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Mayor of London and photographer Rankin join forces to launch West End theatre ticket offer under unique Piccadilly Lights display 

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Celebrate Theatre #BackOnStage 

The Mayor of London, Sadiq Khan, renowned photographer Rankin and stars from the West End gathered in Piccadilly Circus today (Tuesday 7 December), as the famous Piccadilly Lights were lit up with striking portraits of people behind London’s world-leading theatreland.

Using images shot by Rankin as part of his ground-breaking project Performance by Rankin, the Piccadilly Lights display officially launched the New Year Sale promotion offering £10, £20, £30, £40 and £50 tickets to nearly 60 top London shows in January and February.

The New Year Sale is run by Official London Theatre, which is working with the Mayor and Rankin to help bring audiences back into central London to enjoy the capital’s unparalleled cultural scene, world class bars and eateries, and renowned attractions. New Year Sale tickets go on general sale today from officiallondontheatre.com/new-year-sale. 

This exciting Piccadilly Lights moment has been made possible by Landsec and Westminster City Council.

Performance by Rankin – a collaboration between Rankin, Official London Theatre and Fujifilm, supported by the Mayor of London as part of the Let’s Do London campaign – is currently running as a major free exhibition at the FUJIFILM House of Photography in Covent Garden, open until 31 January. A book of the portraits is also available to buy at the exhibition and from a variety of bookshops, with proceeds going to the Theatre Artists Fund and the Mayor’s chosen London youth homelessness charities.

The Mayor of London, Sadiq Khan said:

“London’s theatres are the envy of the world, but their success is only possible due to the brilliant individuals working in the industry – both on and offstage – who have been instrumental in raising the curtain and ensuring that London’s West End bounces back safely.

“I’m delighted to partner with renowned photographer Rankin, Official London Theatre, and the Piccadilly Lights as part of our Let’s Do London campaign to celebrate theatreland’s workforce and encourage Londoners to rediscover the magic of live entertainment with this unbeatable ticket promotion.”

The Albany, Deptford – until 31 December 2021

Reviewed by Claire Roderick

4****

Hans Christian Anderson’s classic tale is given a modern environmental twist in Wrongsemble’s festive production. Lumi (Tilly Smith) has asked lots of questions from a very young age but as she grows older and is more aware of the world, she has questions about global warming and pollution, and decides to be an activist. The one question she really wants answered is why hasn’t it snowed? So, she writes letter after letter to the Snow Queen who controls the weather. Fed up with waiting for a reply, Lumi goes on a quest to the North to find the Snow Queen and get the answers she needs.

On her journey, Lumi meets Horton the Tortoise, a wasteful hoarder, Flash the Polar Bear, whose high-energy, high-power lifestyle is melting the ice cap around his bachelor pad, and Oops the delivery elf, whose working conditions are awful as consumers demand instant service. They help her on her way to the Snow Queen’s ice place, where Lumi can finally ask for snow.

Writer and director Elvi Piper tackles important environmental issues with a light touch that will engage and excite school age children. The repeated message that small changes can make the biggest difference is one they will have encountered at school. In Lumi, Piper has created a proactive character that children can relate to and aspire to be, reminding the audience that sometimes the youngest voices will speak the loudest truths. There are catchy songs and simple choreography that was copied by lots of energetic audience members, and just enough slapstick and physical humour to keep very young children interested and laughing. There are lots of jokes for the adults in the audience too – most delivered with icy disdain by the Snow Queen (Richard Priestley). Looking down from an ice tower lit by a huge crescent moon, Priestley is hilarious as the drag queen diva, preening, pouting and punning as well as providing accompaniment to the songs. The Snow Queen’s pronouns, they/their, are used in song lyrics and dialogue and accepted without question by the young audience. Tilly Smith is sweetly convincing playing a young girl, never becoming a cheesy caricature and winning over the audience within minutes. Thomas Cotran plays multiple characters with lots of energy – making the biggest impact with Flash the polar bear in need of a digital detox – each wiggle of his hips had the audience in stitches.

