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THE LEGEND REBORN

MICHAEL HARRISON IN ASSOCIATION

WITH CAMERON MACKINTOSH

PRESENTS A SPECTACULAR NEW PRODUCTION OF

BOUBLIL AND SCHÖNBERG’S

PERFORMANCES BEGIN AT THE NEWCASTLE THEATRE ROYAL ON SATURDAY 4 OCTOBER 2025, AHEAD OF A MAJOR UK TOUR

The soaring musical score features the hits songs; The Heat is On in Saigon, The Movie in My Mind, Last Night of the World and The American Dream.

miss-saigon.com

Michael Harrison in association with Cameron Mackintosh is delighted to present a new touring production of the global stage sensation, MISS SAIGON, as Boublil and Schönberg’s legendary musical is reborn. This epic production will open at the Newcastle Theatre Royal where it plays from Saturday 4 – Saturday 25 October 2025. This year marks 35 years since MISS SAIGON made its West End premiere.

The tour goes on to visit the Playhouse Theatre, Edinburgh (Tuesday 28 October – Saturday 1 November 2025); Palace Theatre, Manchester (Tuesday 4 – Saturday 15 November 2025); The Alexandra, Birmingham (Tuesday 18 – Saturday 29 November 2025); Grand Theatre, Leeds (Tuesday 2 – Saturday 13 December 2025) and New Theatre, Oxford (Tuesday 16 December 2025 – Saturday 3 January 2026).  

Further dates, full casting and production team are to be announced.Sign-up for news and access to priority booking at miss-saigon.com.

In the last days of the Vietnam War, 17-year-old Kim is forced to work in a Saigon bar run by a notorious character known as The Engineer. There she meets and falls in love with an American GI named Chris, but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.

Of the new revival, Cameron Mackintosh comments:

“35 years after Boublil and Schönberg’s legendary musical MISS SAIGON first opened to international success, I am delighted that this powerful heart-wrenching love story has remained timeless around the world. The story of two young people – an American soldier and a Vietnamese girl – who fall in love as their lives are torn apart by war, ultimately causing a mother to sacrifice her life for her child, has become a worldwide hit, as well as one of the most popular musicals ever in Asian countries, with separate companies regularly playing in Korea, Japan, the Philippines and Singapore.

The recent hugely successful Sheffield Crucible production took a contemporary look at this great musical and that inspired producer Michael Harrison and I to also take a fresh look at MISS SAIGON and create a modern version that can play many theatres that the original was unable to do.

Directing this exciting new production is Jean-Pierre van der Spuy, who recently directed the acclaimed Australian Opera production of MISS SAIGON and with Matthew Bourne is co-directing my hugely successful new production of Oliver! in the West End. Like the phoenix that is so central to the show’s story MISS SAIGON will rise again next year – a legend reborn”

Michael Harrison continues “It is thrilling to be collaborating with Cameron on a brand-new production of Miss Saigon. Millions of people around the world have been moved by its riveting story, messages of family and enduring love, and by Boublil and Schönberg’s majestic score. I am delighted that we can now bring this story to audiences throughout the country in a brilliant and modern production.”

Since its London premiere in 1989, Cameron Mackintosh’s original production of Alain Boublil and Claude-Michel Schönberg’s epic musical MISS SAIGON became one of the most successful musicals in history. The original Broadway production of MISS SAIGON opened on April 11, 1991, and played for nearly ten years with its 4,097 performances attended by more than 6.3 million people. Cameron’s latest London production of MISS SAIGON opened in London in May 2014 to record-breaking advance sales and critical acclaim, followed by a UK tour in 2017. During this run, in 2016, the spectacular 25th Anniversary Gala Performance of this timeless musical, featuring appearances by the original cast, including Jonathan Pryce and Lea Salonga, took place and was filmed for television and cinema and continues to be shown around the world.

MISS SAIGON has been performed in 33 countries, 378 cities in 15 different languages, has won 75 major awards including 2 Olivier Awards, 3 Tony Awards, and 4 Drama Desk Awards and has been seen by over 38 million people worldwide.

MISS SAIGON has music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil, adapted from original French lyrics by Alain Boublil, with additional lyrics by Michael Mahler. Jean-Pierre van der Spuy directs this production.

