Priscilla, Queen of the Desert is back on the road for another trip around the UK, and what a trip it is too!!
We follow Tick played by Edwin Ray, Adam played by Nick Hayes and Bernadette played by Miles Western as the travel the outback of Australia to meet Tick’s son for the first time. All 3 of these main characters were played exquisitely-with such gusto and energy that you couldn’t help but smile along. Accompanied by the smooth tones of Claudia Kariuki, Aiesha Pease and Glossop, the singing will blow you away-their voices are so perfectly matched that the harmonies are delicious.
This is a perfectly cast show and Miles Western was a joy to behold. He truly embodies the female characteristics and conveyed such resilience but vulnerability effortlessly; together with Edwin Ray and Nick Hayes, this is a stunning trio. Edwin Ray excelled with his vocal agility, gliding through the songs and really pouring his all into his performance. Nick Hayes also has stunning vocals-he was able to make the audience laugh during his songs with the tiniest nuances, it was a joy! No show is complete without an ensemble and this is the most diverse ensemble I have ever seen. Actors of all shapes, sizes and ethnicities really bring home the true message of the show-to be yourself and have fun with it. I couldn’t help but start to dance every time there was a full cast number, particularly during ‘Go West’ as the energy onstage was electric!
The outlandish costumes, technical brilliance and faultless orchestrations led by Richard Atkinson created the perfect feel good performance.
So, strap in possums, Priscilla is waiting to take you on a journey-wigs not included!!
The phenomenon that is Mischief returns after the mayhem wrought by various Plays Going Wrong with an anarchic look at the most relatable subject: growing up.
Groan Ups follows the lives of five individuals over three different periods of their lives. We first meet the group at age 6, performing ‘What I Did at the Weekend’ for their school assembly, and the characters are firmly established from the off. Bossy, spoilt Moon (Yolanda Ovide) takes charge of the presentation immediately, while hyper-active corridor-fouling ‘terror’ Spencer (Dharmesh Patel) leaves everyone trailing in his wake. New kid Archie (Daniel Abbott) is doing his best to fit in, while still showing off his intellect – he can say ‘gauche’ and proclaims himself to be precocious – and poor Katie (Lauren Samuels) just wants everything to run smoothly. Which leaves damp little dweeb Simon (Matt Cavendish) to tell us that all that happened on his weekend was that he got nits.
They’re all simple enough characters, easily recognised from the classroom, and the play uses that to its advantage. Relationship dynamics shift around swiftly – by the time the cast ages up to thirteen, we have a rife love pentagram going on. Seeing adults play children is nothing new – see ‘Flint Street Nativity’, later re-imagined for Edinburgh several years ago as the ‘Costorphine Road Nativity’ – and writers Henry Lewis, Jonathan Sayer and Henry Shields wisely shift the second act to school reunion night so the actors can play their own ages, even if they don’t act them. Moon is now ‘actualising’ a restaurant with the help of Gwyneth Paltrow’s new book and Simon, the drippy little hanger-on, is now a big businessman – in urinal cakes – and so badly wants to let everyone know how much of a success he is that he’s hired ‘Chemise’ (a criminally scene-stealing performance from Jamie Birkett) to play his girlfriend.
Mischief is known for its farcical hijinks – and there are plenty of laughs to be had with over-sized sets that gradually get smaller as the characters age up, wordplay a-plenty, and the sheer carnage of class hamsters meeting untimely deaths (RIP Rodent Keating). Unfortunately, the play falls down when it tries to deal with weightier issues. The main drama comes from Spencer being held back a year and how it affects the rest of his life, but the handling of how that came to pass is fumbled, and a revelation for one character (easily seen a mile off) comes across as badly misjudged. Dealing with closeted sexuality and self-loathing is a difficult and complex issue that deserves more time, weight and nuance than the writers allow it here, and it leaves a sour taste.
Award winning duo James Milton and Paul Morrissey deliver a new ghost story, based on the rich history of witches, piracy and war in the Channel Islands. Stories of loves revenge and nasty Nazi’s keep you gripped to your seat, willing it to its conclusion, as it reveals itself in a spine-tingling finale. The descriptive dialogue paints scenes in your mind that are not on the stage, leaving a lingering after effect. Certainly not one for the faint hearted.
