Home

Jack Studio Theatre – until 17 July 2021

4****

Reviewed by Claire Roderick

Joel Horwood’s intriguing play about a day in an ordinary English village is the first inhouse production from the Jack Studio Theatre after reopening. And the team has not lost their magic touch.

Brigid Lohrey and Grace Cookey-Gam play all the villagers expertly and engagingly – an aging farmer with a daughter who has no interest in taking on the land, a useless but kind-hearted village policeman, an overbearing village councillor, a loner living in the woods, a vicar and his teacher wife, and the local children who are burdened by family reputation. After an introduction to the characters and locations the episodic story begins.

When Bea Lewis, living alone on her farm, and terrified of developing dementia like her own mother, is adamant that she’s seen a wolf rumours and panic begin to build around the village. The usual uncertainties and fear of each character become increasingly amplified until Harry, the village policeman calls a muster in the village hall. Unfortunately, his great plan is to lock themselves in and see what happens.

The characters are all basic stereotypes and are even named and grouped in their stories alphabetically, emphasising the difference between recognisable civilisation and wildness. Their reactions and who they blame for the presence of the wolves could be applied to any event that threatens a community and shines a light on the less evolved aspects of human nature. The play loops around to explain some of the sounds that are heard around the village, and this structure evokes memories of listening to stories around a campfire. Kate Bannister’s intuitive direction, Karl Swinyard’s set, Philip Matejtshuk’s sound and Robbie Butler’s lighting and video work wonders to create a mystical atmosphere that captures the ever changing beauty and threat of nature.

MEI Theatrical presents

SARAH & DUCK’S BIG TOP BIRTHDAY

The BAFTA-winning CBeebies series

comes to London for 4 performances only

At Leicester Square Theatre

on Tuesday 17 and Wednesday 18 August

The enchanting world of CBeebies’ hit animated series Sarah & Duck comes to London this Summer! Featuring a host of wonderful characters from the BAFTA Award-winning TV show, Sarah & Duck’s Big Top Birthday will play 4 performances only at Leicester Square Theatre on Tuesday 17 and Wednesday 18 August.

Told through a fantastic blend of inventive puppetry, charming storytelling and toe-tapping music, Sarah & Duck’s Big Top Birthday will take families on a magical theatrical adventure featuring all the familiar voices from the CBeebies series.

Sarah & Duck’s Big Top Birthday sees Sarah and Duck joined by all their favourite friends including The Ribbon Sisters, The Shallots, Flamingo and Umbrella, as they plan a circus-themed birthday party for Scarf Lady in their garden. But when the weather turns windy and the big top is blown away, will Sarah and Duck be able to save the day?

Following the gentle adventures of a wide-eyed, 7-year-old girl and her feathered best friend, Sarah & Duck has been a huge hit since its debut in 2013, winning a BAFTA for ‘Best Pre-School Animation’ in 2014 and regularly appearing in CBeebies’ Top Ten programmes for viewers aged 4-15. Now on its 120^th episode, it is shown in over 100 counties around the world.

Sarah & Duck’s Big Top Birthday is written by Polka Theatre’s artistic director Peter Glanville and Sarah & Duck co-creator Sarah Gomes Harris. It is directed by Roman Stefanski with set and puppet design by Laura McEwen. It is presented by MEI Theatrical in association with Polka Theatre. Sarah & Duck is a Karrot Entertainment production for CBeebies UK and BBC Studios.

Sarah & Duck’s Big Top Birthday is also on tour this Summer. For full dates visit www.sarahandduck.com.

Recommended for children aged 3-6.

‘If you can’t travel to exciting parts of the globe this summer, don’t despair – we are here to bring the world to you!’ 

A York Theatre Royal production

Around the World in 80 Days

Visiting all four corners of York between 6 & 28 August

Director and Adapter Juliet Forster

Designer Sara Perks

Movement director Asha Jennings-Grant

Composer and Sound designer Ed Gray

Lighting and Sound Mike Redley

Assistant director Sam Bond

York Theatre Royal is going global. Following the success of its Travelling Pantomime which visited 16 venues in the city at Christmas, the theatre is on the move again with its spectacular family summer show.

A new circus-themed adaptation of the Jules Verne classic Around the World in 80 Days will visit all four corners of York between 6 and 21 August, playing at four outdoor venues and finishing the tour on stage at York Theatre Royal 

The adaptation is by the theatre’s Creative Director Juliet Forster, who directed the Travelling Pantomime and Love Bites, the love letter to live performance that re-opened the theatre after Covid restrictions eased on May 17. 

