Lyceum Theatre, Sheffield – until Saturday 18 January 2025
Reviewed by Sharon Farley
5*****
In this adaptation of the Jane Austen classic, actor, writer and director Isobel McArthur (Quiz!, Kidnapped, How to Sing it) has pulled out all the stale stuffiness of a Regency England period drama and repacked it with the joyful bounce of a boisterous girls night out. McArthur’s inventive synthesis of some dark, central themes carried high on the shoulders of fizzing entertainment shakes up your perspectives of the space occupied by women in society whilst also leaving you wanting to dance in the aisles. Little wonder it earned her awards from both Olivier and Them Evening Standard.
Both cast and crew have capitalised on the comedic element of Austen’s original and supercharged it with something that sits between music hall slapstick and the alternative brilliance of The Comic Strip Presents. We are still treated to the human stories of romance and rejection, love and longing, but with the heart wrenching messages between parties swapped out for karaoke classics. I know, this sounds wrong, but somehow it’s just so right – and I say that as someone whose very idea of hell is a karaoke night.
Beyond the rip roaring fun of it all, the layers underpinning this production’s ethos are sturdy and admirable. The tale is a stark reminder of the dominance of the patriarchal and class driven society endured by Austen in the 1800’s – unable even to write under her own name – where every woman’s fate was sealed by the willingness of a man to take charge of her (and her family) through marriage. That the company has chosen to make this an all female cast is genius, which is doubled by the narration being put into the hands of the servants’ characters.
Changes in accent and costume allow all the actors to take multiple parts to great effect, and everyone has the opportunity to shine; there are no bit parts here. Emma Rose Creaner (Lobster Bisque, Tartuffe, Power Ballad) is particularly noticeable as the effervescent burst of energy powering some of the most comical moments. Naomi Preston Low (The Sound of Music, Mudlarks, Bridgerton) delivers the essence of sass into her portrayal of the rebellious Elizabeth Bennett, while Rhianna McGreevy (Twelfth Night, Nell Gwynn, The Witcher) flips between the melodrama of Mrs Bennett and the cool, misunderstood aloofness of Mr Darcy with ease. The gentle, lovestruck Jane Bennett is played brilliantly by Eleanor Kane (A Monster Calls, The Duchess (of Malfi), The Invincibles), who also takes the part of the debauched George Wickham in other scenes. The well studied diligence of all members of cast and company is clear in the excellent use of props, footwork, and timing. It is pure theatre at its best and no surprise that it has been rewarded with an Olivier Best Comedy Award.
In Sheffield, the first night performance received a standing ovation. No matter how you feel about Jane Austen, or karaoke, this phenomenally energetic interpretation cannot fail to win you over.
Meatloaf’s legacy lives on in Jim Steinmans musical Bat Out Of Hell!
This fantastic musical, set in a world where there are ‘Lost’ people, running from the authorities is sure to get your heart pumping, foot tapping and leave you wanting more.
We meet Raven played by Katie Tonkinson, who wishes to be with Strat, Glenn Adamson, one of the lost boys. Her father, Falco (Rob Fowler) is against this idea and stops her from going to be with him, however, Sloane (Sharon Sexton) her mother encourages leading to a dramatic end plot!
Having seen the show before, I’m pleasantly surprised to say I enjoyed it thoroughly! The cast were superb, with the most incredible vocals from both Tonkinson and Adamson which worked in harmony together alongside their acting. Tomlinson’s portrayal of Raven was the best I’ve seen, really giving a character arc and leaning into the role with ease. She was truly spectacular in the second half, whilst singing some of the most well known Meatloaf songs – she excelled! Adamson was, as always, great but he had adapted his role to give a more sincere performance which I thoroughly enjoyed. The connection and chemistry between the two was palpable and I was engrossed at all points. Fowler and Sexton were exquisite. It was the first time I had seen Sexton in the role and she blew me away – she was the perfect characterisation of Sloane which led me wanting more of her onstage! She sang with absolute clarity and devoured her delicious harmonies with ease. Together with Fowler, this was a perfect match and they were ‘the moment’ whenever they were on stage! I couldn’t believe my ears when they were gliding in seamless harmony.