James McClelland (The Speaker) brings a sense of urgency and a dark undercurrent the moment he enters the room, becoming more impassioned as the story progresses, eager to come to the 5th and final storytelling and the reason he is there. Will Barton (John Blondell) carries a dark secret not revealed until the final scene. Barton brings a vulnerability to Blondell, with his attempt to produce a vlog and underlying the desperate protestations that there is no proof that the supernatural exists.
The set is Blondell’s (Barton) office and gives you the sense of a man in his Autumn years, trying to keep up with modern times. The special effects are mostly perfectly timed, making the audience yelp and jump. They do a great job of creating and releasing tension in equal measures.
For lovers of ghost stories, this one does not disappoint. Go prepared to be thoroughly spooked
Fourth Wall Live are delighted to announce a series of live shows at Lola’s Underground at The Hippodrome, Leicester Square from Wednesday 6 October with shows from David O’Reilly, Joe McElderry, Hayley Tamaddon, Maria Coyne, Jo O’Meara, Kerry Ellis and Lizzie Bea, with more dates to be announced.
OCTOBER 2021
Wednesday 6 October – 8.00pm – David O’Reilly
Thursday 14 October – 7.00pm – Joe McElderry
Wednesday 20 October – 8.00pm – Hayley Tamaddon
NOVEMBER 2021
Monday 1 November – 8.00pm – Maria Coyne
Wednesday 3 November – 8.00pm – Jo O’Meara
Tuesday 23 November – 8.00pm – Kerry Ellis
Monday 29 November – 8.00pm – Lizzie Bea
Further dates to be announced.
Fourth Wall Live specialises in bringing Broadway artists to the UK, previous concerts include Broadway and TV regulars Keala Settle, Laura Benanti, Sierra Boggess, Kelli O’Hara, Chita Rivera, Laura Michelle Kelly, Megan Hilty, Tituss Burgess, Shoshana Bean, Jeremy Jordan, Matthew Morrison, Erich Bergen, Eden Espinosa, Julia Murney and Cynthia Erivo. Other concerts include West End Stars solo concerts including Michael Ball, Matt Cardle, Kerry Ellis, Oliver Tompsett, Hannah Waddingham, Sharon D Clarke and Bonnie Langford.
The Hippodrome Casino is an over 18’s venue only. If you are lucky enough to look under 25 you must bring photo ID. www.begambleaware.org
Original Theatre Company and Octagon Theatre Bolton present
The Hound of the Baskervilles
by Sir Arthur Conan Doyle
Adapted for the stage by Steven Canny and John Nicholson for Peepolykus
Directed by Tim Jackson
Original Direction Lotte Wakeham
Cast: Jake Ferretti, Serena Manteghi and Niall Ransome
At Richmond Theatre 2 – 6 November 2021
The award-winning Original Theatre Company and Octagon Theatre Bolton present the 2021/22 tour of Sir Arthur Conan Doyle’s most celebrated adventure, The Hound of the Baskervilles, arriving at Richmond Theatre from 2-6 November 2021. Adapted for the stage by Steven Canny and John Nicholson for Peepolykus, in a production which was first performed at the Octagon Theatre this summer, the classic detective tale gets a brilliantly farcical overhaul in Lotte Wakeham’s acclaimed production.
A hit in the West End, this ingenious adaptation combines an exhilarating collision of farce, theatrical invention and wonderfully comic performances to offer a brand-new twist on the greatest detective story of all time, a whodunnit for all ages.
Mr Holmes, they were the footprints of a gigantic hound… World-renowned detective Sherlock Holmes and his colleague Dr. Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville. With rumours of a cursed giant hound loose on the moors, they must act fast in order to save the Baskerville family’s last remaining heir.
The cast of The Hound of the Baskervilles is Jake Ferretti (The Kitchen, The Curious Incident of the Dog in the Night Time, The Understudy) as Sherlock Holmes, Serena Manteghi (Welcome To Iran,To Build a Rocket, Mrs Wilson) as Sir Henry and Niall Ransome as Dr. Watson (Mischief Movie Night, The Comedy About A Bank Robbery, Fcuk’d).