MISS SAIGON is produced by Michael Harrison in association with Cameron Mackintosh.

NOMINATIONS NOW OPEN FOR

THE 25^TH ANNUAL WHATSONSTAGE AWARDS

WhatsOnStage today announces that nominations are now open for the 25^th Annual WhatsOnStage Awards, the only major theatre awards decided by the theatregoers themselves. Nominations will close at midday on 21 November ahead of the shortlist being announced on 5 December 2024. Voting on the shortlist will then open at the same time, closing on 9 January 2025.

The annual event sees theatregoers across the UK nominating and voting for their favourite shows and performers. It will culminate in a glitzy concert spectacular at The London Palladium on 9 February 2025, with the winners being announced on the night.

As well as seeing the winners crowned across a range of categories, theatregoers will also enjoy a host of exclusive live performances from top stage talent, accompanied by a 24-piece orchestra in a one-night-only showcase co-produced with creative directors Alex Parker and Damian Sandys.

Tickets are on sale now. 

WhatsOnStage’s Darius Thompson and Alex Wood said today: “Let the campaigning begin! We’re so excited to provide audiences with the opportunity to have their say and crown their favourite shows and creatives. As is the case every year, we continue to refine and adapt our awards line-up to reflect the ever-changing nature of our theatre community. This year, we’ve broadened the scope of the Best Off-West End Production Award and renamed it the “Best Studio Production Award” to recognise smaller-scale venues across the nation, to celebrate artists making captivating work in more intimate spaces.

“Secondly, after many years of constructive conversations, we’ve introduced a Wigs, Hair and Make-Up category to foreground the incredible work being done by some of theatre’s most innovative artists. We can’t wait to come together on 9 February at The London Palladium for an extra-special event for our silver anniversary!”

For each of the following, readers will be able to nominate and vote for one individual/show:

0. Best Performer in a Play – Sponsored by SINE Digital
1. Best Performer in a Musical – Sponsored by Ticketmaster
2. Best Supporting Performer in a Play
3. Best Supporting Performer in a Musical – Sponsored by Newman Displays
4. Best Takeover Performance
5. Best Professional Debut – Sponsored by AKA
6. Best New Play – Sponsored by Go Live Theatre Projects
7. Best New Musical – Sponsored by Travelzoo
8. Best Play Revival – Sponsored by Edwardian Hotels, Official Hotel Partner
9. Best Musical Revival – Sponsored by Concord
10. Best Regional Production – Sponsored by MTI
11. Best Studio Production – Sponsored by Theatrical Rights Worldwide
12. Best Concert Event
13. Best West End Show – Sponsored by Dewynters

For almost all categories, productions must have begun preview performances of a press-reviewed run before 7 November 2024 in order to be eligible. Nominations close at midday on 21 November 2024.

Audiences are strongly encouraged to read the eligibility criteria before submitting their nominations. Eligibility criteria are available here. 

The shortlist for the technical categories (Choreography, Costume Design, Direction, Wigs, Hair and Make-Up Design, Lighting Design, Musical Direction/Supervision, Set Design, Sound Design, Casting Direction and Video Design) will be decided once again by an independent panel of industry experts from across the UK appointed by WhatsOnStage, taking the total number of categories to 24. Shortlists will then be voted on by the general public.

WhatsOnStage would like to take this opportunity to thank the 2025 awards ceremony sponsors: 5RB, Above Title Finance, AKA Promotions Ltd, AudienceView, Avalon, Boulevard Events, Concord, Dewynters, Disney’s Hercules, Edwardian Hotels, Hexagon Print, Go Live Theatre Projects, LOVEtheatre, Music Theatre International, Newman Displays, Outernet Venues, Preevue, PRG, Re:Water, RSVP-ify, SINE Digital, Steeldeck Rentals, Tandem Marketing, Theatrical Rights Worldwide, Ticketmaster, TikTok, Travelzoo and White Light.

awards.whatsonstage.com

lwtheatres.co.uk 

Twitter: @WhatsOnStage #WOSAwards
Instagram: @WhatsOnStage

TikTok: @WhatsOnStage

Birmingham Hippodrome – until 9th November 2024

Reviewed by Emma Millward

4****

** Due to cast illnesses, this performance was adapted to a shortened ‘concert version’ of the songs from the show, with full costume and the live band alongside a story line narration. **