The ensemble were superb, utilising the set which was incredible, to their maximum gain. My only criticism, was that during the dance sequences, one of the members was continuously off beat which was distracting, however the rest of the cast were stunning.
I was so enthralled by this show and grateful I gave it another chance – leading me to be pleasantly surprised …. to the point that I would book again!! A fast paced, extravaganza celebrating the works of Meatloaf – I can assure you that there are some songs in there you didn’t even know you knew!!!
Festival Theatre, Malvern – until 18th January 2025
Reviewed by Courie Amado Juneau
4****
Dracula. The very name looms over literature like a worryingly dark corner of the room in the dead of night! We all know Bram Stoker’s classic. Or, do we?
Our first impression of the evening was of a set (designed by Victoria Spearing) which was highly intriguing; a sparse wooden frame on multiple levels, more a suggestion of a set… The actors worked hard to navigate the space, the gaping holes in the structure felt apt in the context of this most psychological of Gothic Horrors. We were evidently in for a thoroughly modern production.
The small cast tackled multiple roles in exemplary fashion, morphing from one to another via a transformed voice and the subtle change of a piece of clothing. The costumes were both functional yet sumptuous so kudos to Costume Designer Naomi Gibbs (especially for Dracula’s coat). They also performed composer Tristan Parkes’s original songs live on stage. These atmospheric gems (and other incidental music) added greatly to the fog filled atmosphere. An impressive display from the entire ensemble but Maya-Nika Bewley (playing Mina) is worthy of special mention for her energetic portrayal of this pivotal character.
In an unusual move, Dracula was played by three different actors (David Chafer, Richard Keightley and Harry Rundle). This allowed for the Count to get younger as he fed and gave some interesting juxtapositions like old Dracula (Chafer) being played by his nemesis Van Helsing – not something you see every day! It gave the Count some deliciously intense, off-kilter energy.
My memory of the original story was that Renfield was a minor character. Important, but slight in terms of page (or screen) time. In this production Renfield (played with impactful elan by Marie Osman) was a major part of the plot. The adapter had imbued the character’s story arc with a whole potential subplot that wasn’t in the original book which jarred somewhat as (for me) it felt like an addition crudely nailed on the outside of the story and was totally irrelevant anyway since Renfield was, in fact, insane! Not that this detracted from the tale, just that it stood out like bloody bite marks on a porcelain skinned neck. Adapter Nick Lane took some other liberties with the script with the ending being the biggest shock of the night. I believe he was making a rather important social commentary point which I appreciated and won’t spoil. It’s certainly a talking point.
I did miss a “crappy flappy bat” on an ineffectual wire – if I’m truly honest. But, then, I’m a massive fan of Universal and Hammer depictions so that probably says much about my schlocky preference and sensibilities. I was tickled pink though that the Count didn’t lose the “…children of the night… what music they make” line to Harker (Pelé Kelland-Beau giving us a finely nuanced portrayal).
This production may come as a surprise to many – which isn’t a bad thing for a tale so oft told. Blackeyed Theatre made some bold choices and almost all paid off handsomely, so they are to be loudly applauded. Personally I loved it and wholeheartedly recommend this show. One might even declare it (apologies in advance but sorry, can’t resist) “bloody good entertainment”.
The producers of Toby Marlow and Lucy Moss’s award-winning global smash hit SIX are thrilled to announce details of the new Queens joining the home-grown hit musical sensation.
Taking reign over the court from Tuesday 18 February 2025 will be Jaz Robinson (SIX – Royal Alexandra Theatre, Toronto) as Catherine of Aragon, Thao Therese Nguyen (SIX – West End) as Anne Boleyn, Hana Stewart (SIX – West End and Broadway) as Jane Seymour, Dionne Ward-Anderson (SIX – West End) as Anna of Cleves, Caitlyn De Kuyper (SIX – Norwegian Cruise Line) as Katherine Howard and Amelia Kinu Muus (Kiss Me Kate – Barbican) as Catherine Parr. They will be joined by Leonor Correia, making her professional debut as Alternate Seymour/Howard, Honey Joseph (Hamilton – UK Tour) as Alternate Aragon/Cleves, Odelia Dizel-Cubuca (Harry Potter and the Cursed Child – West End) as Alternate Boleyn/Parr, Shakira Simpson (SIX – UK Tour) as SuperSwing, Meg Dixon-Brasil (SIX – West End) as SuperSwing and Laura Baxter making her professional and West End debut as SuperSwing.
