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York Theatre Royal – until Saturday 9 October 2021

Reviewed by Michelle Richardson

3***

Presented by Tilted Wig, The Legend of Sleepy Hollow is a short story by Washington Irving. This brand-new adaptation is currently playing at York Theatre Royal and promises to unleash one of the most terrifying monsters from the horror canon – the Headless Horseman. The question is, did it deliver?

As we enter the theatre there is an eerie mist emanating from the stage, a scarecrow, complete with a pumpkin head, right in the centre and straw bales to the sides. As the action commences the pumpkin head swivels round and we see his evil glowing face. It all seems so promising.

The story is set in the late 18th century in Sleepy Hollow. It centres on Baltus Van Tassel (Bill Ward) and his daughter Katrina (Rose Quentin). A newcomer Ichabod Crane (Sam Jackson) competes for the hand of Katrina with Brom ‘Bones’ Van Brunt (Lewis Cope), whilst being taken under the wing of widow Mariette Papenfuss (Wendi Peters). With ghostly tales of folklore and legend, not is all as it seems and disturbing events start happening.

All the cast play are playing multiple roles, and the action can be quite physical. I was impressed with Peter’s ascents and descents of the ladder. At times there would be spontaneous dancing and chanting within a scene. Though this was uplifting I am unsure of its purpose.

The use of stage and props worked well, with carts being rolled on and off the stage, sliding doors, ladders up to rooms. The use of smoke and lighting were very atmospheric, creating an eerie ambience. There was also a bit of shadow puppetry, where Tommy Sim’aan depicts, what I believe to be, the devil. This was effective, but from where I was sitting, as well as seeing the shadow you could also get glimpses of the actor as well. We had flying rats, which created both a shudder and a laugh, but the icing on the cake was the headless horseman, complete with horse. When it appeared on stage it was huge and packed a punch, the highlight of the whole show.

I did find the story telling very confusing and at times I had no idea what was happening, it was all very mish mash, jumping back and forwards in time. Unfortunately, I also had issues with the speech accents, and could not always comprehend what was being said. As for being scary, and putting us on the edge of our seats, apart from a couple of little jumps, it is lacking bit of edge. Though it did have its moments it did not deliver for me, I would like more from a horror story.

Kings Theatre, Edinburgh – Until Saturday 9 October 2021

Reviewed by Ellen Searle

4****

Looking Good Dead is looking good live!

That this is the fifth of Peter James’ popular Roy Grace detective series to be adapted to the stage tells its own tale. We Brits love a good detective yarn, and Shaun McKenna’s adaptation from the novel, directed by Jonathan O’Boyle, gives us just that, with bells on.

The main setting is modern Brighton in the home of the Bryce family, where heavily in debt business owner Tom (Adam Woodyatt) bickers with his wife Kellie (Gaynor Faye) to the wearied frustration of their teenage son, Max (Luke Ward-Wilkinson). When Tom asks the tech savvy Max to open up a memory stick left behind on a train, to find out who it belongs to and return it to the owner, he unleashes a series of events which are the stuff of nightmares. Or, for the discerning theatre goer with a penchant for the sinister and unexpected, the stuff of dreams ~ kidnap, murder, and much more.

Clever staging allows the audience to watch events unfold seamlessly in three locations: above and behind the swish designer living room of the Bryces, the literal scene of the crime lights up to reveal the murky events that threaten to destroy the family; while the police control room glides in from stage right so the audience can follow the investigation of the crime from the perspectives of detective Roy Grace (Harry Long) and his team sergeant Glen Branson (Leon Stewart), and constable Bella Moy (Gemma Stroyan).

Seeing familiar faces from TV in theatre roles can be distracting, but not so here. Adam Woodyatt, one of Eastenders’ longest standing characters in the shape of Ian Beale, and Gaynor Faye, known to many from Emmerdale, Coronation Street and The Syndicate, are thoroughly convincing as the long married couple who have experienced stresses and strains through the years, but who have weathered the storms. Gemma Stroyan’s performance is equally strong, as she ranges from the family liaison officer dishing out sympathy, sandwiches and practical advice, to jumping into adrenaline fuelled action to defend her charges from danger.

Despite the dysfunction in the Bryce household

~ Kellie is a secret alcoholic, Max wears noise cancelling headphones to block out his parents’ arguing ~ there is a convincing family dynamic and relatability of the characters which makes you care about what happens to them. This is a pacey romp of a thriller, with twists, turns and edge of the seat moments to keep you gripped and entertained from its spine chilling opening scene, to its thrilling denouement two and a half hours later.