Juliet said: “As one of the characters in the play says: ‘If you can’t travel to exciting parts of the globe this summer, don’t despair – we are here to bring the world to you!’ That is the spirit of this production really. 

“Many of us are feeling disappointed that there are still a lot of restrictions around travelling this summer, so this show is the perfect opportunity for some armchair tourism – or rather, picnic blanket tourism.

“Jules Verne’s story is a lot of fun as the characters race against time to complete a full circuit of the earth, and in this version, fact and fiction also go head to head as real-life investigative journalist Nellie Bly, puts in an appearance. It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story, delivering the kind of experience that live theatre does best.”

The show will be staged outdoors on school playing fields at Carr Junior School (6-8 Aug), Copmanthorpe Primary School (10-12 Aug) Archbishop Holgate’s School (14-16 Aug) and Joseph Rowntree School (18-21 Aug), and then end the tour indoors at York Theatre Royal (25-28 Aug).

Around the World in 80 Days is designed by Sara Perks, whose previous work at York includes Everything Is Possible: The York Suffragettes and Brideshead Revisited.

The cast includes Emilio Iannucci, previously seen at the Theatre Royal in Book of Dragons and Hello and Goodbye. He plays the Ringmaster and Phileas Fogg. Other cast members are Ali Azhar (The Clown/Passepartout), Ulrika Krishnamurti (The Trick Rider/Aouda), Eddie Mann (The Knife Thrower/Detective Fox) and Dora Rubinstein (The Acrobat/Nellie Bly).

Chief Executive Tom Bird said: “Following the success of our hugely popular family summer shows, including Swallows and Amazons and The Wind In The Willows, we are excited to be going outdoors and to all four corners of York again with Around The World In 80 Days. This madcap adventure, full of fun and frivolity is just what we need right now – enjoy!”

FEVER PITCH

BASED ON THE BOOK BY NICK HORNBY
ADAPTED BY JOEL SAMUELS

TO OPEN AT THE HOPE THEATRE
31 AUGUST – 25 SEPTEMBER

OUTGOING ARTISTIC DIRECTOR KENNEDY BLOOMER’S FIRST AND LAST IN-HOUSE SHOW

10% OF TICKETS TO BE RELEASED FREE TO ISLINGTON RESIDENTS

ARSENAL FOOTBALL CLUB TO WORK WITH COMMUNITY GROUPS TO BRING THEM TO THEATRE

TICKETS ARE ON SALE NOW HERE

FEVER PITCH, a new theatrical adaptation of Nick Hornby’s best-selling novel, will open at The Hope Theatre in Islington on 31 August playing until 25 September, with a press night on 2 September. Directed by Kennedy Bloomer, the outgoing Artistic Director whose tenure started just as the pandemic hit, Fever Pitch will be her first and last in-house production. Full casting to be announced shortly.

“When you’re in love nothing else matters. You become obsessed. And it can get pretty tricky if that obsessive love is directed towards eleven men wearing the same shirt and running around like idiots for ninety minutes every Saturday…”

An exhilarating, moving and brutally funny love letter that will appeal to football obsessives and football haters alike. FEVER PITCH charts over two decades of one man’s total and utter obsession with Arsenal Football Club. A treatise on what it means to be a fanatic and what that means for everyone in our lives who isn’t. From exhilarating, all-encompassing moments of joy and pleasure to totally debilitating and soul-destroying lows, Nick’s obsession infects every aspect of his life. Is it really only a game?

Arsenal Football Club have committed to maintaining existing links with the theatre, and will bring some of the community groups it works with – who might not otherwise have access to arts and culture – into The Hope Theatre to see Fever Pitch.

Closed since March 2020, this acclaimed 50 seat pub theatre in the heart of Islington has recently reopened to 50% capacity, but Fever Pitch is expected to open to full capacity, as per the government’s roadmap.  The Hope Theatre will also be releasing 10% of all tickets for the FEVER PITCH free to residents of Islington. Residents should email [email protected] to check availability and to reserve tickets. One ticket per audience member. Limited availability and first come, first served only.

Kennedy Bloomer said, “I’m absolutely thrilled to be bringing Fever Pitch to The Hope. A hilarious, joyous production that our community and football lovers and haters alike can enjoy. I can’t wait to finally direct an in-house show after closure.”