Thao Therese Nguyen and Meg Dixon-Brasil will continue their current roles of Anne Boleyn and Swing. Hana Stewart and Dionne Ward-Anderson both return to the Vaudeville, while Shakira Simpson joins from the UK Tour of the musical. Jaz Robinson returns to SIX after having performed at the Royal Alexandra Theatre in Toronto, while Caitlyn De Kuyper joins the production having previously appeared in Norwegian Cruise Line versions of the musical.
The band features Ladies in Waiting Beth Jerem as Musical Director/Keys, Alice Angliss on Drums, Emma Jemima on Guitar, Kelly Morris on Bass, and Sinéad Rodger as Assistant Musical Director.
Think you know the six Wives of Henry VIII? Think again…
Prepare to lose your head and experience the Tudor Wives’ lives as they turn back the clock and take to the stage to reclaim their crowns and retell their stories of love, loss and the infamous ex they all have in common.
Join Aragon, Boleyn, Seymour, Cleves, Howard and Parr, backed by their fierce on-stage band, the Ladies in Waiting, and Get Down to a royal retelling of the sassiest story in British Her-story.
SIX is written by Toby Marlow and Lucy Moss, with direction by Lucy Moss and Jamie Armitage. Choreography is by Carrie-Anne Ingrouille, with set design by Emma Bailey, costume design by Gabriella Slade, lighting design by Tim Deiling, sound design by Paul Gatehouse, musical orchestration by Tom Curran, and musical supervision by Joe Beighton, and casting by Pearson Casting.
SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.
Winner of over 35 international awards, including two 2022 Tony Awards, three WhatsOnStage awards, and nominated for five Oliviers, SIX can also be seen live on stage worldwide: as well as London’s West End, SIX continues to tour the UK (with new 2025 dates just announced), and throughout Europe. An Australian tour launched in August 2024, whilst international dates in Manila and in Singapore have recently been completed.
SIX is currently playing at Broadway’s Lena Horne Theatre, the tour continues to play cities throughout the US. Earlier this year, the show both achieved 1.5million followers globally – across YouTube, Instagram, X, TikTok and Facebook in the UK, US, Australia, Korea and beyond – and hit another milestone achievement, with SIX the Musical (UK Studio Cast Recording) and the Grammy Award®-nominated SIX: LIVE ON OPENING NIGHT (the first Original Broadway Cast Recording ever recorded live on opening night) songs having been streamed in excess of one billion times.
Tickets to all international productions of SIX are available via sixthemusical.com
ETT ANNOUNCES FULL CASTING FOR MACBETH AT LYRIC HAMMERSMITH THEATRE
★ ★ ★ ★ ★
‘One of the most unique and innovative productions of Macbeth I have seen.’
Broadway World
ETT today announce full casting for Artistic Director Richard Twyman’s version of Macbeth, which is excitingly reworked for 2025 for a limited run at the Lyric Hammersmith Theatre. Joining the previously announced Alex Austin (Macbeth) and Lois Chimimba (Lady Macbeth) are Gabriel Akuwudike (Banquo), Bella Aubin (Malcolm), David Colvin (Lennox), Ammar Haj Ahmad (Macduff), Daniel Hawksford (Duncan), Bianca Stephens (Lady Macduff) and Sophie Stone (Ross).
Macbeth opens on 5 March, with previews from 28 February and runs until 29 March 2025.
Artistic Director Richard Twyman and Executive Producer Sophie Scull said today, “We feel very lucky to have been able to put together such an extraordinary team for our reworked Macbeth. It’s a real thrill that audiences in London will have a chance to see this production and the work of the brilliantly talented people involved in it. Audiences can expect a Macbeth that’s surprising, exciting, dangerous and playful. We’d like to thank all of the partners, actors, creatives, artists and freelancers involved in making and realising it for audiences across the UK, internationally, digitally and now in London.”
Rachel O’Riordan, Artistic Director and CEO of Lyric Hammersmith Theatre, added “I am thrilled to be welcoming English Touring Theatre’s production of Macbeth to the Lyric. We are delighted to bring this compelling and thought-provoking production to our stage in West London.”