Like the best crime dramas, when the twists come, they are at once thoroughly unexpected and completely natural – you wonder why you didn’t see them coming, as only once revealed do you see how the evidence had been laid before you piece by piece. The delight of this is amplified by the audible gasps of fellow theatre goers. You don’t get that on Netflix!

MICHAEL GRANDAGE RETURNS TO THE CRUCIBLE WITH NEW PRODUCTION THE LEMON TABLE

Sheffield Theatres’ former Artistic Director Michael Grandage returns to the Crucible to direct the world première of Julian Barnes’ The Lemon Table, presented by Wiltshire Creative, Malvern Theatres, Sheffield Theatres and HOME in association with MGC and starring Ian McDiarmid.

In The Lemon Table, Julian Barnes brings his unsentimental, wryly comic, perspective to the complicated business of ageing, with its attendant, and often bizarrely, fluctuating emotions.

Olivier and Tony Award-winning Ian McDiarmid and MGC’s Artistic Director Michael Grandage have collaborated to bring The Lemon Table to the stage for the first time. In McDiarmid ’s own adaptation for performance, we encounter a spectrum of bitter-sweet pleasures, wild eccentricity and dark secrets.

The Lemon Table comes to the Crucible Theatre from Tuesday 26 – Saturday 30 October 2021.Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.

Sheffield Theatres continues to follow the industry-wide safety protocols and government guidance for indoor entertainment. All the latest information is available at sheffieldtheatres.co.uk/your-visit.

NATIONAL THEATRE AND SIR PETER SHAFFER CHARITABLE FOUNDATION ANNOUNCE PARTNERSHIP SUPPORTING PLAYWRIGHTS THROUGH NEW COMMISSIONS

The National Theatre has partnered with the Sir Peter Shaffer Charitable Foundation in committing to supporting playwrights with an initial two-year collaboration. Celebrating the life and career of Sir Peter Shaffer, this partnership will continue his desire to support playwrights as they create larger scale plays.

Awarding a total of 14 commissions over the next two years for playwrights from across the UK, the National Theatre’s New Work Department will work closely with companies and theatres beyond the capital to identify future talent. Of the seven commissions each year, two will be given for plays being developed by the National Theatre and five will be an open call to theatres and companies from across the UK, working in partnership with the National Theatre. All commissions will be for plays with more than three characters. Details of how to apply for commission support will be available from spring 2022.

Peter Shaffer had a long and creative association with the National Theatre. His play The Royal Hunt of the Sun, performed at the Old Vic in 1964, was the first premiere of a new play ever produced by the National Theatre. Other celebrated works performed at the National Theatre include Equus and Amadeus, both of which were made into films, the latter winning 8 Oscars in 1985. Amadeus was last performed on the Olivier stage in 2018, in a revival of Michael Longhurst’s critically acclaimed 2016 production. Adam Gillen and Lucian Msamati performed the roles of Mozart and Salieri.

Speaking about Peter Shaffer, actor Lucian Msamati said: “Sir Peter tinkered for years with the confrontation scene between Mozart and Salieri in Amadeus long after the play’s acclaim on stage and screen. This obsessive, gleeful, rigorous love and dedication to his craft is mind-blowing and inspirational to me.  I can think of no greater way to honour this master storyteller than by nurturing and supporting that same spirit and endeavour in generations of great storytellers to come.”

Rufus Norris, Director and Joint Chief Executive of the National Theatre, says: “Theatre-makers create stories we never forget. We’re thrilled to be working in partnership with the Sir Peter Shaffer Charitable Foundation. Peter was one of the great writers of his generation and the National Theatre was enormously lucky to have such a fruitful and creative relationship with him. In nurturing talent from across the UK, this partnership will continue Sir Peter’s legacy, inspiring and supporting emerging talent. Together we can empower artists and craftspeople to make world leading work.”

The New Work Department is the engine room of the National Theatre. It feeds the NT’s stages with new plays, adaptions and musical theatre while providing a developmental resource for a wide range of artists working throughout British theatre at various stages of their careers. In the Studio building, writers, actors and practitioners of all kinds can explore, test-out and devise new work in a supportive environment and experiment with form, prepare for production and workshop material. We host a year-round writer in residence, offer five rooms to writers on attachment, and host the NT Director’s Course, the Immersive Storytelling Studio, the Archive and facilities for learning and development.