Live theatre is often unpredictable, and situations can arise at the last minute to test even the most prepared theatre company. Last night’s performance of Play On! at the Birmingham Hippodrome was one of those unpredictable nights. Due to cast illnesses, including the production’s leading lady, Tsemaye Bob-Egbe as Viola/Vyman, The Talawa Theatre Company took the difficult decision to adapt last night’s show and perform a 70 minute ‘concert’ version. The show featured the songs and choreography, but with much less dialogue. 

The show is based on Shakespeare’s Twelfth Night reimagined in the Jazz Era of 1940s Harlem. It began life in 1997, conceived by original director Sheldon Epps, with a book by Cheryl L. West. The show has never been performed in the United Kingdom. Talawa Theatre Company is a Black British theatre company that decided to revive the show and bring it to British audiences. The show features Duke Ellington’s music.

After an understandable short delay, the show began with director Michael Buffong explaining the situation. Buffong became our on-stage narrator throughout. Sat to the left of the stage, joining the audience in witnessing the immense talent that his cast proved they possessed throughout the performance. Although it was to be a concert-style performance with the cast given chairs set out on the stage, the cast still gave it their all, with their character’s mannerisms and facial expressions often drawing laughter from the audience. Rather than just performing each song one by one, Michael Buffong’s narration weaves a story and connection between them. The story of unrequited love, sexism, and ultimately acceptance. 

We meet lovelorn Duke (Earl Gregory) and Rev (Cameron Bernard Jones), who have both fallen for Lady Liv (Koko Alexandra), a singer at Harlem’s famous Cotton Club. Throughout the show, Miss Mary (Tanya Edwards), Sweets (Lifford Shillingford), and Jester (Llewellyn Jamal) all try to help Rev woo Lady Liv. This sets the scene for probably the funniest part of the show. Rev shows up in a bright yellow zoot suit to sing ‘I’m Beginning To See the Light’ for Lady Liv to try to win her affection. The way Cameron Bernard Jones moved around the stage spinning and lunging in his striking suit left the audience in fits of giggles. A special mention must be given to Koko Alexandra as Lady Liv. Her vocals were amazing and pitch-perfect, especially during ‘I Ain’t Got Nothin’ But The Blues’. The band led by Ashton Moore, who were onstage throughout, were also outstanding. 

Against all odds, Talawa Theatre Company and its exceptionally talented cast provided an exciting and toe-tapping performance that they should be very proud of. The prolonged standing ovation at the end speaks for itself. While it may not have been the show the audience expected to see, as the saying goes… the show must go on, and the cast proved that they can ‘Play On!’

BRAND NEW THEATRE VENUE

TO OPEN IN WESTFIELD LONDON AUTUMN 2025

LAUNCHING WITH BOX OFFICE RECORD BREAKING HIT

THE CLASSIC STORY ON STAGE

MAKING ITS TRIUMPHANT RETURN TO LONDON

PERFORMANCES BEGIN THURSDAY 23 OCTOBER 2025

Tickets on sale Friday 8 November 2024
dirtydancingonstage.co.uk
 

Thursday 7 November 2024, London: Karl Sydow and Adam Kenwright are delighted to today announce their new joint venture. Capital Theatre, a permanent new theatre venue, will open in West London in Autumn 2025 with the record-breaking Dirty Dancing – The Classic Story on Stage set to be its very first production. Performances commence on Thursday 23 October 2025 in Westfield London in Shepherd’s Bush.

Tickets go on sale Friday 8 November at dirtydancingonstage.co.uk– book now for the time of your life!

Karl Sydow, Producer, Dirty Dancing – The Classic Story On Stage, said: 
“I began my entertainment journey in 1965 with Rock’n’Roll bands, moved to theatre in 1982, produced my first show in 1988 and received my first Tony nomination in 1991. I have presented shows all over the world from the smallest of the fringe to the largest of West End Theatres and produced Dirty Dancing – The Classic Story on Stage since 2004. So at the halfway point in my theatrical life I’m thrilled to be doing something very special and new to me with a very special friend. It’s time to build and run a venue! We have always had a mission to bring more people to the theatre and by opening the Capital Theatre at Westfield London, we are bringing a theatre to where the people are!”