Samir Singh, Community Development Officer at Arsenal, said, “At Arsenal we’re proud of our work in the community and we always look for ways to support local arts and culture and to bring it to the community groups we work with, who might not otherwise have access. We’ve worked with The Hope Theatre previously, and are thrilled that they’re staging an adaptation of such an iconic book, particularly whilst English football is having such a glorious summer!”

Opening in 2013, The Hope Theatre was originally a sister theatre of Islington’s King’s Head Theatre, renovated from a function room above the famous Hope & Anchor pub and music venue into a black box studio theatre. The Hope Theatre has transferred two productions to the West End (Ushers to the Charing Cross Theatre and the Snoo Wilson’s Lovesong Of The Electric Bear to The Arts) and has been home to many world premieres. It also housed the professional world premiere of Joe Orton’s Fred And Madge.

The Hope Theatre is a place for audiences and companies to explore BIG ideas. It nurtures and develops new producing models, working with exciting companies to present a mix of new writing, lost gems from well-known writers, re-polished classics and innovatively staged musicals.

Although The Hope Theatre has received no regular public subsidy since its 2013 opening, it was the first Off West End venue to open with a house agreement with Equity. This ensures a legal wage for all actors, stage managers and box office staff working at the theatre.

In 2020, Kennedy Bloomer became Artistic Director of the theatre and navigated the theatre through the global Covid-19 pandemic and total closure by taking The Hope Theatre online. 

The Hope Theatre was successfully granted funds from the Arts Council England Emergency Response Fund, the ACE and DCMS Culture Recovery Fund 1 and 2, and Islington Council’s Cultural and Evening Economy Support Fund. The Hope Theatre team would like to gratefully acknowledge the role that this funding has played in enabling the venue to survive and reopen this summer.

Artistic Director: Kennedy Bloomer 

Deputy Artistic Director: Toby Hampton 

Technical Manager: Gianluca Zona 

Theatre Assistant: Rebecca Tessier

Patron: Paul Clayton 

Support The Hope Theatre: https://www.thehopetheatre.com/support-us/

Or visit www.thehopetheatre.com for more information.

Orange Tree Theatre – until 7 August 2021  

Reviewed by Carly Burlinge  

4**** 

Last Easter is by Bryony Lavery and directed by Tinuke Craig.  The play follows a lady called June (Naana Agyei-Ampadu)  who discovers she has terminal cancer and decides that she would like her friends to help her with assisted suicide! It takes you through her journey, capturing insights of her life, as well as the pain and acknowledgement. When her friends discover what she’s going through they decide to plan a French holiday, a pilgrimage to Lourdes where they touch on faith, trying to give her hope for the Miracle. The friends that are involved on this journey are Leah (Jodie Jacobs) a Jewish American artistic prop maker. Gash (Peter Caulfield) a Gay catholic cabaret artist and Joy (Ellie Piercy) who gets invited to cut costs but seems pretty messed up and is a self-absorbed character who continuously drinks to deal with her own situation; being the suicide of her unfaithful boyfriend. She comes across to the audience quite intense and forceful at times and plays the part strongly, showing great emotions throughout. 

June plays the part extremely well, comes across very true to the character, is intelligent and covers some difficult subjects. Wondering if she could have done things differently going through the motions, was it her fault could she have lived a better life and so forth. Throughout she showed some heartfelt acting that really got the point across to the audience. 

Gash plays a very energetic, full of life character that also can be quite shallow at times. He is unable to show his emotions as he won’t open up and avoids the situation whenever able. He does however offer the audience some comedic relief with some well-timed bad jokes. He plays his character with lots of enthusiasm and has the audience laughing in the process. 

Leah’s character shows a loveable, bubbly American with a great voice, who seems to be supportive to her friends, is easily lead by the others and just wants to be loved. She has lots of energy is happy and chatty throughout. 

The friends have moments between themselves that discuss snippets of their own lives and emotions, although on a journey together, they are also working out their own issues. 

This is a powerful story of friendship, love, understanding, consideration as well as hurt and pain. 

This production deals with some hard-hitting, difficult subjects and the questions these raise will stay with you long after viewing. 

The lighting for this show was done amazingly well offering a change of moods to each situation giving it a more realistic approach.

Hippodrome Casino, Leicester Square – Booking until January 2022

Reviewed by Charlotte McWilliam

5*****

From bottoms to bottomless Prosecco, Magic Mike Live was nothing short of a wonderful night out – just what’s needed to raise the spirits….and the heart rate!