Original Direction is by Lotte Wakeham, Artistic Director of the Octagon Theatre Bolton who has directed sell-out productions in London, New York, and throughout the UK. The UK Tour is directed by Tim Jackson (The Season,Royal & Derngate, New Wolsey, Treasure Island, Bolton Octagon). Francesca Tennant is Associate Director. The Designer is David Woodhead, Lighting Designer is Derek Anderson, Sound Designer is Andy Graham, Costume Supervisor is Chrissy Maddison and Production Manager is Tammy Rose.
Lotte Wakeham said: “I’ve been blown away by the wonderful response to this production of The Hound of the Baskervilles; it’s been a real joy to have audiences back in the theatre, laughing uproariously every night. I’m absolutely thrilled to be teaming up with Original Theatre Company so that this production can now embark on a national tour and be enjoyed even more widely. I think it’s exactly the sort of joyful, energetic and entertaining show that audiences will be hungry for and I’m delighted to be sharing the Octagon’s work across the UK. Our top-notch cast and superb creative and technical team are raring to go, and we’re looking forward to giving our audiences a fantastic night out.”
Alastair Whatley, Artistic Director of Original Theatre Company, said:“We are delighted to be teaming up with Lotte and her team at the Octagon to bring her superb production of The Hound of Baskervilles to audiences all over the UK. After the year we’ve all had, the production is a tonic sure to make theatres buzz with the sound of laughter. It’s a show for all ages to enjoy and we cannot wait to share it with audiences up and down the country.”
Birmingham Hippodrome – until Saturday 2 October 2021
Reviewed by Joanne Hodge
5*****
This musical spectacular recommenced its national tour last night at The Birmingham Hippodrome, under the direction of Paul Kerryson, and I have to say, there were many moments that had my hair’s standing on end without any need for support from Ultra Clutch!
In her professional debut, Katie Brace shone as sweet, non-conformist, forward thinking Tracy Turnblad; her zest for life, love and equality bounced off the stage in abundance. Along with her hilarious and physically-awkward best friend Penny Pingleton [Rebecca Jayne-Davies] we follow the trials and tribulations of teenage life, through first love, independence and rebellion.
There was a certain, unsurprising comic-genius around the partnership of Edna and Wilmur Turnblad [Alex Bourne and Norman Pace], with some risqué ad-libbing between the pair causing much laughter and applause, as well as their own corpsing. An absolute joy!
It’s a rare delight to see a storyline where even the male leads are somewhat only a support act to an ensemble of feisty females, but both Seaweed and Link Larkin [Akeem Ellis-Hyman and Ross Clifton] sang and danced their socks off, with energy off-the-scale.
I have to say though, for me, the absolute star of this show was Brenda Edwards as Motormouth Maybelle. She moved across the stage with ease, providing a warm and welcoming presence to all. You felt like you’d she’d invite you right in to one of her renown Platter Parties, regardless of your colour, age or preferences. And when she sang … my gosh! The roof nearly came off. There always seems to be a certain snobbish attitude toward any ex-reality TV talent who decide to tread the boards, but no-one in that auditorium could dispute her absolute class. Her voice ranges from deep, dark chocolate tones up to the clarity of the finest crystal glass, and was pitch-perfect on every note. I could have gladly listened to her all day and night. The only additional complement I have is that my companion for the evening was very taken with Maybelle’s sparkly gold jumpsuit, but we both agreed it wouldn’t wear to well in our local!
Adding the magic of the lighting by Philip Gladwell, sound by Ben Harrison and the fabulous wardrobe and set form Takis, this really is a show not to be missed. Rat your hair, put on your dancing shoes, and give yourself over to Hairspray!
Alexandra Theatre, Birmingham – until Saturday 2 October 2021
4****
Reviewed by Nadia Dodd
As a Rocky Horror virgin, I wasn’t entirely sure what to expect last night at the show. Approaching the theatre and the queue towards the entrance, it became apparent that the show is beloved by its devoted fans – and it was clear the fans in Birmingham were all ready to party and be together again.