TONY AND OLIVIER AWARD NOMINEE

RAMIN KARIMLOO

FIVE-TIME EMMY AWARD WINNER

JANE LYNCH

WILL JOIN

BEANIE FELDSTEIN

IN THE FIRST BROADWAY REVIVAL OF

FUNNY GIRL

WITH

JEFF AWARD WINNER

JARED GRIMES

A NEW PRODUCTION DIRECTED BY TONY AWARD WINNER

MICHAEL MAYER

Choreography by Ellenore Scott

Tap Choreography by Ayodele Casel

Scenic Design by Tony Award Winner David Zinn

Music by Tony, Grammy & Academy Award Winner Jule Styne

Lyrics by Tony Award Nominee & Grammy Award Winner Bob Merrill

Book by Tony Award Nominee Isobel Lennart

Revised Book by Tony Award Winner Harvey Fierstein

Performances Begin Saturday, March 26, 2022

Officially Opens Sunday, April 24, 2022

At Broadway’s August Wilson Theatre

Exclusive Fan Pre-Sale Begins Now

Tickets On Sale Friday, October 8, 2021 at 10AM ET

“TO SAY THIS IS HIGHLY ANTICIPATED IS AN UNDERSTATEMENT!” – NY Times

(New York, NY) Sonia Friedman, Scott Landis and David Babani are proud to announce that Golden Globe Award nominee Beanie Feldstein (“American Crime Story: Impeachment;” Hello, Dolly!)will be joined by Tony and Olivier Award nominee Ramin Karimloo (Les Misérables, Anastasia) as ‘Nick Arnstein,’ five-time Emmy Award winner Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”)as ‘Mrs. Rosie Brice’ and Jeff Award winner Jared Grimes (A Soldier’s Play, After Midnight) as ‘Eddie Ryan’in the first Broadway revival of FUNNY GIRL. Back on Broadway for the first time in 58 years, the new productiondirected by Tony Award winner Michael Mayer (Hedwig and the Angry Inch, Spring Awakening) begins performances Saturday, March 26, 2022, and officially opens on Sunday, April 24, 2022 at Broadway’s August Wilson Theatre (245 West 52^nd Street).

Jane Lynch said, “I grew up to the Broadway cast album of Funny Girl. My mother and I knew every breath of that record and would sing it together at the top of our lungs.  I am thrilled beyond words to be playing Fanny’s mother on Broadway. And somewhere in Heaven my Mom is asking, ‘Who taught her everything she knows?’”

Ramin Karimloo said, “I’m very excited to be joining Funny Girl’sreturn to Broadway. I’ve been waiting 2 years to sink my teeth into Nicky Arnstein and get into the room with Michael Mayer, the creative team and cast, led by the exceptional Beanie Feldstein. Cannot wait.” 

Jared Grimes said, “It will be a dream to share the stage every night with this cast and creative team whom I’ve loved from afar for such a long time! I can’t wait to spread love and joy in a live setting again. I’m still on cloud nine knowing that I’ll actually be in one of the most iconic musicals of all time.  I’m beaming from ear to ear knowing that people will know me as Eddie Ryan!”

An exclusive fan presale begins today at 9AM ET through tomorrow, Thursday, October 7. To join the fan presale for first access to tickets, sign up for the FUNNY GIRL email list by visiting www.FunnyGirlOnBroadway.com. Those who subscribe before the public on-sale on Friday, October 8 will also be entered to win a pair of tickets to opening night.

Beginning Friday, October 8 at 10AM ET,tickets will go on sale to the general public at https://seatgeek.com/funny-girl-tickets. Tickets for FUNNY GIRL start from $39.00.

With choreography by Ellenore Scott (Head Over Heels, “So You Think You Can Dance”), tap choreography by Ayodele Casel (New York Times’ “Biggest Breakout Stars of 2019”), a revised book by Tony Award winner Harvey Fierstein (Kinky Boots, La Cage Aux Folles) and scenic design by Tony Award winner David Zinn (Fun Home), FUNNY GIRL features music by Tony, Grammy and Academy Award winner Jule Styne, lyrics by Tony Award nominee and Grammy Award winner Bob Merrill and a book by Isobel Lennart, from an original story by Miss Lennart.

Additional casting and the complete creative team will be announced shortly.

This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.