Set at London’s Hippodrome Casino in Leicester Square, this exhilarating show is donned as the “3rd movie” by Channing himself. Magic Mike (the movie) is loosely based on the experiences of Channing Tatum as an 18 year old stripper and evolved into the live show, firstly on stage in Las Vegas before coming to London in 2018.

This Cabaret come strip show is highly entertaining from the moment the lights come on. The energy and enthusiasm of the cast members oozes with every hip thrust and sweetheart stare. The story is based on a waiter called Michelangelo who is plucked from the audience by Emcee host, Sophie Linder-Lee, and taught to dance and strip. Linder-Lee is really the glue of the whole performance with her broad northern accent and incredibly crude jokes, she caters to the masses and makes the audience feel included throughout.

The choreography by Alison Faulk and Luke Broadlick is impressive, with a largely hiphop feel each dancer also has their time to shine with their own solo showing off their individual dance genre. This is supported brilliantly with Jack Rayners music production. Cast member Aaron Witter particularly stood out for me during these solos however Harry Carter, with his Channing look alike features and electrifying ego really took the limelight with the audience on the whole. The unison dances were by far the most impressive and the sheer amount of testosterone coming from the stage was more than gratefully received by the audience.

The Old School opening was highly comparable to the YMCA. Marina Toybina’s costume design insured that cast members had individual identities throughout, however there was something completely euphoric when the guys were dressed – or should I say undressed – in the same manhood covering smalls….for want of a better word.

As the show continues into the second half, Mike really starts to excel in his new found dance abilities. His dance solo entitled “Female Appreciation”, accompanied by James Bay’s Wild love, is highly contemporary in style yet still has hip hop subtleties. Mike’s bare torso and incredible talent were particularly breathtaking to watch during this emotive piece of choreography. Senses continue to heighten as the only other female cast member, Hannah Cleeve, is innocently plucked from the audience to be Mike’s dance partner. The “Wet Scene” that follows is nothing short of mind blowing. The use of aerial silks are successfully used throughout but it’s at this point that the scenic design really excels. A bed like structure appears on the stage and it begins to rain. Bright yet seductive lighting hosts Mike and Hannah as they begin the most tantalising routine I have ever seen outside of the bedroom. From impressive lifts, passionate embraces and a lot of wet hair flicking, the audience really are transported to ultimate ecstasy.

From the highly attentive staff at the Hippodrome Casino to the versatility of talent on stage, Magic Mike Live is really one not to be missed, so go on, treat yourself! In the words of Channing himself “You are enough”!

Theatre Royal Haymarket – until 12 September 2021

Reviewed by Claire Roderick

4****

Instead of the razor-sharp darkness of the film, Heathers the Musical is an extravaganza of camp and frothy bitchiness. The characters and plot of the film are distilled in this cartoonish creation that doesn’t have much to say but is a fun and frenetic show full of laughs.

The food chain at Westerberg High School has the Heathers as Alpha predators, with Heather Chandler (Jodie Steele) running the show. When Veronica (Christina Bennington) comes on their radar, the Heathers give her a makeover and she joins the powerful clique to survive high school. The arrival of JD (Jordan Luke Gage) and his refusal to conform to the unwritten rules of high school hierarchy sets Veronica on a deadly and explosive path.

Kevin Murphy and Larence O’Keefe’s music and lyrics are energetic and mostly memorable, and the cast are incredible, but if you’re looking for any meaningful insight into teenage suicide and mental health, you won’t find it here. Instead enjoy the ride as Veronica and JD kill off their enemies in murders that will make you laugh rather than squirm.

Director Andy Fickman uses Ben Cracknell’s fantastic lighting design to enhance the stereotyped characters and their world to ridiculously overblown levels that suit the atmosphere of the show brilliantly alongside Gary Lloyd’s dynamic choreography. The performances are all amazing, with Jodie Steele stealing every scene with just a raised eyebrow as she struts around the stage, alive and dead. Christina Bennington and Jordan Luke Gage reignite their amazing chemistry from Bat Out of Hell and are vocally stunning. Bennington gets to showcase her comedy talent and is phenomenal, while Gage impresses in the role of JD, who the writers can’t seem to decide what to do with and end up making JD a much less menacing character than he could be.

Heathers is definitely a marmite show, which some people who love the film will probably want to avoid. But the unashamedly loud and brash production is wonderfully entertaining and a fun-filled night out.