★ ★ ★ ★
‘This is a bold and dagger-sharp evening — a thriller in all the right ways.’
The Times
‘Twyman’s production finds humanity in its most visceral moments.’
★ ★ ★ ★
The Stage
Lyric Hammersmith Theatre presents an ETT production
Originally co-produced by ETT, Shakespeare North Playhouse, Northern Stage & Théâtres de la Ville de Luxembourg, and in association with Bristol Old Vic
MACBETH
By William Shakespeare
Directed by Richard Twyman
Director: Richard Twyman; Designer: Basia Binkowska; Lighting Designer: Azusa Ono;
Sound Designer: Tingying Dong; Projection Designer: Will Duke; Casting Director: Polly Jerrold; Movement Director: Rachael Nanyonjo; Fight Director: Sam Lyon-Behan; Dramaturg: Rikki Henry; Associate Director: Rachael Walsh; Associate Designer: Ola Klos;
Associate LX Designer & LX Programmer: Jack Hathaway; Associate Sound Designer: Matthew Tuckey
28 February – 29 March 2025
A struggling and divided nation, tearing itself apart. So, when the Macbeths see their chance at the crown, why shouldn’t they take it?
But things don’t go according to plan. Dreams quickly turn to nightmares, humanity erodes, nature stirs. As society strives to make sense of the darkness that sits inside it, how long will it take for people to fight back against the endless cycle of violence and corruption?
After a national and international tour Richard Twyman’s stylish, contemporary and gut-wrenching production is excitingly reworked for 2025 and explores why Macbeth has haunted our fears and nightmares for centuries.
Gabriel Akuwudike plays Banquo. His theatre credits include Hamnet (RSC), King Lear (Shakespeare’s Globe), Blackmail (Mercury Theatre Colchester), Either (Hampstead Theatre), Time is Love (Finborough Theatre), Dealing with Clair (Orange Tree Theatre) and A Gym Thing (Small Things Theatre). His television credits include Screw, The Doll Factory, Lord of the Rings: The Rings of Power, Hana, Ridley Road, War of the Worlds, Cursed, Game of Thrones, Berlin Station, Brexit: The Uncivil War, The Bisexual and The Informer; and for film, his credits include The Beautiful Game and 1917.
Bella Aubin plays Malcolm. This marks her professional stage debut.
Alex Austin plays Macbeth. His theatre credits include As You Like It (Shakespeare’s Globe), Blackout Songs (Hampstead Theatre), LOVE (Park Avenue Armoury Theatre), Wuthering Heights,The Skriker (Royal Exchange Theatre), Ivan and the Dogs (Young Vic), The End of Eddy,Henry The Fifth, The Nutcracker, The Man With The Disturbingly Smelly Foot, How to Think the Unthinkable (Unicorn Theatre), A New and Better You (Yard Theatre), Gundog, Grimly Handsome, Primetime, Yen, Pigeons (Royal Court Theatre), Thebes Land (Arcola Theatre), Fury (Soho Theatre), Barbarians (Young Vic Theatre), Idomeneus (Gate Theatre), Hope, Light and Nowhere (Edinburgh Festival Fringe) and My City (Almeida Theatre). His television credits include Andor, The Mallorca Files, The Interceptor, New Tricks; and for film, The Bike Thief, Blood Out of a Stone, Legacy, The Christmas Candle, The Hooligan Factory, The World’s End and The Swarm.
Lois Chimimba plays Lady Macbeth. Her theatre credits include wonder.land, Common (National Theatre), Three Sisters (Almeida Theatre), Parliament Square (Royal Exchange Theatre, Bush Theatre) and Noises Off (Lyric Hammersmith Theatre). Her television credits include Cold Water, Still Up, Nightsleeper, The One (as series regular Hannah Bailey), Vigil, Avenue 5, The Outlaws, The Thief, His Wife and The Canoe, Doctor Who, Top Boy, Trust Me and A Discovery of Witches.