Featuring some of the most iconic songs in theatre history including “Don’t Rain On My Parade,” “I’m the Greatest Star,” and “People,” Michael Mayer’s bold new production marks the first time FUNNY GIRL will return to Broadway since its debut 58 years ago. The original production of FUNNY GIRL premiered on Broadway in 1964 starring Barbra Streisand as ‘Fanny Brice’ and was nominated for eight Tony Awards including Best Musical.

Follow FUNNY GIRL on Facebook, Twitter & Instagram @FunnyGirlBway.

Malvern Theatre – until 9 October 2021

Reviewed by Kathie Hodges

5*****

It’s wonderful to be to back to live theatre, and you sensed that joy the actors felt just be up on stage performing the moment they stepped out. The Hound of the Baskervilles was an absolute delight.

The comedic remake of Sir Arthur Conan Doyle’s renowned Sherlock Holmes mystery adapted for the stage by Steve Canny and John Nicholson, detailing the legend of the crazed hound rumoured to have haunted the Baskerville family for generations.

After the sudden death of Sir Charles Baskerville, under quite peculiar circumstances, Dr James Mortimer is compelled to seek out Sherlock Holmes and solve the mystery of the creepy moors.

Cleverly the huge array of characters are bought to life by only three super talented actors.
Jake Ferretti plays the part of Sherlock Holmes as well as a whole host of other characters that will have you in stitches.

Doctor Watson, Sherlock’s famous sidekick played by Niall Ransome gives a wonderful performance as the most lovable fool, whose loyalty to Sherlock is immeasurable, and Serena Manteghi who plays Sir Henry and a huge array of many others characters including Sir Charles, Dr Mortimer, and three yokels. The actors keep you on your toes throughout, I couldn’t look away for fearing of missing a trick, and there were a few surprises including a reenactment of the first half, in the second half, following a supposed ‘bad review’ on Twitter by an audience member, during the break.

This adaptation is executed beautifully and playful throughout. A real treat.

Royal & Derngate Theatre, Northampton – until Saturday 9 October 2021

Reviewed by Boo Wakefield

4****

Chicago the Musical started its 10 month tour of the UK with all the sexiness, sassiness and razzle dazzle you would expect. Based on a play written by Maurine Dallas Watkins, Fred Ebb and Bob Fosse’s book brought Chicago to the stage in 1975. 46 years later, today’s Chicago does not disappoint.

Set in the decadent times of the late 1920s, it follows the downfall and reinvention of Roxie Hart, a nightclub dancer, who is accused of murdering her lover when he threatens to leave her. She manages to hoodwink her husband, the media and even her cellmate, Velma Kelly in her desperation to escape jail by hiring celebrity lawyer Billy Flynn. Roxie persuades her husband Amos to take the fall for her until he realises that the victim is in fact her lover. Even then, Amos agrees to pay for the lawyer but when Flynn agrees to take the case, Amos admits he has no money to pay his fee. Flynn then sets out to exploit Roxie in order to have his fee paid, at the cost of Velma’s defence.

From the start the ensemble were the glue to the show – slick, sharp, energetic but stylish, and oozing sex appeal, they delivered the choreography immaculately. A special mention must also go to Andrew Hilton and his 10-man orchestra, seated at the back of the stage, who provided perfect music throughout but also added wonderful pieces of comedy too. The Entr’acte was particularly entertaining with the band dancing as they played – I was surprised the audience didn’t join in as it was so infectious!

Faye Brookes gives a good performance as Roxie executing her numbers with perfect timing and convincing us of how self-absorbed and scheming her character is. Her duet with Darren Day (Billy Flynn) in “We Both Reached For The Gun” was particularly entertaining as she played the ventriloquist dummy to Flynn – a good analogy between Flynn manipulating Roxie as her lawyer. Joel Montague’s Amos was a particularly heart-wrenching performance, making you feel both sad and sorry for him. His performance of “Mister Cellophane” was very poignant and definitely a crowd-pleaser. However, Sinitta Malone playing Matron “Mama” Morton didn’t quite sit so well. In the part of Mama, you would expect a large character with a large presence on stage (Malone is of slight stature with a quiet voice) and although Malone has a lovely singing voice, it wasn’t as effective at projecting Mama’s character as it could have been.

Michelle Andrews (who stood in as the understudy as Velma) was the star of this production. From her first number “All That Jazz”, right through to the end, her performance was flawless with excellent comic timing and superb dancing. The energy she provided lifted the entire show.