Iris Summer Festival, Covent Garden – until 10 July 2021

4****

Reviewed by Claire Roderick

Tanya Bridgeman’s debut play is an emotional and witty exploration and celebration of the women whose stories shape us. Granddaughter has made a brave leap of faith to begin a new life, but is unable to follow through, struggling with self-doubt, uncertainty about her Irish-Bajan identity, depression and using a coping mechanism that evolved from a childhood story. A phone call from Granny opens the flood gates as memories of her grandmothers and their stories and advice help Granddaughter find her strength and her place in the world.

Granny’s stories of leaving Ireland and coming to London with her sisters are full of whimsy, and hope, and Gran Gran’s Bajan history paints a picture of a fiercely independent woman determined to follow her dreams.

Tanya Bridgeman performs her play with such passion that you can’t help but love these characters. The lyrical language flows enchantingly, whether it is homespun advice from the older women or gleeful asides about shoes from Granddaughter. The emotional rollercoaster Bridgeman takes you on is exhilarating – with laugh out loud moments and quiet anguish all delivered in an unshowy, natural performance that is remarkable.

The London weather has made the garden of St Paul’s church particularly green and lush this year, enhancing the staging of this play, with the lighting change for the Barbados scenes wonderfully effective and evocative. Director Alex Miller and designer Charlotte Dennis have done wonders in a space that could be tricky, with Bridgeman’s use of the stage area drawing the audience into the story brilliantly.

The stories of the strife and triumphs of the two women as they arrive in London in the 1950s and face prejudice that they overcome with creativity and determination are inspiring and uplifting – Gran Gran’s description of the changes in her street after they, the first black family, moved in are glorious. These are the histories that we need to hear, and Bridgeman’s heartfelt tribute is a joy.

Iris Summer Festival continues until 22 August. Further show details at https://iristheatre.com

Leicester Square Theatre, London – until 11 September 2021

Reviewed by Emily Cliff

5*****

If you are looking for an entirely serious dramatic performance of one of the greatest tragedies of all time, you may be in the wrong place. Some of the best memories you can ever make are usually surrounded with friends and loved ones and nine times out of ten washed down with a whole load of alcohol. Remember that. Now flip it on its head, when you go to the theatre it’s a lovely experience, right? You go out with friends or family, you have a few drinks and you enjoy the show. But what if one member of the cast in the show you were seeing was absolutely, singing, dancing on the tables and laughing with strangers kind of drunk? It’s hard to picture but here at Sh!t Faced Shakespeare it’s the norm. Four hours before every production one member of the cast is chosen, by random, to get absolutely black out drunk.

The great tragedy of Macbeth is a classic piece of theatre that is enjoyed world wide, now add Jamaica’s first bobsled team, a sprinkle of Forrest Gump and a whole load of dominos and that is the production of Macbeth we saw tonight. The ability to improvise and go off script is a talent few actors can master, however tonight we discovered that improvisation can be achieved and executed just as well when you have three quarters of a bottle of bombay sapphire in your system. An (almost) entirely sober cast of Macbeth makes for a brilliant night of theatre.

From the offset this play is extremely interactive and involves the audience when and where it can. Before the play has even started roles are dished out to those among the crowd. The first: drunk monitors. Two people in the audience are chosen to ring a bell anytime the drunkard (in this case James Muffit playing Malcolm) appears to be sobering up, or appears too sober. The play stops at the sound of this bell and the drunkard has to have another drink. James gave colourful rendition of the witches’ prophecies and Malcolms all too serious soliloquies and supplied the audience with an abundance of laughs and giggles.

One of the main attributes that stood out about this brilliant production, was the ability for the cast to pick up on things and carry them on as inside jokes between them and the audience. This gave the whole show a more intimate feel and made us, the audience, feel as though we were in on the joke. The beauty about a show as wild and outrageous as this is that each show will be different every time. This time we had Malcolm, son of King Duncan, a black belt in judo with a love for the mighty meaty pizza from dominos and flags.

No words can describe how enjoyable this show is. Interactive, immersive and just a downright laugh and great night out. This non-traditional approach of theatre is something that should be applauded and seen everywhere. For viewers over the age of 18 this is something everyone can enjoy. An (almost) entirely sober cast of Macbeth makes for a brilliant night of theatre. Hopefully one day we will get to see a performance of Sh!t Faced Shakespeare at the Shakespeare’s own Globe Theatre, but for now head down to the Leicester Square Theatre for a night full of laughter, Shakespeare and a lot of alcohol

Playful Productions, Stage Play and Cedella Marley present 

GET UP, STAND UP!

