Claire previously played ‘Baroness Bomburst’ in the National Tour of “Chitty Chitty Bang Bang” and the title role in “Educating Rita” at London’s Menier Chocolate Factory and prior to that, played ‘Paulette’ in the UK tour of the award winning “Legally Blonde”. She most recently appeared as ‘Irene’ in the National Tour of “Crazy For You”. Her other theatre credits include “Tell Me on a Sunday” and the title role in “Shirley Valentine”.
Claire joins the cast which includes Vivian Panka making her professional UK stage debut as ‘Judy Bernly’, Stephanie Chandos (9 to 5 The Musical – previously covering the role of ‘Doralee’, Hairspray and We Will Rock You,) as ‘Doralee Rhodes’, Sean Needham (Kinky Boots, Mamma Mia!, Wicked and Buddy) as ‘Franklin Hart Jr.’ – a role he played on many occasions in both the West End and on tour, Julia J. Nagle (American in Paris, Aspects of Love, Dirty Dancing) as ‘Roz Keith’ and Russell Dickson (Evita) as ‘Joe’.
The cast is completed by Alexander Bartles, Sierra Brewerton, Rebekah Bryant, Emily Bull, Demmileigh Foster, Sonny Grieveson, Callum Henderson, Joshua Lear, Ross Lee Fowkes, Sarah-Marie Maxwell Jon Reynolds, Clayton Rosa, Kirsty Anne Shaw, Ricardo Spriggs, Grace Walker, Emily Woodford, and Richard Taylor Woods.
9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by country legend and pop icon Dolly Parton. It tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the girls manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!
9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, musical supervision, arrangements and orchestrations by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.
9 TO 5 THE MUSICAL Original Broadway Cast Recording is planned for re-release via Dolly Records/Sony Music.
Based on the 20th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.
9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group Productions with Gavin Kalin Productions, Selladoor Worldwide and Glass Half Full Productions.