Chicago provides all of the toe-tapping numbers you would expect and with the energy and delight it exhumes, it is a must to go and see!

Mayflower, Southampton – until 9 October 2021

Reviewed by Alexandra Browning

5*****

Priscilla Queen of the Desert is a showstopper that is guaranteed to have you laughing and dancing in your seat.

Upon the curtains opening you are immediately whisked away to the land of down under and the start of a truly wonderful tale. Immediately the show starts with a wonderful tune, you are immediately in the zone having a boogie, then you are transported to an Australian drag bar where you are welcomed to the show by none other than the queen Miss Understanding played by Kevin Yates. Yates warms up the crowd in the most wonderful of ways making you feel like you went to her show, when in fact the show is only just beginning.

You’ll be immediately lost in the incredible soundtrack that features all of your feel-good classics and is knocked out of the park by the supporting cast and ensemble’s incredible harmonies. A personal favourite of mine was the incredible rendition of The Pet Shop Boys Go West the stage version included magnificent multiple-part harmonies and a very exciting dance number. Although the whole cast had wonderful voices the efforts of the three divas provided wonderful vocals to all the top hits through the performance.

Personally, the standout performance of the show was Felicia/ Adam played by Nick Hayes As the role was encapsulated by himself. Hayes made the jokes seem lighthearted and fun but allowed an insight into the more serious elements of the production. Hayes brought the stage to life and ensured all eyes were on him, or should I say her.

Priscilla Queen of the Desert is a must-see showstopper guaranteed to have you dancing in your seat.

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

OVER 200,000 NEW TICKETS RELEASED PLUS

REFUGE GALA PERFORMANCE

The West End hit production of TINA – THE TINA TURNER MUSICAL today announces over 200,000 new tickets for sale which will be released later this week taking booking at the Aldwych Theatre to 18 December 2022.

In addition, the production is delighted to have paired up with REFUGE national domestic abuse charity to celebrate their 50^th anniversary since opening the world’s first refuge.   A special performance of TINA – THE TINA TURNER MUSICAL will take place this Sunday, 10 October 2021.

With a cast led by Aisha Jawando and Jammy Kasongo as Tina and Ike, Chanel Haynes who plays the role of Tina at some performances each week and is active supporter of REFUGE and will join the pre-show reception.

For the month of October, when you book through the website for Tina – The Tina Turner Musical patrons will have the opportunity to add a £3 donation per booking for Refuge.

Chanel Haynes said: “When I got the call that I had been chosen to play Tina in our musical. I was going to live my dream. But there was one thing I didn’t prepare for – how to properly channel the physically-abusive aspect of her life. I asked a dear friend of mine who survived her abusive past to reveal to me and pour into me her pain. After hearing her story, I vowed, I would use this opportunity to shine light on those that need it most. That’s when I found Refuge. Refuge is a lighthouse, and I want to be one of God’s daughters that fuels it’s flame.”

Tali Pelman, Producer of Tina – The Tina Turner Musical, said: “We are delighted to be teaming up with Refuge in their 50^th anniversary year and we hope our charity performance will help to highlight and amplify their hugely important work.  Tina Turner has led an extraordinary life and we hope our show serves as a legacy of her inspirational message and her triumph over adversity. We are looking forward to a very special afternoon.”

Ruth Davison Refuge CEO said: ‘Tina Turner epitomises the thousands of women Refuge supports every day – women who are resilient and, like Tina, are survivors of domestic abuse. With one in four women across the country experiencing domestic abuse at some time in their lives, this is an issue that should concern us all.

Refuge is delighted that the Tina Turner Musical team is raising awareness and funds for our vital life-saving and life-changing work at this wonderful West End gala event.  50 years ago, Refuge opened the world’s first refuge – yet still domestic abuse remains rife across the country today.  

Refuge wants women to know that if they are experiencing domestic abuse they are not alone and that we are here to support them. Thank you to the cast and the production team for supporting our work – together we are shining a light on domestic abuse and ensuring women across the country know how they can access support.’

TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and produced in association with Tina Turner herself is currently booking to 26 June 2022.  The critically acclaimed production received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre. 

This new musical reveals a comeback story like no other, of a woman who dared to defy the bounds of racism, sexism and ageism to become the global Queen of Rock n’ Roll. TINA – THE TINA TURNER MUSICAL is a celebration of resilience and an inspiration of triumph over adversity.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet, sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp. 

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.