THE BOB MARLEY MUSICAL 

• FULL CAST ANNOUNCED FOR GET UP, STAND UP! THE BOB MARLEY MUSICAL
   
• GABRIELLE BROOKS WILL PLAY RITA ALONGSIDE ARINZÉ KENE AS BOB MARLEY IN THE WORLD PREMIERE, DIRECTED BY CLINT DYER
   
• TO PREPARE FOR REHEARSALS STARTING NEXT MONTH, THE CAST VISITED LANDMARKS OF BOB MARLEY’S LIFE IN LONDON
   
• TICKETS ARE NOW ON SALE UNTIL 3 APRIL 2022 FROM WWW.GETUPSTANDUPTHEMUSICAL.COM 

Producers have today announced the full cast for Get Up, Stand Up! The Bob Marley Musical, they join Arinzé Kene who has already been announced in the title role. With unlimited access to Marley’s magical, revolutionary songs and a book by award-winning Lee Hall, acclaimed director Clint Dyer channels the creative quest and spiritual power of a universally embraced icon. The production brings a dynamic company of performers that fuse with the finest reggae musicians to bring this exhilarating story of struggle, freedom and transformation from Trenchtown to the West End.

The explosive new production celebrates the immense life and timely message of Jamaican soul rebel Bob Marley – from a life of poverty to visionary international superstar. Crucial fellow soul rebels in the cast include the sensational Rita Marley and the I Three and his inspiring brothers in arms, Peter Tosh, Bunny Wailer and Lee ‘Scratch Perry’.The World Premiere musical begins performances at the Lyric Theatre on 1 October 2021 with an opening night on 20 October.

Arinzé Kene (Bob Marley), Gabrielle Brooks (Rita Marley), Shanay Holmes (Cindy Breakspeare), Sophia Mackay (Judy Mowatt), Melissa Brown-Taylor (Marcia Griffiths), Jacade Simpson (Bunny Wailer), Natey Jones (Peter Tosh), Daniel Bailey, Craig Blake, Charles Blyth, Maxwell Cole, Athena Collins, Michael Duke, Kimmy Edwards, Raphael Estavia, Henry Faber, Cannon Hay, Savanna Jeffrey, Rohan Pinnock-Hamilton, Cleopatra Rey, Julene Robinson, Nate Simpson, Archie Smith, Declan Spaine, Jaime Tait, Teddy Wills. 

‘It’s not all that glitters is gold, half the story has never been told’ 

From the hills of rural Jamaica, armed only with his overwhelming talent and righteous beliefs, Bob Marley applied himself with resolute determination to achieve international acclaim for his prophetic musical message – a gospel of love and unity.

Lose yourself to the rhythm of ‘Exodus’, ‘No Woman No Cry’, ‘Waiting in Vain’, ‘Three Little Birds’, ‘I Shot the Sheriff’, ‘Could You Be Loved’, ‘Redemption Song’ and many more.

Arinzé  Kene
Theatre credits include: One Night in Miami (Donmar Warehouse), Girl from the North Country (Old Vic), Death of a Salesman (Young Vic). TV credits include: Informer (BBC), Flack (UKTV), I Am… (Channel 4), Crazyhead (E4/Netflix Original) and The Long Song (BBC One). Arinzé Kene is a writer and performer whose Olivier award-nominated one man play Misty, ran at the Bush Theatre to widespread critical acclaim and transferred to the West End. Film credits include: Michaela Coel’s Been So Long (BBC/Netflix), The Pass (Toledo Productions), How to Build a Girl (Film 4) and I’m Your Woman (Amazon). Awards include: Black British Theatre Awards – Book and Lyrics recognition award (2020), Evening Standard Film Award – Best Supporting Actor (2016).​

Gabrielle Brooks
Theatre credits include: J’Ouvert (Harold Pinter Theatre); Anna Bella Eema (Arcola Theatre), A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Twelfth Night (Young Vic), The Way of the World (Donmar Warehouse), The Wizard of Oz (Sheffield Theatres), Everybody’s Talking About Jamie (Sheffield Crucible), Lazarus (King’s Cross Theatre), The Strangers Case (Liverpool Everyman Theatre), The Book of Mormon (Prince of Wales), I Can’t Sing (London Palladium) and Our House (The Savoy). TV credits include: Shadow and Bone and Coming Down The Mountain. Film credits include: Notes on A Scandal. Gabrielle has recently created and produced BlackStage UK – an emotional and educational exposé on what it means to be Black in the UK Arts industry, featuring 30 Black and Black mixed-raced workers from across the sector and from all over the UK.