David Colvin plays Lennox. His theatre credits include Thunderstruck (Edinburgh Festival Fringe, Scottish tour and Australian tour – winner of Herald Angel Award and Scottish Arts Club Award), Macbeth (Stafford Gatehouse Theatre), We’re Only Here Today (Pulse Festival, New Wolsey Theatre), Tam O’ Shanter (Edinburgh Festival Fringe), We Love You City (Belgrade Theatre Coventry), Hamlet (New Vic Theatre) and Black Watch (Edinburgh Festival Fringe, UK tour and International tour).
Ammar Haj Ahmad plays Macduff. His theatre credits include Returning to Haifa (Finborough Theatre), The Jungle (Young Vic Theatre, Playhouse Theatre, St Ann’s Warehouse), Love (National Theatre, Birmingham Rep), The Great Survey of Hastings (Ladie’s Parlour), Kan Yama (Cockpit Theatre), Mawlana (Mosaic Rooms), The Knight and the Crescent Hare (UK tour), Dmitry (Marylebone Theatre), Babel (Caledonian Park) and One Thousand and One Nights (The Joey and Toby Tanenbaum Opera Centre, Toronto / Lyceum Theatre, Edinburgh). His television credits include Agatha Raisin and Letters from Baghdad; and for film, London Tomorrow, Wall, Round Trip, Maqha Almawt, Wada’an and Monologue.
Daniel Hawksford plays Duncan. His theatre credits include Nye (National Theatre and Wales Millennium Centre), Richard III (Rose Theatre Kingston and Liverpool Playhouse), Dmitry (Marylebone Theatre), A Pretty Sh*tty Love, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Arms and the Man (Theatre Clwyd), Troilus and Cressida, Cymbeline, The School of Night (RSC), Swansea’s Three Day Blitz (Grand Theatre Swansea), Crouch Touch Pause Engage, Illiad, Praxis Makes Perfect, The Dark Philosophers (National Theatre Wales), The Distance (Sheffield Crucible, Orange Tree Theatre), Macbeth (Pontardawe Arts Centre), Macbeth, The Bible (Shakespeare’s Globe), The Dark Philosophers (National Theatre of Wales), Dancing at Lughnasa (Birmingham Rep), Judgement Day (Almeida Theatre), King Lear (South Bank), Memory (Clwyd Theatre and Pleasance Theatre), The Hour We Knew Nothing of Each Other (National Theatre), A Midsummer Night’s Dream (The City of London Sinfonia), Jackets (Young Vic Theatre), The Pull of Negative Gravity (Colchester Mercury, 59E59 Theatre New York), The Taming of the Shrew (Colchester Mercury Theatre), Romeo and Juliet (Exeter Northcott Theatre) and Lunch (King’s Head Theatre). His television credits include Hard Cell, Halo, Father Brown, Hetty Feather, Waking the Dead and Colditz; and for film, Pelican Blood and Little White Lies.
Bianca Stephens plays Lady Macduff. Her theatre credits include Shut Up I’m Dreaming (UK tour), 2:22 A Ghost Story (Noël Coward Theatre), Either (Hampstead Theatre), Soft Animals (Soho Theatre), The Burning Tower (Bush Theatre), Julius Ceasar, A Midsummer Night’s Dream (Storyhouse Theatre), Always Orange). Her television credits include PISTOL.
Sophie Stone plays Ross. Her theatre credits include The Curious Incident of the Dog in the Night-Time, Mother Courage and Her Children (National Theatre), As You Like It (Shakespeare’s Globe), Emilia (Shakespeare’s Globe, Vaudeville Theatre), Othello, A Midsummer Night’s Dream, Multiplex, Fen and You Make Me Happy (When Skies are Grey) (The Watermill Theatre), Jubilee (Lyric Hammersmith Theatre and Royal Exchange Theatre), The Government Inspector (Birmingham Rep and UK tour), Herons (Lyric Hammersmith Theatre), Mine (Shared Experience), Frozen (Birmingham Rep), Two (Southwark Playhouse), The Bloody Great Border Ballad Project (Northern Stage), In Water I’m Weightless (National Theatre of Wales), Pandora (Arcola Theatre) and Woman of Flowers (UK tour). Her television credits include Shetland, The Chelsea Detective Reunion, Generation Z, This Way Up, Two Doors Down, Moonstone, Marchlands and Small World.