FULL CAST ANNOUNCED FOR

ZADIE SMITH’S DEBUT PLAY THE WIFE OF WILLESDEN

TICKETS NOW ON SALE – over 3,000 tickets at just £15

With NW Trilogy by Moira Buffini, Suhayla El-Bushra and Roy Williams currently playing its final week, Kiln Theatre Artistic Director Indhu Rubasingham announces the full company for Zadie Smith’s The Wife of Willesden – joining the previously announced Clare Perkins in the title role are

Marcus Adolphy (Winston/Mandela/Black Jesus), Jessica Clark (Polly/Sophie), Crystal Condie (Author/Zaire/Queen Nanny), George Eggay (Pastor/Eldridge), Andrew Frame (Ian/Socrates/Bartosz), Scott Miller (Ryan), Hussina Raja (Asma), Theo Solomon (Darren/Young Maroon/Colin) and Ellen Thomas (Aunty P/Old Wife). The production, presented by Kiln Theatre in association with Brent 2020, London Borough of Culture, opens on 17 November, with previews from 11 November, and running until 24 December.

The Kiln Theatre auditorium will be transformed into the infamous Sir Colin Campbell pub, complete with some pub tables in the stalls and over 3,000 tickets available at only £15.

Indhu Rubasingham said today, ‘We have assembled an incredible cast of ten players to tell Zadie’s play The Wife of Willesden. We hope that this production will be a unique experience – the combination of Zadie’s words, this cast, plus our transformation of the Kiln auditorium into the Sir Colin Campbell pub – this promises to be a truly special evening. I can’t wait to finally be able to share this world premiere with you all.’

WORLD PREMIÈRE

Kiln Theatre presents

in association with Brent2020, London Borough of Culture

THE WIFE OF WILLESDEN

Adapted by Zadie Smith

From Chaucer’s THE WIFE OF BATH

11 November – 24 December 2021

Cast: Marcus Adolphy (Winston/Mandela/Black Jesus), Jessica Clark (Polly/Sophie), Crystal Condie (Author/Zaire/Queen Nanny), George Eggay (Pastor/Eldridge), Andrew Frame (Ian/Socrates/Bartosz), Scott Miller (Ryan), Clare Perkins (Alvita – The Wife of Willesden), Hussina Raja (Asma), Theo Solomon (Darren/Young Maroon/Colin) and Ellen Thomas (Aunty P/Old Wife)

Directed by Indhu Rubasingham; Designed by Robert Jones; Lighting Design by Guy Hoare;Composition and Sound Design by Ben and Max Ringham;Associate Costume Designby Kinnetia Isidore; Casting by Julia Horan CDG; Movement Direction by Celise Hicks; Fight Direction by Kev McCurdy; Dialect and Voice Coach Hazel Holder; Associate Director Hannah Hauer-King.

A proper local legend. Married five times. Mother. Lover. Aunt. Friend. Alvita will tell her life story to anyone in the pub – there’s no shame in her game. The question is: are you ready to hear it? Because this woman’s got the gift of the gab: she can rewrite mistakes into triumphs, turn pain into parables, and her love life’s an epic poem. They call her The Wife of Willesden…

A play that celebrates the human knack for telling elaborate tales, especially about our own lives.

Critically acclaimed, multi-award winning, best-selling author Zadie Smith makes her playwriting debut, transporting Chaucer’s The Wife of Bath to 21st Century North West London.

Director Indhu Rubasingham invites you to take your seat at the bar, order a pint or two, and listen to this bawdy, beautiful new comedy up close, and very, very personal.

Presented by Kiln Theatre in association with Brent 2020, London Borough of Culture.

This production is supported by Dasha Epstein, Jon and NoraLee Sedmak and The Wife of Willesden Circle.

Marcus Adolphy plays Winston/Mandela/Black Jesus. His recent theatre credits include Signal Fires (Eastern Angles, HighTide), One Man Two Guvnors, (New Wolsey Theatre), War Horse The Suicide, The Comedy of Errors (National Theatre) The Convert (Gate Theatre), Macbeth (Atrix Bromsgrove), Backseat Drivers (The London Theatre), Keeler (Charing Cross Theatre), Macbeth (The Last Refuge Theatre), The Chicago Cowboy (Rosemary Branch Theatre), Twelfth Night (The Nursery Theatre), Keeping Mum, 1867 and A Christmas Carol  (The Brockley Jack Theatre) and The Children of Salt (Alma Theatre Bristol). Television credits includes Essex, Scott and Bailey, Father Figure and Dream Demons.