The production lives up to its message of sustainability, with impressive set design by Antony Jones, and manages to be educational without losing its strong narrative. One of the more thoughtful, message-orientated productions around this year, The Snow Queen is joyful entertainment with all the Christmas fun and frolics you need for a family treat.

Phoenix Theatre, London – until 9 January 2022 (6 performances)

Reviewed by Celia Armand Smith

5*****

Panto season is upon us and The TuckShop’s Dick Whittington is a campy, nonsensical, heart filled production that has something for everyone (over the age of 14). The stellar drag cast and superb writing by Gareth Joyner had the whole audience in stitches from beginning to end.

The story of Dick Whittington is not a new one, however, this was not the traditional telling of the story that we know so well. The hero, Dick (played by Cheryl Hole), sets out on a quest to find adventure, fame, fortune on the streets of the city of Soho with his faithful yet miserable sidekick cat friend, Cat Slater (Elektra Fence). With the help of the Spirit of Soho (Kitty Scott-Claus) they must defeat Queen Rat (Choriza May), and win the heart of Alice (Karen from Finance), and Alice’s mum Dame Sarah (Yshee Black) after her prized spatula is stolen from the safe (played by Villager number 4, Ophelia Love). There are some hiccups along the way including a banishment to the North, but with the Mayor of Soho (Beau Jangles) and Daddy (Richard Energy) who owns the local “marital aids” shop, they save Soho and the day.

The stage is normally home to Come From Away, so the set was a simple street scene with some Mary Poppins style chimneys and a pink postbox. Without any changes at all, it was a cafe, a ship, and a completely different city.

The musical numbers were fantastic, and in particular, Beau Jangles had a stand out voice. Everyone had their moment to shine, and the joy was non-stop. The interval is a welcome break for my cheeks which hurt from laughing. We really felt like we were in on the joke. For me, Ophelia Love, Richard Energy, and Beau Jangles stood out. Their use of props, vocals, and comedy timing were excellent despite some technical difficulties with sound. Special mention should go to Owen Cennydd Hodges and Alex Conder who were very campy backing dancers. Every raised eyebrow, little balletic leap, and hip wiggle had us giggling uncontrollably.

As half the cast have been on RuPaul’s Drag Race at some point, there is quite a lot of drag race content so if you don’t watch Drag Race, some of the jokes will go over your head. There was plenty of laughter to go round however, and lots of jokes were made at the expense of Drag Race which famously does not include Drag Kings or alternative drag forms.

At a time when the news is so miserable every day, having a few hours of complete silliness, unrelenting hilarity, and queer joy is a well needed tonic. Get on over to the Phoenix Theatre for one of the five remaining performances.

Theatre Royal Windsor – until 9 January 2022

Reviewed by Joanna Huggett

5*****

The Theatre Royal Windsor Pantomime is back for 2021, much to the delight of the Windsorians in the audience who gave it a rousing welcome. The production was packed full of sparkle, drama and humour. The performance was an absolute joy. A very traditional spectacular pantomime for all the family. The anticipation of the audience was apparent even before the curtain went up, and from there on in the auditorium erupted.

Dotty Dame Trott, played by Steven Blakeley, and Simon Trott, played by Kevin Cruise, are brilliant past masters at evoking audience participation. Their timing and corny jokes had us in stitches, with cameos such as the Twelve days of Christmas, and a pot throwing sequence!

Jack Trott, played by Jay Worley, was charismatic with a good stage presence. He also had a good singing voice, as did his partner Jill played by Alice Fillary. Basil Brush was as always, a popular presence, loved by children and adults alike. Jemima Fleshcreep played by Anita Harris gave a convincing performance as the wicked witch. Fairy Daffodil played by Elizabeth Carter gave a pleasing performance and looked very beautiful in her sparkling costumes. The costumes in general were dazzling and there were spectacular scenes with a flying cow and the miraculous emergence of a giant beanstalk.

There were so many popular songs to be sung along too with the ensemble. All in all a first class show.

Northern Stage Newcastle – until 31st December.