Adam Kenwright, Founder & Managing Partner at Kindred Partners, continued: 
“We are so excited today to announce the Capital Theatre: a thrilling, state of the art addition to London’s thriving entertainment scene. We have created a uniquely tailored and designed new space, with the experience of audiences at its heart. London’s theatres are on course to deliver the greatest ever attendance figures in 2024, with 17 million tickets and, for the first time ever, sales in excess of £1 billion. Capital Theatre will build upon this, supported by superb transport links to provide easy access for audiences from across the UK. With Dirty Dancing – The Classic Story on Stage as the inaugural show in the venue, we will be launching with a world-renowned production that has a track record of more than a decade’s sold-out seasons in London and throughout the country.”

Laura Waters, General Manager at Westfield London, added:
“We are absolutely thrilled to debut Capital Theatre at Westfield London with the world-renowned production of Dirty Dancing – The Classic Story on Stage. As the UK’s leading destination for shopping and leisure, Westfield London is continually evolving to offer unparalleled experiences, and this purpose-built, state-of-the-art theatre is an exceptional addition. We look forward to welcoming audiences to this spectacular new venue to enjoy a world-class show.”

Capital Theatre is to be operated by Adam Kenwright and his company Kindred Partners in partnership with Karl Sydow. With the auditorium designed and built by the architect and design team behind The Bridge Theatre, @sohoplace, The Young Vic and the recent transformation of the Playhouse Theatre into the Kit Kat Club.

The brand new purpose-built 620 seat venue is set over 35,000 square feet, taking over the southwest corner at the vibrant Westfield London in Shepherd’s Bush. The intimate flexible auditorium will deliver a premium experience where every seat offers a fantastic view, and no customer will be more than 9 rows from the performance stage area. The venue will accommodate premium rehearsal rooms, first class backstage facilities including offices, dressing rooms, creative and technical facilities alongside management offices.

The state-of-the-art venue will include a welcoming foyer café serving delicious food and drink throughout the day, complemented by an onsite box office and merchandise store open seven days a week. Capital Theatre is ideally situated in the heart of Westfield London, offering customers exceptional accessibility through numerous public transport links (served by 4 major London underground stations: Shepherd’s Bush, White City, Wood Lane and Shepherd’s Bush Market) and convenient car parks nearby, with 5000 parking spaces on site. The venue will have access directly from the street and from within Westfield itself.

Dirty Dancing – The Classic Story on Stage will be the first production to open at Capital Theatre. The smash hit musical, produced by Karl Sydow, will make a triumphant return to London, having had two box office record-breaking seasons in the West End in the last four years.

Get Ready for The Time of Your Life. Dirty Dancing – The Classic Story on Stage returns to London in a stunning new venue!

Experience the iconic story like never before as the legendary, officially endorsed theatre production of Dirty Dancing takes to the stage at Capital Theatre – an intimate, purpose-built venue at Westfield London.

The worldwide smash hit has already captured the hearts of millions across the globe. Now you can step into a beautifully designed theatre space that brings you closer to the action, ensuring you won’t miss a single heartbeat of this exhilarating production.

Featuring sensationally sexy choreography, that famous lift and all your favourite moments live and up close, accompanied by the classic soundtrack of 35 hit songs including Hungry Eyes, Hey Baby, Do You Love Me? and the heart stopping (I’ve Had) The Time of My Life, played live.

Be transported back to Kellerman’s resort in the summer of ’63 where Baby first meets charismatic dance instructor Johnny Castle and quickly becomes drawn into his world.

Relive their timeless love story as Baby explores her deepening feelings for Johnny, navigates her friendship with Penny—Johnny’s best friend and dance partner—confronts the expectations of her conservative parents, Marjorie and Jake Houseman, and deals with the disruptions caused by the self-serving Robbie Gould and Vivien Pressman.