Jessica Clark plays Polly/Sophie. Her theatre credits include Passengers (Red Lecture Theatre); The Funeral Director (Southwark Playhouse), Rotterdam (Trafalgar Studios/Theatre503), The Here and This and Now (Theatre Royal Plymouth), Skin a Cat (Bunker Theatre/Vault Festival), Romeo and Juliet, The Merry Wives of Windsor, The Wind in the Willows, The Secret Garden, Macbeth and The Comedy of Errors (Grosvenor Park Open Air Theatre), My Dear I Wanted to Tell You (Soho Theatre), The School for Scandal (Park Theatre), Love’s Comedy, The Burglar Who Failed and Return to Sender (Orange Tree Theatre), Be My Baby (Derby Theatre), Wild Horses (Theatre503) and Respect (Birmingham Rep).Television credits include Death in Paradise, All Creatures Great and Small, Versailles, Call the Midwife, Silent Witness, Broadside and In Search of the Bröntes.

Crystal Condie plays Author/Zaire/Queen Nanny. Her theatre credits include The Windsors Endgame (Prince of Wales Theatre), All of Us, The Curious Incident of the Dog in the Night-Time (National Theatre), Hamlet, Be My Baby (Leeds Playhouse), A Christmas Carol (Bristol Old Vic),  Twelfth Night (Filter Theatre), Robin Hood & Marian (New Vic Theatre), Octagon, Black Crows (Arcola Theatre), Rumpelstiltskin (Theatre Royal Bath), Larksong, The Gift, Unearthed (New Vic Theatre). Her work for television includes Casualty and Doctors.

George Eggay plays Pastor/Eldridge. His theatre work includes The Last King of Scotland (Sheffield Theatres), The Firm (Hampstead Theatre), Ear for Eye (Royal Court Theatre), King Lear (The Old Vic), The Tiger’s Bones (New Perspectives), Arabian Nights (New Vic Theatre), Dishoodbe on TV (Hackney Empire), Papa Mas (Told By an Idiot), Frozen, A Streetcar Named Desire, The Power Book (National Theatre), The Ramayana (Birmingham Rep and National Theatre). For television, his work includes Finding Alice, Black Earth Rising, Sarajevo, Spooks, Soldier Soldier, Pie in the Sky and Between the Lines; and for film, All You Need is Kill and The Final Passage.

Andrew Frame plays Ian/Socrates/Bartosz. For theatre his work includes Macbeth, Market Boy, The Royal Hunt of The Sun, This House (National Theatre), Mumburger (Old Red Lion), 12 Angry Men (Garrick Theatre), Responsible Other (Hampstead Theatre), 66 Books (Bush Theatre), Wittenberg (Gate Theatre), The English Game, Rough Crossings (Headlong) and Festen (Lyric Theatre). His television work includes White House Farm, Save Me, Class, DCI Banks, Inspector George Gently, Silk, Trial and Retribution, and Wire in The Blood; and for film, London Road and Broken.

Scott Miller plays Ryan. His theatre credits include War Horse (National Theatre), Dragon (National Theatre of Scotland/Vox Motus) and Don Quixote (Òran Mór). His film credits include Balance Not Symmetry and The Road Dance.

Clare Perkins plays Alvita, The Wife of Willesden and will soon be seen in Amazon series The Offenders and fantasy series The Wheel of Time. She was recently in Netflix series Young Wallanderas well as a guest role on popular series The Crown and Flack. She recently starred in a leading role in Emilia, which played at the Vaudeville Theatre. She has multiple theatre credits under her belt at some of the most prestigious theatres ranging from Welcome to Thebes at the Royal National Theatre, Little Revolution at the Almeida, The Convert for the Gate Theatre, Mules with the Royal Court and Genesis Inc at the Hampstead Theatre. She is well known for playing series regular, Ava Hartman in BBC’s EastEnders. Other television credits include BBC’s Death in Paradise, Damned for Channel 4, Netflix’s Been So Long. In film, she can be seen in Ken Loach’s Ladybird, Secrets and Lies directed by Mike Leigh and Saul Dibb’s Bullet Boy. She’s also in Censor which has just been released in cinemas. She has been a member of BBC Radio Drama Company and played Mel in Westway which ran for 8 years on the BBC World Service.