Reviewed by Sandra Little

3***

The Sorcerer’s Apprentice is a family Christmas offering from Northern Stage, written by Laura Lindow . The action takes place on a large stage and is set in the streets of Newcastle. Scenery for this production is quite industrial in style and often dark and gloomy, adding to the mysterious atmosphere of the early part of the show. The stage set for the second half, inside the sorcerer’s home, is more a more colourful affair.

The storyline for this production is very loosely based on the traditional tale of the Sorcerer’s Apprentice with some more modern twists, and local references, thrown in along the way. The main character, Hatty Rabbit, played by Beth Crame, is a child who is blessed with magical powers which she credits to her special birth. When Hatty’s mum (Alice Blundell) dies Hatty’s wicked aunt, Primula Fudge, ( Heather Dutton ) agrees to care for Hatty. Eventually Hatty is sent to Bish Bash Bosh, an institution for challenging children. During her stay Hatty finds a letter from a sorcerer asking for an apprentice. Suffice to say Hatty is given the job of apprentice, but when the sorcerer leaves Hatty in charge, the magic begins. Like all good Christmas stories there is a happy ending to this tale.

Hatty is an exuberant, energetic and lively character who interacts in a friendly way with the audience from time to time, and Beth Crame gives this role her all! Hatty’s furry friend the rat puppet ( Patrick Munday) added a further dimension to the story and I’m sure the children who were watching loved this cute little character. My favourite character however, was definitely Hatty’s aunt, Primula Fudge. Although she was unkind to Hatty, Heather Dutton was so funny in this role and came across as a totally self obsessed character who loves the limelight. The scene with the photographer was particularly funny and Primula’s costume definitely reflected her larger than life personality.

In terms of humour, there were some quite funny one liners included in the script. At one point for example, the sorcerer asks Hatty,”How do you eat your custard creams?” and she replies “As quickly as possible,” There was also some lavatorial humour ( which I’m sure the children loved ) including references to mouse droppings and reindeer poo,

The dance routine from children at Bish Bash Bosh was a highlight for me and the music and songs written by Katie Doherty was a pleasant addition to the show.

This production seemed to be enjoyed by families with children who were the target audience. However, I would have liked to see more exciting special effects in the show and more being made of Hattys magical powers. I think this would have made a good show even more special.

Wilton’s Music Hall, London – until 31st December 2021

Reviewed by Bobbi Fenton

5*****

‘The Child in the Snow’, created by Piers Torday and adapted from ‘The Old Nurse’s Tale’ by Elizabeth Gaskell is a wonderfully eerie play, which tells the story of a Nurse in 1918 who has recently returned from the war front. Nurse Hester Thornton (Safiyya Ingar) invites clairvoyant Psychic Estelle Leonard (Debbie Chazen) to perform a séance in the house she had been sent to live in at the age of twelve. During her time living there, she uncovered a dark secret about the house, and her aunt. She has since forgotten what the secret was, but knows that it was the scariest thing she has ever experienced, even after serving as a nurse in France during the war. Mrs Leonard uses her psychic ability to conjure multiple spirits, and through doing so, helps Hester Thornton to remember what she had experienced while living in the house.

Throughout the play, Debbie Chazen switches perfectly between the different character’s whose spirits communicate through Mrs Leonard, and Safiyya Ingar does an amazing job of portraying Hester at different moments during her life, such as when she was a nurse in France and when she was living in the house as a child.

The set was beautifully designed, with the stage made to look like a room in an abandoned house for the majority of the show, with different pieces of furniture and other things under white sheets. During a few scenes, however, the back wall opens up to reveal the outside, covered in snow. They even made use of the balcony of the music hall itself, with tree branches leant slightly over the top.

Filled with perfectly timed jump scares, and bone chilling moments, this play is a definite must see for any lovers of ghost stories and supernatural horror. Get down to Wilton’s music hall while you still can, just remember not to let him in, no matter how much he cries.