Discover a fresh take on the beloved story, script, and music from the acclaimed live stage phenomenon. This intimate, fully staged new production features a cast, band, and company of over 40 performers, reimagining the iconic tale from Baby’s memorable moment of “carrying a watermelon” to her heartwarming transformation and the unforgettable final dance that proves, “Nobody puts Baby in a corner.”

Dirty Dancing – The Classic Story on Stage is a Karl Sydow production in association with Lionsgate and Magic Hour Productions, written by Eleanor Bergstein.

Casting is to be announced.

Everyman Theatre, Cheltenham – until 9th November 2024

Reviewed by Jacqui Radford

4*****

As the author of ‘Rebus’ books, Ian Rankin has worked with Simon Reade to bring his iconic detective character to the stage. The production sees Rebus, who has recently retired, involved in an after-dinner murder mystery game that is written by the host and charged with alcohol and tension.

The audience is introduced to the guests as they begin their ruminations about the murder of a fictitious character, ‘Lord Manningham’. The set itself draws you into the secrets and tales of a stately home and its guests. As the dinner guests share their various theories, we are gradually introduced to the complex relationships between guests and their varying characteristics. All activity and drama are played out in the dining room.

For the first half of the play, it seems that the audience is part of the game and tasked with solving the mystery alongside the dinner party guests. Rebus (played by Gray O’Brien) himself makes plenty of contribution to discussions. The comings and goings of each of the guests feel a little mundane and have no bearing on solving the mystery set by their host.

At the end of the first half, the classic ‘twist in the tale’ is unveiled: a guest discovers a body in a room elsewhere in the house. Suddenly, every detail of the play so far becomes more relevant. At half time, the audience is left tracking back over the detail of the first half, desperately trying to anticipate how a death has occurred in the house, right under everyone’s nose.

In the second half, the tension and suspicion between guest rises and the possibility that anyone at the party could be responsible for murder is introduced with a vengeance. Rebus himself switches from involved guest to crime scene investigator, clearly invigorated by the opportunity to ‘get back to work’. Every movement from the first half is retraced and every interaction between guests is analysed. Rebus shows that he still has what it takes to solve a crime but not without consequence to the relationships between guests.

The brilliance of this show lies in the skilful way that the cast portray each of the characters as mere dinner guests and potential murderers in equal measure. It certainly isn’t a straightforward murder mystery play but more a case of two mysteries.

Leeds Grand Theatre – until 9th November 2024

Reviewed by Lauren Fordham

4****

Dear Evan Hansen is a poignant and passionate piece, albeit one arising from a somewhat perverse premise. It stars Ryan Kopel as Evan, an anxious, lonely, disconnected teen whose therapeutically-assigned letter to himself, printed off the school computer is taken from him by another pupil, Connor Murphy, who soon after seeing it takes his own life. The letter is seized upon by Connor’s grieving parents Cynthia and Larry as proof and comfort that Connor was not a friendless loner as they had thought and that, though ultimately unsuccessful, Evan had attempted to help Connor with his mental health. Seeing the Murphys’ delight and keen to soothe the anger of their daughter Zoe, with whom he is in love, Evan becomes increasingly close to them and enlists his friend Jared to help him make a chain of secret emails that detail his and Connor’s relationship. In the process Evan catalyses a school-wide multimedia mental health campaign christened ‘The Connor Project’ that proliferates and resonates across the US. While initially this gives him the connection with Zoe and a pseudo-powerful parasocial popularity that he craves, Evan soon finds that his lies and increasingly egotistical behaviour are being questioned by his peers and mother and he breaks down, no longer able to sustain the pretence.

For me, appreciating Ryan Kopel’s Evan was a slow burning  relationship as, while vocally unequivocally excellent, he made interesting acting choices that underplayed Evan’s anxiety and instead elevated the personality change that came with his increased popularity, giving a Jekyll and Hyde feel to the role that worked well with Killian Thomas Lefevre’s gothic interpretation of Connor Murphy.

I enjoyed Alice Fearn’s Heidi Hansen because she evokes a sense of genuine care and desire to help Evan, when she recommends he invite his peers to sign his cast as an ice-breaker activity and she is proud of him already, with meaningful sincerity, unlike her Broadway predecessor Rachel Bay Jones, who utters the words on the cast recording with a sarcastic cynical air. Her vocals also soar beautifully alongside those of Helen Anker’s Cynthia Murphy in ‘Anybody Have A Map?’ 