The audience, that many were dressed to mimic their favourite characters were just waiting with ‘anti…..cipation’ for the show to begin, the first song Science Fiction/Double Feature skyrocketed the energy in the room.
This is a pantomime for adults with the audience heckling the narrator (Philip Franks, Darling Buds of May, Heartbeat) who just did not flinch once and bounced good natured banter back to the audience effortlessly. Applause and laughter echoed around the entire theatre at some of his topical references, Prince Andrew, the fuel shortages and even Boris and wife Carrie.
The story well I’m not entirely sure of the plot but think they get away with it, starting with a young engaged couple Brad and Janet (Ore Oduba, Strictly Come Dancing winner and Haley Flaherty, Mouse Trap), their car breaks down and decide to walk to a nearby spooky looking castle to use their telephone.
Once greeted by Riff Raff (veteran to Rocky Horror Kristan Lavercombe) Brad and Janet are then introduced to Dr Frank N’Furter (Stephen Webb) who played the role sensationally, I never knew a man in a basque and suspenders could look so sexy!
Easily the crowd pleaser was the musical set doing The Timewarp, the audience was on their feet singing and dancing and having an absolute ball.
Further powerful songs come from Usherette/Magenta (Suzie McAdam) and Columbia (Lauren Ingram) who also showed off her amazing breakdancing skills later in the show.
The cast is further complemented by the roles of Eddie/Dr Scott (Joe Allen) and Rocky (Ben Westhead) Ben is also a personal trainer which would explain his body showing muscles where I never knew existed!
The Rocky Horror Show theatre production made its first run in 1973, so we are now fast approaching their 50th anniversary – I think this show will run on indefinitely with such a fan base of all ages it was truly wonderful to see the pure time and effort that these folk had put in on what was a wet and miserable Monday evening.
Highly recommended to any other Rocky Horror virgins out there – come up to the lab and see what’s on the slab yourself!
Wicked, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, tonight (28 September 2021) celebrates 15 years at London’s Apollo Victoria Theatre. The award-winning production will play a celebratory performance attended by the composer and lyricist Stephen Schwartz together with a host of former cast members.
Composer and lyricist Stephen Schwartz said:
“I’m thrilled to be in London and in the audience at the Apollo Victoria Theatre as Wicked celebrates its 15th anniversary. The amazing emotion and euphoria from the audience on the night the show resumed performances on Broadway made clear to us all the magic that only the shared experience of live theatre can deliver. I am so excited to feel the response from London audiences, especially on this landmark occasion, and I very much hope the show will help drive a revitalized West End.”
UK Executive Producer Michael McCabe said:
“On behalf of David Stone, Marc Platt, Universal Stage Productions and all of the producers, I would like to offer our heartfelt thanks to all of our exceptionally talented casts, musicians and production staff who have worked so tirelessly and passionately on Stephen Schwartz and Winnie Holzman’s extraordinary musical since our London premiere in 2006. As we celebrate the incredible milestone of 15 years – as well as the reopening of theatres and return of live performances across the country – we also offer our deepest gratitude to our audiences who have so enthusiastically and unwaveringly supported and championed Wicked since our very first performance.”
Wicked has already been seen by almost 30,000 people across just the 13 performances it has played since resuming performances at the Apollo Victoria Theatre on 15 September 2021. The Broadway production, which will celebrate its 18th Birthday next month, resumed performances the night prior, on 14 September 2021, and the North American Tour, which has to date been seen by more than 20 million people and toured for more than 1,000 weeks, resumed on 3 August 2021.
Over the past 15 years, Wicked has attained many accolades and achieved numerous milestones to become “one of the biggest hits of our age” (The Observer):
Already the 9th longest-running West End musical of all time.
Seen by more than 10 million people in London alone, and 60 million worldwide.
Now the 5th longest running musical currently playing in the West End (alongside Les Misérables, The Phantom of the Opera, Mamma Mia! and The Lion King).
Since the London premiere, Wicked has also played two record-breaking tours of the UK & Ireland, collectively seen by nearly 2 million people.