RSC ANNOUNCE DEATH OF HONORARY ASSOCIATE ARTIST SIR ANTONY SHER

Today the RSC announced the death of Sir Antony Sher, Honorary Associate Artist and husband of Artistic Director, Gregory Doran. Antony was diagnosed with terminal cancer earlier this year with Gregory taking compassionate leave from his role in September to care for Antony.

Catherine Mallyon, RSC Executive Director and Erica Whyman, Acting Artistic Director, said:

‘We are deeply saddened by this news and our thoughts and sincere condolences are with Greg, and with Antony’s family and their friends at this devastating time. 

‘Antony had a long association with the RSC and a hugely celebrated career on stage and screen. Antony’s last production with the Company was in the two-hander Kunene and The King, written by his friend and fellow South African actor, writer and activist, John Kani. 

‘Other recent productions at the RSC include King Lear, Falstaff in the Henry IV plays and Willy Loman in Death of a Salesman. Earlier landmark performances included Leontes in The Winter’s Tale, Iago in Othello, Prospero in The Tempest and the title roles in Macbeth, Tamburlaine the Great, Peter Flannery’s Singer, Cyrano de Bergerac, as well as his career defining Richard III. He also attracted critical acclaim for his performances at the National Theatre in his one man show Primo, Pam Gems’ Stanley (Olivier Award and TONY nominated) and Uncle Vanya with Ian McKellen. In the West End in Torch Song Trilogy (Olivier award winning for this and Richard III), at the Royal Court in Carol Churchill’s Cloud Nine and his first big hit playing Ringo Starr in Willy Russell’s John, Paul, George, Ringo and Bert; and on film in Mrs Brown and on television in Malcolm Bradbury’s The History Man.

‘Antony was a widely exhibited artist and author of multiple books including the theatre journals Year of the King, Woza Shakespeare!, co-written with Gregory Doran, four novels including Middlepost, three plays, a television screenplay and his autobiography Beside Myself.

‘Antony was deeply loved and hugely admired by so many colleagues. He was a ground-breaking role model for many young actors, and it is impossible to comprehend that he is no longer with us. We will ensure friends far and wide have the chance to share tributes and memories in the days to come’.

RSC Chair Shriti Vadera added ‘Our hearts go out to Greg today, as on behalf of all RSC Board members, past and present, we express our deep sadness, affection and condolences to him and other members of Antony’s family. Antony was beloved in the RSC and touched and enriched the lives of so many people’.

Susie Sainsbury, Artists’ Associate and former RSC Deputy Chair said:

‘Tony and Greg were together for over 30 years, and their careers as actor and director have brought them international acclaim, both individually and in the many productions where they worked together so productively. Tony will be remembered for many exceptional roles on stage and screen, but also for his passion for painting and drawing, which occupied his days increasingly in recent years. The last decade – with Greg as Artistic Director of the RSC – has been spent mainly in Stratford-upon-Avon, where Tony was delighted to have his own studio at their house, and we will remember them together not only in the theatre but as genial and generous hosts, with endless good food and fascinating conversations. Their many friends and colleagues will each have particular memories – mine is an image of the two of them, bearded and smiling, on the window seat in their sitting room, utterly content in each other’s company. It is impossible to imagine one without the other, and our thoughts and deep sympathy are with Greg and their families’.

John Kani, Actor and Playwright writes:

‘Both Tony Sher and I were born when our country South Africa was the worst place a child could be born let alone to be raised by parents who worked very hard to prepare their children for a difficult future – Apartheid South Africa. By the Grace his God and my Ancestors, like Romeo and Juliet, we found each other in 1973. We travelled together as compatriots, comrades in the struggle for a better South Africa, as fellow artists and we both had the honour of celebrating together twenty-five years of South Africa’s Democracy in my latest play Kunene and the King. I am at peace with you my friend and myself.  Exit my King.

Your Brother

Gregory remains on compassionate leave and is expected to return to work in 2022. The RSC asks that Gregory’s privacy is respected at this time.