I feel Helen Anker’s talents and perspective as Cynthia is underused and underrepresented in the show, I wish the cut song between Heidi and Cynthia, ‘In Bedroom Down The Hall’, where they reflect on their sons’ younger days, had been retained in order to reunify the two mothers in the same way as ‘For Good’ does in Wicked. (Fearn is a former Elphaba and ‘Good For You’ echoes the same frustrated anger of ‘No Good Deed [Goes Unpunished)

As this is such a pioneering and multimedia musical I must commend the talents and teamwork of Lighting Designer Matt Daw, Video Designer Ravi Deepres and the company Nicemonster.tv , who provided Specialist Animation. Daw’s lighting choices are simplistic but powerful. White naturalistic light complements the lyrics of For Forever as Evan sings of ‘climbing higher and higher till the sun shines on my face,’ and the warning red light alongside the scarlet cabinets of the locker room symbolises how school is a dangerous, unhappy place for Evan and other introverted students and a red rag to a bull for those who wish to oppress them. 

By contrast, Deepres works with his assistant Luke Unsworth and  Nicemonster tv to create an overpowering, complex and maze-like entrancing spectacle of multiple screens representing the response to Evan’s show-stopping ‘You Will Be Found’ speech.

The constantly scrolling hashtagged statements and overlapping audio succeed in making the audience empathise with Evan’s panic and sensory overstimulation as his guilt at lying reaches fever pitch.

Unfortunately, the overhang of the stage obscured my view of the screens so for me the effect of them was reduced.

This doesn’t detract from the power and prescience and necessity of this show, however, and I would happily see it again. It resonates deeply with anyone who has ever felt lost and lonely. Don’t slam on your brakes and make the hugely regrettable mistake of missing the show, put your foot on the accelerator and let it teach you how to ‘step into the sun’ before it disappears on 9th November!

NEW ADVENTURES ANNOUNCES FULL UK AND IRELAND TOUR DATES

FOR THE 30^TH ANNIVERSARY TOUR OF

MATTHEW BOURNE’S SWAN LAKE

The Next Generation

VISITING A TOTAL OF 19 VENUES ACROSS 29 WEEKS!

OPENING AT PLYMOUTH THEATRE ROYAL

ON 11 NOVEMBER 2024

THEN PLAYING AT THE LOWRY, SALFORD

AHEAD OF THE 22^ND NEW ADVENTURES ANNUAL CHRISTMAS SEASON

AT SADLER’S WELLS, LONDON

AND A 2025 UK AND IRELAND TOUR

New Adventures is delighted to announce full UK and Ireland tour dates for Matthew Bourne’s Swan Lake, as it returns for its 30^th anniversary with a 2024-25 tour, visiting an incredible 19 venues across 29 weeks, the most touring weeks of any dance company in the UK. New rehearsal photos are also released today.

Matthew Bourne’s Swan Lake begins at Theatre Royal Plymouth from 11 November until 16 November before visiting The Lowry, Salford from 19 November until 30 November, ahead of the 8-week annual Christmas season at Sadler’s Wells from 3 December 2024 to 26 January 2025, marking New Adventures’ 22^nd consecutive Christmas season at the venue.

In 2025, the production will tour to Aberdeen, Sheffield and Dublin, as well the previously announced Birmingham, Nottingham, Liverpool, Bristol, Southampton, Norwich, Newcastle, Edinburgh, Milton Keynes, Cardiff, Canterbury, Bradford and Glasgow. Full tour listings below.

This groundbreaking production of Tchaikovsky’s masterpiece caused a sensation when it premiered almost 30 years ago and has since become the most successful dance theatre production of all time. In celebration of that ongoing impact, Matthew Bourne’s Swan Lake will take flight once more in this major revival, as the next generation of dancers brings it to new audiences across the UK.

Making their debuts as The Swan/The Stranger are rising New Adventures stars, Harrison Dowzell, Jackson Fisch and Rory Macleod, alongside James Lovell, Leonardo McCorkindale and Stephen Murray as The Prince, Nicole Kabera and Ashley Shaw as The Queen, Katrina Lyndon as The Queen and the Girlfriend, and Bryony Wood as the Girlfriend.