Richard Twyman took up the role of Artistic Director of ETT in November 2016. He was previously Associate Director (International) at the Royal Court Theatre, where he worked with playwrights across the world to develop their plays. Prior to this, he spent five years at the RSC working on fourteen productions, including the hugely acclaimed Histories Cycle, for which he directed Henry IV Pt II, which were honoured with three Olivier Awards, the Evening Standard Editor’s Choice Award and named by The Guardian’s Michael Billington as his production of the decade 2000-2010. Twyman has directed at the Royal Court Theatre: You for Me for You by Mia Chung, Torn by Nat Martello-White, Harrogate by Al Smith and The Djinns of Eidgah by Abhishek Majumdar. His other credits include Ditch by Beth Steel, which opened the Old Vic Tunnels; Les Liaisons Dangereuses by Christopher Hamptonat Theatre Cocoon, Tokyo/Osaka; Deliver Us and Stolen Ground by Anna Leader at Théâtres De La Ville Luxembourg; Give Me Your Hand (New York), nominated for the Drama Desk Award for Outstanding Unique Theatrical Experience in 2012. For ETT, he has directed Martin Crimp’s Dealing with Clair at the Orange Tree Theatre, Samuel Adamson’s The Ballad of Hattie and James at Kiln Theatre and the critically acclaimed production of Othello, which toured the UK and internationally from 2017-2019.
Based on Sergey Fetisov’s memoir and the screenplay by Peeter Rebane and Tom Prior, Richard Hough’s play tells the story of forbidden love in the cold war.
As tensions rise between the USSR and NATO, Pte.Sergey Serebrennikov (Robert Eades) is serving his 2 years military service on a defence post in Estonia. Firm friends with 2nd Lt. Roman Matvejev (Theo Walker), a hot-headed pilot, and secretary Luisa Jannsen (Sorcha Kennedy), the play begins by showing their easy friendship and banter.
A drunken New Year’s Eve changes everything as Sergey and Roman give in to their mutual attraction. Even after warnings from Col. Alexei Kuznetsov (Nigel Hastings) about the punishment for fraternisation between officers and enlisted men, and the threat of 5 year’s hard labour for homosexual acts, the two embark on a passionate affair.
A near-fatal accident gives Kuznetsov an excuse to send Sergey back to Moscow and so he begins a new life studying, not knowing whether he’ll ever see Roman again. But Roman has other plans…
This is a brave attempt to portray this wonderful story, but adding another 30 minutes to the running time would allow some plot points that seem rushed to be fully explored and add more context and meaning to the characters’ choices. There are times when it feels a little too Hallmark. Even so, the cast work brilliantly with what they have been given. Eades and Walker have insane chemistry, heightened by most of their dialogue taking place at a distance, so each glance and touch is sizzling. Eades captures Sergey’s wit and rebellious streak, and Walker’ Roman is always sympathetic as he struggles to balance love and duty. Hastings does well with the underwritten Colonel – hard as nails commanding officer with the men, and jovial father figure to Luisa. It would be interesting to hear the tales behind some of his throwaway lines. Kennedy is wonderful as Luisa – the third wheel in the friendship trying to keep the lads out of trouble, and then full of emotion in the later scenes as she discovers the truth. Her speech about women always clearing up after men play war is worth the ticket price alone.
Owen Lewis uses Gregor Donnelly’s easily adaptable set well, keeping the play dynamic as various locations are set up. Clancy Flynn’s lighting and Jac Cooper’s sound design are atmospheric, with a firework display being a particular highlight.
A beautiful story of LGBTQ+ love under a repressive regime that could be much more than the sometimes-soapy tale. A wonderful cast makes this production one to watch.
Saana Sze’s debut full length play is a hard-hitting but humane examination of identity and conformity in education.
The school experience is described by Martha as a student and as a trainee teacher. YoungMartha (Sam Bampoe-Parry) and NowMartha (Shiloh Coke) inhabit opposite ends of the traverse stage, both recognisable as classrooms on Delyth Evans’ simple but effective set. The two actors’ stories interweave as Martha’s struggles to conform in school unfold.