Wicked is the recipient of more than 100 international awards, including two Olivier Awards and 10 theatregoer voted WhatsOnStage Awards (including ‘Best Musical’ and three for ‘Best West End Show’).
Gregory Maguire’s novel, Wicked: The Life and Times of the Wicked Witch of the West, has, to date, sold more than 5 million copies worldwide.
The Platinum-certified, Grammy Award-winning Original Broadway Cast recording has, to date, sold nearly 4 million copies.
The production has nearly 2.3 million fans across its UK and US social channels.
The re-opening London cast features Laura Pick (Elphaba), Sophie Evans* (Glinda), Alistair Brammer (Fiyero), Kim Ismay (Madame Morrible), Andy Hockley (The Wizard), Carina Gillespie (Nessarose), Nicholas McLean (Boq), Simeon Truby (Doctor Dillamond), Amy Webb (Standby for Elphaba), Charli Baptie** (Standby for Glinda), Meg Astin, Rebecca Botterill, Lauren Brooke, Grace Chapman***, Michael Colbourne, Conor Crown, Lewis Easter, Nolan Edwards, Joseph Fletcher, Fraser Fraser, Rebecca Gilliland, Lucie Horsfall, Nick Len, Will Lucas, Nicole Lupino, Stuart Maciver, Carl Man, Rhidian Marc, Jessica-Alice McCluskey, Stacey McGuire, Emmie Ray, Natalie Spriggs, Scott Sutcliffe, Genevieve Taylor, Samantha Thomas****, Grant Thresh, James Titchener, Libby Watts, Chiarina Woodall and Tom Woollaston. Cast subject to change.
*Maternity cover for Helen Woolf. **Maternity cover for Lisa-Anne Wood. ***Maternity cover for Maggie Lynne. ****Maternity cover for Joanna Sawyer.
Tickets are currently on sale for all performances to Sunday 22 May 2022. Wicked plays Tuesday-Saturday evenings at 7.30pm with matinees on Wednesday, Saturday and Sunday at 2.30pm. Visit www.WickedTheMusical.co.uk for information and tickets.
Wicked has music and lyrics by the legendary composer Stephen Schwartz (whose enduringly popular musical Godspell celebrates the 50th Anniversary of its London premiere at the Roundhouse on 17 November 2021) and is written by Winnie Holzman, creator of the landmark American television series My So-Called Life. It is based on Gregory Maguire’s multi-million-copy bestseller, Wicked: The Life and Times of the Wicked Witch of the West.
Wicked imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from The Wonderful Wizard of Oz and reveals the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming Glinda The Good and the Wicked Witch of the West.
Wicked has music and lyrics by multi-Oscar, Golden Globe and Grammy Award winner Stephen Schwartz (Godspell, Pippin, The Prince of Egypt; Disney’s Pocahontas, The Hunchback of Notre Dame and Enchanted) and is based on the novel Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire and written by Winnie Holzman. Musical staging is by Tony Award-winner Wayne Cilento with direction by two-time Tony Award-winner Joe Mantello.
Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone. Executive Producer (UK) Michael McCabe.
Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire is published in the UK by Headline (the book is recommended for readers aged 16+). Wicked: The Grimmerie, a behind-the-scenes look at the musical by David Cote, is published in the UK by Hyperion.
The Apollo Victoria Theatre, Wilton Road, London SW1V 1LG
The arrival of a trio of splashy big new musicals in the West End at roughly the same time – the others being Frozen and the ALW Cinderella – feels both like a brave move by producers but also, most importantly, a triumphant V sign (and I don’t necessarily mean ‘victory’) to the pandemic and the chaos, misery and uncertainty it has caused. The last of the three to open, this hyper-caffeinated stage version of, and homage to, Robert Zemeckis’s beloved 1985 time-travelling, sci-fi comedy, may turn out to be the biggest crowd pleaser of the lot, even if it’s probably the least satisfying when judged by the standards of well-crafted stage musicals.