The company is completed by Matthew Amos, Benjamin Barlow Bazeley, Alistair Beattie, Ben Brown, Carla Contini, Jade Copas, Anna-Maria de Freitas, Perreira de Jesus Franque, Jamie Duncan-Campbell, Alexander Fadayiro, Savannah Ffrench, Cameron Flynn, Louis Fukuhara, Louis Harris, Kurumi Kamayachi, Sebastien Kapps, Aristide Lyons, Callum Mann, Eleanor McGrath, Jarrod McWilliams, Maisie Mwebe, Mukeni Nel, Eve Ngbokota, George-Murray Nightingale, Harry Ondrak-Wright, Barnaby Quarendon, Molly Shaw-Downie, Nikolas Shikkis, Xavier Andriambolanoro Sotiya, Tom Standing and Christina Walters.

Thrilling, bold, witty and emotive, this genre-defining event is still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered convention, turning tradition on its head.

First staged at Sadler’s Wells in London in 1995, Matthew Bourne’s Swan Lake took the dance theatre world by storm becoming the longest running full-length dance classic in the West End and on Broadway. It has since been performed across the globe, collecting over thirty international accolades including the Olivier Award for Best New Dance Production and three Tony Awards for Best Director of a Musical, Best Choreography and Best Costume Design.

Matthew Bourne’s Swan Lake is directed and choreographed by Matthew Bourne, with set and costume design by Lez Brotherston, lighting design by Paule Constable, video and projection design by Duncan McLean, and sound design by Ken Hampton.

Fortnum & Mason is the Official Partner of Swan Lake. Edwardian Hotels is the Official Hotel Partner.

The Kings Theatre, Portsmouth – until 9 November 2024

Reviewed by Lorna Hancock

5*****

With book, music and lyrics by Willy Russell, Blood Brothers started out as a ‘Liverpudlian folk opera’, before it was taken to the West End. Directed by Bill Kenwright and Bob Tomson, the production surpassed 10,000 consecutive performances, one of only 3 musicals ever to achieve that milestone, making it one of the longest running musicals in West End history. Watching the production at The Kings, it’s not difficult to see the reasons for it’s success.

It tells the tragic tale of twins, Mickey (Sean Jones) and Eddie (Joe Sleight), separated at birth and brought up in completely different environments. Eddie’s successes in growing up in an affluent society, and the gradual demise of Mickey as a result of his lower-class surroundings. An unlikely friendship, ending in tragedy as both twins discover their secret.

The camaraderie between the brothers was touching to watch. The parts were played flawlessly, and Sean Jones’ Mickey was outstanding. I absolutely loved his comic monologue about “our Sammy” and how he wasn’t seven, he was “nearly eight” it drew us in to his very loveable character instantly.

The songs in the show are perfectly placed, and rather genius in describing the passing of time. It’s hard to pick out particular songs as they were all so brilliant. Vivianne Carlyle’s ‘Marilyn Monroe’ and ‘Reprise’ were very moving and pleasing. Whereas in contrast Scott Anson as the Narrator, with his various eerie renditions of ‘Shoe’s Upon the Table’, really intensified the situation spiralling out of control.

The cast on a whole was extremely talented, playing a whole plethora of characters from children to Policeman with ease.

The show cleverly takes us through the journey of the boys growing up, and builds up to the most dramatic end scene. The audience fell silent, as we all awaited the moment we knew was about to come. Although we knew what was coming, with the remarkable portrayal of the characters, it still shocked us and brought tears to our eyes. All accumulating to the most beautiful rendition of ‘Tell Me its Not True’, by the full company led by Carlyle’s impressive vocals, they all showcased exquisite harmonies with a stunning result.

It’s difficult to put down in words just how this musical makes you feel. You really have to experience it. I was completely entranced by the twin’s emotional journey. Such a heart-warmingly beautiful tale of friendship and tragedy. A sensational masterpiece that makes you laugh and cry, and as you leave the theatre you wish you could experience it all over again.