Shanay Holmes
Theatre credits include: Thriller Live (The Lyric), The Bodyguard Musical (Adelphi), Close To You – Burt Bacharach reimagined (Criterion), Jesus Christ Superstar (Regents Park Open Air Theatre), Rent (The Other Palace), Joseph and the Amazing Technicolour Dream Coat (Kilworth House Theatre), The Wizard Of Oz (Birmingham Rep) and Bridges Of Maddison County (Menier Chocolate Factory), High Fidelity (Turbine Theatre).

Sophia Mackay
Theatre credits include: Thriller Live (Lyric), The Grinning Man (Trafalgar), Bubbly Black Girl who Sheds her Chameleon Skin (Theatre Royal Stratford East), Playboy of the West Indies (National Theatre Studio) Dirty Dancing (International Tour), Muscovado (UK Tour), Leader of the Pack (Waterloo East), Earth Makes No Sound (Filament Theatre Company), Journey’s Beyond (Arcola Theatre) and A Concrete Jungle Full of Wild Cars (Unicorn Theatre).  In film, she can be seen in Chrissy and the Hush trilogy.

Melissa Brown-Taylor
Theatre credits include: The Book of Mormon (Prince of Wales), Princess in Sleeping Beauty (Belgrade Theatre), This is Elvis (UK Tour), Aladdin (The Broadway Theatre), All or Nothing – The Mod Musical (UK Tour), Aladdin (Salisbury Playhouse), Roundelay (UK Tour) and A Voice In The Crowd, (Almeida Theatre).

Jacade Simpson
Theatre credits include: As You Like It (Regent’s Park Open Air Theatre), One Love (Birmingham Rep), The Book of Mormon (Prince of Wales), We Raise Our Hands in the Sanctuary (Albany Theatre), Kiss Me, Kate (Opera North) and The Scottsboro Boys (Garrick). Television credits include: Casualty (BBC), Humans (Channel 4), Doctors (BBC) and My Almost Famous Family (CBBC). Short film credits include: Sugababies, Civilised, White Liar and When the Earth Fell Down.

Natey Jones
Theatre credits include: Rockets and Blue Lights (Royal Exchange Theatre), Death of a Salesman (Piccadilly), Small Island (National Theatre), Tina – The Tina Turner Musical (Aldwych) and Doctor Faustus, Don Quixote and The Alchemist (Barbican). TV credits include: BBC’s Father Brown, Waffle the Wonder Dog and Casualty

Daniel Bailey
Theatre credits include: Oedipus (Pecho Mama), Girl From The North Country (Gielgud/Toronto, Canada), Jesus Christ Superstar (Barbican, Regents Park Open Air Theatre), Wizard of Oz (Pitlochry Festival Theatre), King (Hackney Empire), Priscilla Queen of the Desert (Queens Theatre, Hornchurch), Hair (The Vaults), Motown the Musical (Shaftesbury Theatre), Wheel of Misfortune (The Old Red Lion Theatre), Disney’s The Lion King (Lyceum), South Pacific (UK Tour), Blues Brothers (Erasmus Theatre) and Hair (Bronowski Productions). He is an Artist Associate at Brixton House.

Craig Blake
Theatre credits include: Le Silence et la Peur /Silence and Fear  (Compagnie Lieux Dits, French National Tour), Shakespeare in the Abbey, Shakespeare’s Walk (Shakespeare’s Globe) , Romeo and Juliet,  Bussin’ It  (Oval House Theatre), Blacking Lag (London Shakespeare Workout), Afterbirth  (Arcola Theatre), It’s Just a Name, No Sweat  (Birmingham Rep) and Scrape Off The Black (Theatre Royal Stratford East). TV credits include: The Chelsea Detective, Landscapers, Safe Space, Hollyoaks, Eastenders, Casualty, Doctors, Someone You Thought You Knew and Guilt.  Film credits include: The Tape, Dragonfly, Below and How Stella Got Her Groove Back.

Charles Blyth
Theatre credits include: The Simon and Garfunkel Story (UK and International Tour), Teechers (White Horse Theatre), The Dark Lord and The White Witch (UK and International Tour), Tess of the D’Urbervilles (International Tour), Romeo and Juliet (The Complete Works) Goldilocks and the Three Bears, Cinderella (Gorleston Pavilion) and H.M.S Pinafore (King’s Head).