ANYTHING GOES

THE MULTI-TONY AWARD WINNING MUSICAL

IS THE UK’S HIGHEST GROSSING

EVENT CINEMA RELEASE OF 2021

• On 28 November and 1 December 2021, ANYTHING GOES, London’s ‘Show of the Year’ was screened in 500 cinemas across the UK and Ireland by Trafalgar Releasing

• To date the event has taken £715K at the box office [Source: ComScore]

• Anything Goes takes the #1 position as the best-performing Event Cinema release of 2021

Trafalgar Releasing today confirms that the cinema release of ANYTHING GOES has taken £715,378 at the box office to date and is the best-performing Event Cinema release of 2021.

Screened in more than 500 cinemas across the UK and Ireland, ANYTHING GOES will be released in the US and selected international territories in Spring 2022. Tickets will go on sale in January, sign up for the latest news at AnythingGoesMusicalCinema.com.

The record-breaking stage production of ANYTHING GOES is also sailing back to the Barbican Theatre next summer for an eight week return residency from 15 July until 3 September. From spring 2022, audiences across the country will also get the chance to enjoy the truly spectacular, multi-Tony Award winning, ‘show of the year!’ (★★★★★ Daily Telegraph), as the S.S American will be heading to theatres in Bristol, Liverpool, Edinburgh and Canterbury on its way to the Barbican!

Producer Sir Howard Panter said: “We are thrilled with the response from cinema audiences up and down the country to this glorious production of Anything Goes. It demonstrates a real appetite for musicals on the big screen – audiences can’t get enough of this majestic show. From outstanding leading actors, to the spectacular supporting company, the glorious set design, the breathtaking choreography and stage direction, and of course the wonderful score – it really is ‘the show of the year’.”

Marc Allenby, CEO of Trafalgar Releasing, comments: “This fantastic box office result demonstrates the continued recovery for cinema with audiences welcoming the opportunity to watch smash hit musicals like Anything Goes on the big screen.”

Filmed live at the Barbican in London – during the show’s 15 week residency at the theatre this summer – this major new five star production of the classic musical comedy features an all-star cast led by renowned Broadway royalty Sutton Foster reprising her Tony Award-winning performance as Reno Sweeney, alongside three-time Olivier Award and Tony Award winner Robert Lindsay (My Family) as Moonface Martin, Evening Standard Theatre Award winner Felicity Kendal (The Good Life) as Evangeline Harcourt and beloved West End Legend Gary Wilmot (Chicago) as Elisha Whitney. A heart-warming romance with spectacular dance routines and some of theatre’s most memorable songs, ANYTHING GOES is ‘a joyously shipshape revival’ (★★★★★ The Observer).

ANYTHING GOES opened this summer at the Barbican with audiences on their feet night after night giving this multi-Tony Award winning show multiple standing ovations at every performance. Featuring a 50 strong cast and ensemble of the finest there is to offer on the London stage, including tap dancing sailors and a full-sized live orchestra, this critically acclaimed production ‘immediately joins the pantheon of great classic musical revivals’ (Daily Telegraph).

ANYTHING GOES has music and lyrics by Cole Porter, an original book by P.G. Wodehouse & Guy Bolton with Howard Lindsay & Russel Crouse and a new book by Timothy Crouse and John Weidman. The filmed production also stars Samuel Edwards (Les Misérables / Wicked) as Billy Crocker, Nicole-Lily Baisden (The Book of Mormon / Let’s Face The Music) as Hope Harcourt, Haydn Oakley (A Christmas Carol / An American in Paris) as Lord Evelyn Oakleigh and Carly Mercedes Dyer (West Side Story / Chicago) as Erma.

Mayflower Theatre, Southampton – until 4 December 2021

Reviewed by Joanna Huggett

5*****

My 12-year-old daughter Faye and I went to see the show, and we both found it utterly spellbinding. We thought the set was simple, but affective, and we particularly loved the moving trees and the sun. The costumes were also quite simple but affective, and we loved the use of colour. Particularly the mustard costumes for the solar kingdom’s army. We found the sword fighting with sticks particularly clever, and we loved the magical element brought across by merlin. The glowing tree and the lights carried by the dancers were particularly effective.