York Theatre Royal – until Saturday 9^th November 2024 

Reviewed by Michelle Richardson 

5*****

Who doesn’t love a bit of Jane Austen and Pride & Prejudice? For me, the Colin Firth and Jennifer Ehle rendition springs to mind. Who can forget the lake scene? If you are not aware of the book, it follows the story of five sisters in the early 19^th century. Their mother is eager to marry them off, in order to secure their futures. If she is unsuccessful they will be ruined. Due to archaic laws they wouldn’t be able to inherit, and the family wealth would go to the nearest male relative. 

This adaptation by Isobel McArthur, is like nothing you have ever seen before, a completely fresh take on a true classic. 

The show starts before we are even aware. Five maids are scattered around the theatre, cleaning, even as the audience are taking their seats. It isn’t until they make their way to the stage that we realise the show has started. The maids from Longbourn House, wearing black boots and chemises, set the scene, and are at the  heart of the entire show, moving the plot along. 

The five actors, Susie Barrett, Emma Rose Creaner, Rhianna McGreevy, Naomi Preston Low and Christine Steel, play all the roles, morphing from one character to another, all with different accents, with consummate ease. This is all done seamlessly within seconds, with something so simple as the addition of a jacket, a pair of spectacles, a slip of a dress. It was impressive to watch and I am in awe there were no slip ups. 

All the characterisations are fabulous, from simpering Collins, highly strung Lydia, dastardly Wickham, dashing Bingley, to smouldering Darcy. Make sure you look out for Mr Bennet.  

Have I mentioned that there is singing? I did say that this was a fresh take on the iconic work of Jane Austen. Throughout, all of a sudden a mini boom box and microphone appear and they burst into song. Not only could the extremely talented cast act, sing and dancing, but they also played a piano, recorder and glockenspiel. 

Have I also mentioned that this is funny? As well as the serious stuff, the show it littered with humour, the sound of laughter resonated throughout the theatre. What with some of the imaginative costumes and surprising props used to great effect, it just added to the comedy factor.  

This is an hilarious adaptation, a modern take on a traditional story, with imaginative creativeness. A wonderful uplifting production that is funny and had everyone laughing and smiling.  

This is the best show that I have seen this year. A must see, I encourage all to go out an buy a ticket, especially for Jane Austen fans, you will not be disappointed. 

Mayflower Theatre, Southampton – until 9th November 2024

Reviewed by Gil Gardiner

5*****

It was fantastic! Amazing cast, great music and very entertaining modern twist on a Shakespeare’s tragic love story.

When Shakespeare (X factor’s Matt Cardle) is persuaded by his wife Anne Hathaway (Lara Denning) to change Romeo and Juliet’s ending, Juliet (Geradine Sacdalan) is given a second chance of life, going on a wild trip from Verona to Paris with Anne, her best friend May (Jordon Broatch) and Nurse (Sandra Marvin). Things go awry when an unlikely love triangle unfurls and, spoiler alert, Romeo miraculously comes back to life.

We are treated to a hilarious and empowering adventure filled with iconic pop hits by Max Martin. The show is a non-stop party with a soundtrack featuring hit after hit after hit, songs like “Baby One More Time,” “Since U Been Gone,” “Oops I Did It Again” and “Roar.” The music is cleverly woven into the narrative, creating a fun and energetic atmosphere.

The cast is incredibly talented, with standout performances from the leads and the ensemble. The chemistry between the actors is palpable, adding to the overall enjoyment of the show. Geraldine Sacdalan was excellent as Juliet, a rising star that I’m sure we will hear much more of in the future. Lara Denning also deserves special mention whose comic timing was matched by strong pure vocals; her rendition of Celine Dion’s “That’s The Way it Is” left the audience with goosebumps.

The production is visually stunning, with dazzling costumes and a dynamic set design. The lighting and sound design are also top-notch, enhancing the overall experience.

& Juliet is a fun, feel-good musical that is sure to leave you smiling. The audience were itching to get up and dance, and were straight up on their feet in the encore “Roar”ing their approval. There is no wonder that the show won three Olivier awards when it was in the West End. If you like your musicals rammed with pop hits you’re in heaven here – 30 pop songs delivered in two and a half hours. The messages of inclusivity, gender sensitivity and girl power hit all the right notes for a modern audience. It is a perfect choice for a night out with friends or family