It is certainly the most astonishing in technical terms: I can’t think of any other show in recent memory that has combined computer generated imagery and physical sets to such overwhelming effect. Throw in a stage revolve in near perpetual motion, and a complex lighting rig that extends outside the proscenium and across the auditorium resembling the innards of a computer crossed with a multiple lightning strike, and you’ve got a visual feast. Then there’s the famed DeLorean car, retooled by eccentric scientist Doc Brown to allow 17 year old Marty McFly to travel back in forth in time to avert potential family disasters in small town America, and it’s quite a sight to behold. The frantic, eye-popping time travel sequence near the end of the show is genuinely thrilling. You’ll believe a car can accelerate to such an degree that it smashes through time, that it can fly and even, in a departure from the movie, that it can talk. Well, a bit.
It says much for the performances of Olly Dobson, hugely likeable in the Michael J Fox role, and especially Broadway veteran Roger Bart, as a joyously eccentric Doc Brown, that the car doesn’t feel like it deserves star billing. Dobson carries the show with considerable charm and a pleasant voice, but Bart is the real deal, in a gorgeously funny display of physical quirks, vocal tics and formidable comic timing. He’s outrageous but with an underpinning of truth that pushes this Doc into the realms of the unforgettable. It’s a masterclass in musical comedy performance, and may even improve upon Christopher Lloyd in the original movie.
There is a lot to love in the supporting cast too: Cedric Neal brings formidable comedy chops, delightful stage presence and a glorious, roof-rattling voice to the Diner owner who ends up Mayor of the local town. Rosanna Hyland does really lovely, subtle (for this show) work as Marty’s Mum, world weary and vodka soaked in the 1980s, plausibly morphing back to a more optimistic but still feisty version of herself in the 50s, and again with a voice to die for. Hugh Coles and Aidan Cutler are great fun as, respectively, Marty’s Dad and the town bully.
Where Back To The Future on stage falters slightly is that, for all the flash and spectacle, it never feels like there was ever a really strong reason to turn it into a musical. Certainly not Alan Silvestri and Glen Ballard’s pastiche heavy score, which is enjoyable but largely unmemorable, all the songs paling beside the Huey Lewis classic ‘The Power Of Love’ which brings the house down in the second half. Nor Bob Gale’s script, adapted from the screenplay he co-wrote with Zemeckis, which ensures that the audience get all the big moments, laughs and plot points they paid for but never achieves a distinct theatrical life of its own. It does exactly what it says on the tin, no more, no less, but, like the DeLorean, it has a disconcerting stop-start quality that impedes tension and flow, before suddenly taking flight into moments of sheer exhilaration.
John Rando’s direction doesn’t as yet smoothly marry the hi tech stuff with a cartoony go-for-broke, anything-for-a-laugh aesthetic: it’s like watching two shows pull in different directions at once, the lavish spectacle ultimately winning. Structurally, Back To The Future eschews conventional structure (no opening number, an overly busy first half closer that feels like it should have cropped up half way through the preceding act, the much loved “big number” – the aforementioned ‘Power of Love’ – not ending the show but paving the way for a much less distinguished finale) but doesn’t replace it with anything exciting or even coherent. Tim Hatley’s designs, Ethan Popp and Bryan Crook’s orchestrations, Finn Ross’s video design and, above all, Tim Lutkins’s lighting are all world class however.
The whole show is a technicolour eyeful and, even at West End prices, you’ll really be able to see where your money has gone. If it’s not even the best screen-to-stage adaptation of this year, I’ve still no doubt this will make a lot of people very happy, and will keep the Adelphi nicely filled for quite some time. Also, this must have one of the hardest working stage management teams in London; it’s seriously spectacular and a lot of fun
IT’S THOUGHT-PROVOKING AND AT TIMES HEART-RENDERING”
WRITEBASE
ONE-MAN COMEDY BY JONATHAN HARVEY
TRANSFERS TO LONDON’S TURBINE THEATRE
ANDREW LANCEL STARS IN SWAN SONG DIRECTED BY NOREEN KERSHAW
Following its critically acclaimed sell-out at Liverpool Theatre Festival and Northern tour, Swan Song, a revised comedy by acclaimed playwright Jonathan Harvey, is heading to London for one week only.
Swan Song, a one-man play starring acclaimed stage and screen star Andrew Lancel,directed by BAFTA award-winning director Noreen Kershaw and produced byBill Elms.