The music was lovely. Perfectly pitched so as not to take away from the dancing performances, but effortless and truly magical in parts. We found the lighting and the ambience of the theatre very comfortable.

In terms of performances, we felt that Morgan, played by Antoinette Brooks-Daw, and Merlin, played by Kevin Poeung, really stole the show. Excellent both technically and in terms of musicality and emotional performance. We also enjoyed the performances by Ygraine, played by Rachael Gillespie, and the Blacksmith, played by Minju Kang, and we loved the dragon puppet, played by Ashley Dixon.

The story line was relatively complicated, but we felt it was portrayed effectively by the dancers, and the acting was excellent. Overall, we absolutely loved the show. Having attended several ballet performances over the years at various theatres and by various companies, I found this to be the most interesting and original by far, and at no point did I feel bored or restless. I felt genuinely disappointed when it had finished. I will be sure to attend another production by the Northern Ballet if I ever get the chance.

GINA GEORGIO AND JAMES BEENY

OF

TOY SOLDIER PRODUCTIONS

ANNOUNCE

LADY M

A BRAND-NEW MUSICAL

INSPIRED BY SHAKESPEARE’S ‘MACBETH’

WITH A WORKSHOP FEATURING

GEORGE BLAGDEN, KERRY ELLIS, ROBERT HANDS,

JAMIE MUSCATO, MAIYA QUANSAH-BREED

AND KARL QUEENSBOROUGH

Musical theatre writing duo Gina Georgio and James Beeny of Toy Soldier Productions are thrilled to announce their latest project, LADY M. This brand-new musical inspired by William Shakespeare’s ‘Macbeth’ begins workshops on Wednesday 8 December, and a first look at the opening number of the show, “Mother Scotland” is revealed today. The video is available to view here: https://www.youtube.com/watch?v=VGpmduuGZqg

LADY M is a musical reimagining of ‘Macbeth’, telling the untold story of Lady Macbeth, whose haunted past lies at the heart of this infamous tale of murder, power and destruction.   The sung-through musical features a modern score, blending musical theatre with a contemporary sound and elements of rap, with original music and lyrics by Georgio and Beeny.

LADY M is currently in development and is undergoing a workshop with director Jean-Pierre Van Der Spuy (Oliver!, Porgy and Bess, Co-Director – Les Misérables: The Staged Concert at the Gielgud Theatre and Sondheim Theatre, Associate Director – Les Misérables UK Tour 2018, Miss Saigon UK Tour, Half A Sixpence). The workshop’s cast will include George Blagden (Vikings, Versailles, Company, Les Misérables 2012 film), Kerry Ellis (We Will Rock You, Miss Saigon, Wicked, Oliver!), Robert Hands (Doctor Who, Come From Away), Jamie Muscato (Les Misérables, Heathers, Big Fish), Maiya Quansah-Breed (Six, Rent) and Karl Queensborough (Hamilton, White Teeth). The workshop company is completed by Devon Elise-Johnson, Maria Graciano, Tom Hier, Sam O’Rourke, Claire Parrish and Paul Wilkins. The workshop of Lady M will conclude with a showing of the work on 22 December at the Royal Academy of Dramatic Art.

Released today, the music video for the opening number of the show, “Mother Scotland” was recorded during lockdown and performed by some of the most iconic voices of the West End including George Blagden (Vikings, Versailles, Company, Les Misérables 2012 film), Earl Carpenter (‘The Phantom’ in The Phantom of the Opera, ‘Javert’ in Les Misérables), Bradley Jaden (‘Javert’ in Les Misérables, ‘Fiyero’ in Wicked), and Karl Queensborough (‘Alexander Hamilton’ in Hamilton).

Toy Soldier Productions is a British production company, founded in 2020 by musical theatre partnership Gina Georgio and James Beeny to develop and produce new, original work. With a background in the music industry, guitarist James and pianist Gina made their theatre debut with new British musical ‘The Dreamers’. In 2018 the production underwent a two-week workshop at the Victoria Palace Theatre, followed by four fully staged workshop performances at the internationally famous Abbey Road Studios. 

www.toysoldierproductions.com

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