Hussina Raja plays Asma. Theatre credits include Last King of Scotland (Sheffield Crucible), The Effect (TOR Theatre), Great Britain (Hackney Showrooms), Spooky Action at a Distance (Gate Theatre), Tomorrow (Arts Theatre). Television credits includeBack to Life, Informer, A Discovery of Witches, Murdered for Love, The Level, The Watchman. Film credits include The Long Goodbye, A Moving Image, The Survivalist. Radio credits include French like Faïza (BBC Radio 3); Bernice Summerfield: The Angel of History, CICERO (Big Finnish Productions).

Theo Solomon plays Darren/Young Maroon/Colin. His theatre work includes Suzy Stock (Gate Theatre), Woyzeck (The Old Vic), Traitor (Pilot Theatre), Hamlet (Black Live Theatre – UK tour), Karagula (Soho Theatre), My Father Odysseus and The Minotaur (Unicorn Theatre). For television, his work includes Temple and Enterprice; and for film, Surviving Christmas.

Ellen Thomas returns to Kiln Theatre to play Aunty P/Old Wife – she previously appeared in The Amen Corner (also Nottingham Playhouse). Her other theatre work includes Hoard (Arcola Theatre), Egusi Soup (Menagerie Theatre), Tiata Delights, Moon on a Rainbow Shawl (Almeida Theatre), Statement of Regret, The American Clock, Fuente Ovejuna (National Theatre), The Estate (Soho Theatre), Twelfth Night (Royal Exchange Theatre), A Bitter Herb (Bristol Old Vic), Criminals in Love (Contact Theatre), Leonora’s Dance (Black Theatre Co-operative), Echo the Bone (Lyric Hammersmith) and Twelfth Night (Birmingham Rep). Her extensive television work includes In the Long Run, Dark Money, Queen and I, Mount Pleasant, Critical, Humans, Doctor Who, as well as regular roles in Teachers, Clare in the Community, Coming of Age, Rev, EastEnders, Lenny Henry in Pieces, Cardiac Arrest, London Bridge, Holding On and Come Fly With Me; and for film, Golden Years, The Love Punch, It’s a Lot, Ashes, Ryan and Ronnie, Risk Addiction, Clubbed, Breaking and Entering, Wonderland, South West Nine and Johnny English Reborn.

Zadie Smith is the author of the novels White Teeth, The Autograph Man, On Beauty, NW, and Swing Time, as well as three collections of essays, Intimations, Changing My Mind and Feel Free and the collection of short stories, Grand Union. Her novels have won multiple literary awards and been translated into many languages. White Teeth was adapted for the stage at the Kiln Theatre in 2018. She is a professor of fiction at New York University and writes regularly for the New Yorker and the New York Review of Books. Zadie Smith divides her time between New York and London.

Indhu Rubasingham is Artistic Director of Kiln Theatre. Her work for the company includes The Invisible Hand, Pass Over, When the Crows Visit, Wife, White Teeth, Holy Sh!t, Red Velvet (which transferred to New York and later to the Garrick Theatre as part of the Kenneth Branagh Season) and Handbagged (winner of Outstanding Achievement in an Affiliate Theatre – also West End, UK tour, Washington DC and New York). Other productions for Kiln Theatre include A Wolf in Snakeskin Shoes, Multitudes, The House That Will Not Stand, Paper Dolls, Women, Power and Politics, Stones in His Pockets, Detaining Justice, The Great Game: Afghanistan, Fabulation and Starstruck. Other theatre credits include The Great Wave, Ugly Lies the Bone, The Motherf**cker with the Hat (Evening Standard Award for Best Play), The Waiting Room (all National Theatre), The Ramayana (National Theatre/ Birmingham Rep), Belong, Disconnect, Free Outgoing, Lift Off, Clubland, The Crutch and Sugar Mummies (Royal Court Theatre), Ruined (Almeida Theatre), Yellowman and Anna in the Tropics (Hampstead Theatre), Secret Rapture and The Misanthrope (Minerva, Chichester Festival Theatre), Romeo and Juliet (Chichester Festival Theatre), Pure Gold (Soho Theatre), The No Boys Cricket Club and Party Girls (Theatre Royal Stratford East), Wuthering Heights (Birmingham REP), Heartbreak House (Watford Palace Theatre), Sugar Dollies and Shakuntala (Gate Theatre), A River Sutra (Three Mill Island Studios), Rhinoceros (UC Davis, California) and A Doll’s House (Young Vic)