Maxwell Cole
Theatre credits include: Various DanceMania shows.

Athena Collins
Theatre credits include: Bare: A Pop Opera (Vaults Theatre) and Six The Musical (UK Tour).

Micheal Duke
Theatre credits include: The Inheritance (Noel Coward), West Side Story (Manchester Royal Exchange), William Shakespeare’s Romeo and Juliet (Secret Cinema), Into the Woods (The Cockpit Theatre), Outlaws to In-laws (King’s Head Theatre), Travels With My Aunt (Chichester Festival Theatre), Beautiful: The Carole King Musical (Aldwych), The Rat Pack LIVE! (Arts Theatre), Thriller Live (The Lyric), The Lion King (Lyceum) and Bizet’s Carmen (Opera Holland Park).

Kimmy Edwards
Theatre credits include: Legally Blonde, Dreamgirls (The Savoy) where she won an International Artists Recognition Award for Best Female Stage Performer, The Who’s Tommy, Hairspray (German Tour), Ghost The Musical (UK Tour), Memphis (Shaftesbury Theatre) Peter Pan, In The Heights (King’s Cross Theatre), Kiss me Kate (The Watermill Theatre) and One Night of Tina (European Tour). 

Raphael Estavia
Theatre credits include: Disney’s The Lion King (UK Tour).

Henry Faber
Television credits include: Glow & Darkness, Victoria (Mammoth), Henry IV I & II (BBC). His film credits include: King Authur (Warner Bros), Johnny English Reborn (Working Title).

Cannon Hay 

Theatre credits include: Thriller Live! (Lyric).

Savanna Jeffrey
Theatre Credits include: The Book of Mormon (Prince of Wales).

Rohan Pinnock-Hamilton
Theatre credits include: Dreamgirls (The Savoy), The Scottsboro Boys (Garrick), Some Like it Hip Hop (West End and Tour), Riverdance (European and US Tour), Joseph and His Amazing Technicolor Dreamcoat (UK Tour), Hairspray (West End) and Mary Poppins (UK Tour). TV credits include: Children’s Ward and My Parents Are Aliens. He also starred inITV’s celebrity dance show Dance-Dance-Dance, where he reached the final.

Cleopatra Rey

Theatre credits include: Motown: The Musical (Shaftesbury), The Book of Mormon (Prince of Wales), Sister Act (Grand Opera House), Brother Love’s Travelling Salvation Show (UK Tour), Dirty Dancing (Aldwych), Arabian Nights (Cockpit Theatre) and The Wiz Ensemble (Cockpit Theatre). Cleopatra Was a live finalist on the BBC1 Show I’d Do Anything.

Julene Robinson
UK credits include: My Cape is Invisible (Pleasance). Screen credits include The Witcher (Netflix), I am MIA, (Salzburger Films) Cleaning House (10A Production, Jamaica) Origins (Kurt Wright Film, Jamaica). She has extensive theatre credits in Jamaica.

Nate Simpson
Theatre credits include: Mowtown (Shaftesbury Theatre), The Lion King (Lyceum) and The Crooners (UK Tour).  He has worked extensively in the music industry, performing on television, radio, at Festivals and in arenas, both in his own right as an artist, and as a background vocalist.

Archie Smith  
Theatre credits include: Fun Home (Young Vic), The Bodyguard (UK & International Tour). 

Declan Spaine
Theatre credits include: Red Dust Road (National Theatre Scotland) and Four Play (Above the Stag Theatre). Short Film credits include: The Gossip (Tanktop Films).

Jaime Tait
Theatre credits include: Motown the Musical (Shaftesbury Theatre), Beautiful: The Carole King Musical (Aldwych), Guys and Dolls (Royal Exchange Theatre), The Producers (The Gordon Craig Theatre), West Side Story (Stratford Upon Avon) and Babes in Arms (Ye Olde Rose and Crown).

Teddy Wills
Theatre credits include: Man of La Mancha (English National Opera) and Caroline, or Change (Playhouse Theatre).

Choreographer – Shelley Maxwell
Musical Supervisor & Arranger – Phil Bateman
Set Designer – Chloe Lamford
Costume Designer – Lisa Duncan
Lighting Designer – Charles Balfour
Sound Designer – Tony Gayle
Sound Effect Designer – Ben Grant
Video Designer – Tal Yarden
Wigs, Hair & Make-Up – Campbell Young
Orchestrator – Simon Hale
Musical Director – Sean Green
Casting Director – Pippa Ailion CDG