The play will open at London’s Turbine Theatre for seven performances from Monday 29 November to Saturday 4 December. The show also performs pre-London dates at The Coro in Ulverston on Friday 19 – Saturday 20 November, a perfect venue due to The Lakes playing an important part within the play.
Swan Song was first staged at the Edinburgh Fringe Festival in 1997, before transferring to Hampstead Theatre with award-winning comedy actress Rebecca Front in the lead role. Jonathan Harvey adapted the 70-minute play specially for Andrew Lancel at Liverpool Theatre Festival to play the solo role of Dave Titswell.
Producer and the artistic director of Liverpool Theatre Festival, Bill Elms said:“Swan Song is a funny, clever and inspiring production which opened the inaugural Liverpool Theatre Festival. Andrew Lancel, Jonathan Harvey, and Noreen Kershaw are an incredible blend of creative talent, and the play went down a storm in Liverpool and on its Northern tour. People are excited for the return of live theatre – and we’re excited to give them that experience back after such a long time with a really special production.”
Swan Song is a bittersweet comedy written by Jonathan Harvey. Set in Liverpool, it is 1997, the world is changing and in the staff room, gay forty-something, English teacher Dave Titswell finds that not all change is welcome. He has a crush, but life, love, and work are never straight forward for Dave. Will a school trip to The Lakes change things for the better, or make things decidedly worse? Swan Song will make audiences laugh, but equally pull at the heartstrings.
Andrew Lancel is well established on the national theatre scene, he is also widely known for his television roles as DI Neil Manson in The Bill and super-villain Frank Foster in Coronation Street. He was three times nominated for a national TV award and won a British Soap Award in 2012 for Coronation Street. He has twice played Beatles’ manager Brian Epstein on stage to great critical acclaim, first in Epstein – The Man Who Made The Beatles (also produced by Bill Elms) which premiered in Liverpool and went on to play London’s West End, as well as playing Epstein in the national tour of Cilla The Musical, Bill Kenwright’s stage adaptation of the TV series written by Jeff Pope. He recently appeared in the Royal Variety Show and Casualty for BBC and has just finished filming The Thief, His Wife And The Canoe for ITV.
Andrew Lancel commented:“I’m thrilled to be finally taking this wonderful play to London. We are a small team but this play just keeps growing and it’s a constant buzz to do. It’s funny, moving and strangely (and sadly) topical. I can’t wait to see London’s reaction to Dave Titswell.”
Award-winning Jonathan Harvey’s credits include Gimme Gimme Gimme; Murder Most Horrid; Coronation Street; Call The Midwife; and Tracey Ullman’s Show. Hisplays include Beautiful Thing, Corrie, Canary, Hushabye Mountain, Babies, Boom Bang A Bang’ and Rupert Street Lonely Hearts Club. He also wrote the 2001 stage musical Closer to Heaven with the Pet Shop Boys and its sequel Muzik. He has won the John Whiting Award, the George Devine Award, two Manchester Evening News Awards, an Evening Standard Award, two British Soap Awards and a Writers Guild of Great Britain Award.
Jonathan added:“Swan Song is a comedy about a teacher who’s trying to hold onto his dignity while the education system crumbles around him – and I’m thrilled Andrew is playing Dave. I’m delighted to also be working with Noreen again, she directed many of my Corrie scripts and Call The Midwife. As the original Shirley Valentine, Noreen definitely knows a thing or two about one person shows.”
Noreen Kershaw’s directing credits include Our Girl, Moving On, Scott & Bailey, Emmerdale, Shameless, Heartbeat and Coronation Street. She is also known for acting in Life On Mars, Brookside, and Watching. Noreen also originated the title role of Willy Russell’s Shirley Valentine at Liverpool’s Everyman Theatre.
Facebook: /SwanSongOnStage
Twitter: @SwanSongPlay
Hashtags: #DaveTitswell #SwanSong
LISTING INFORMATION
Andrew Lancel in
SWAN SONG
by Jonathan Harvey
THE CORO
County Square, Cumbria, Ulverston, Cumbria, LA12 7LZ