While NowMartha is proudly black and non-binary, YoungMartha is becoming aware of her sexuality and identity, and this adds to her confusion and need to be part of a group. Sze’s depiction of the blatant prejudices and microaggressions shown by school staff is heartbreakingly familiar, making the shift from keen student to “problematic” to exclusion much more believable as YoungMartha realises that certain teachers ignore the actions of white students and automatically blame Martha and her friends. Martha becomes disenfranchised and joins in with malicious revenge but never loses her inner spark of hope and passion for writing – which obviously worked out well as NowMartha is qualified to train as an English teacher.
NowMartha’s enthusiasm and excitement at giving back and engaging and enthusing students just like them and their friends is palpable – even if their wife has convinced them to not wear a binder to work and answer to Miss. As a teacher, the talks from the school leadership would have seen me doing a full 180 and sprinting out of the door, but an inexperienced newcomer can’t spot the danger signs so easily. In this particular academy trust, the buzzwords of the year that are bandied about on school websites are weaponised by the many layers of managers who value ideology over pedagogy. Students are reminded that diversity, inclusion, and tolerance are important, while at the same time the students chant William Blake’s London. In a school system that follows the business model, there is no room for non-conformity – be that from student or staff. As they are rebuked for each well-meaning action and become less confident, the pain of denying their true identity each day at work becomes increasingly intolerable and NowMartha discovers that staff can act as deviously and viciously as children.
The stories overlap and intertwine, but the characters don’t acknowledge each other until both are struggling to survive and share wordless glances of despair or encouragement. Director Dadiow Lin manages the action sympathetically, balancing the laughs (YoungMartha’s incredulous reactions to what is happening around her, and descriptions of characters are very funny) and the darker moments. Arnim Friess’ lighting and Max Pappenheim’s sound design are intelligent and add to the rising tension.
Shiloh Coke is a powerhouse as NowMartha, full of optimistic enthusiasm as the training period starts, and slowly getting worn down by the immovable and uncaring position of the academy management. When NowMartha finally breaks down, the anger and pain of allowing their misgendering is portrayed beautifully. Sam Bampoe-Parry makes their professional debut, and delivers a fiery and sympathetic performance, full of wit and physicality.
The stark portrayal of the shortcomings of education – particularly the blanket approaches of academy trusts, where many schools all follow the same mission statements and aims rather than writing them based on what their students actually need – and the treatment of individuals who don’t conform is sobering, and any teachers in the audience will need a stiff drink after the show. Belly of the Beast is a fantastic debut, tackling identity, conformity, and suppression with wit and ferocity.
Hall for Cornwall, Truro – until the 18th January 2025
Reviewed by Kerry Gilbert
5*****
Hairspray is a heart warming Masterpiece. Vibrant, Funny and Uplifting!
Set in 1960’s Baltimore, bubbly teenager Tracy Turnblad and is obsessed with the ‘Corny Collins Show’, a talent search broadcast on a local TV network, and has a crush on one of its male lead dancers, Link Larkin. When one of the performers has to leave the show for a certain …. maternal amount of time, to Tracy’s joy, the show announces open auditions and Tracy desperately ties to get in, against her mothers wishes. Immediately rejected by the TV show’s ruthless producer Velma Von Tussle for how she looks, Tracy is crushed, but a chance meeting in school detention sees her meeting and befriending a group of black students who know all too well what it’s like to be judged on appearance. Friendships turn into drive for change, as the group hatch a plan to try and knock down the walls and make ‘The Corny Collins Show’ integrated so that everyone can all dance together. But Tracy learns that some minds refuse to change, and that changing while remaining true to yourself isn’t an easy road to travel.
Directors Brenda Edwards and Paul Kerryson have nailed the infectious positivity that this musical is known for, while not forgetting to show its heart. I loved the use of comedy throughout; you can see just how much craft the Directors have put into creating this masterpiece together with the stunning choreography from Drew McOnie.
From the moment the curtain rises, you’re pulled into that world of high energy choreography, strong vocals and catchy tunes. Excitement filled the theatre as the opening beat began and the curtain revealed the iconic bed on stage and Tracy belted out a tremendous rendition of ‘Good Morning Baltimore’.
The role of Tracy is as big as her trademark hair, and Katie Brace does a fantastic job leading the show, full of wide-eyed daydreaming and immense likeability, with a fantastic voice as well. Her performance was brimming with that signature Tracy charm, particularly in ‘I Can Hear The Bells’. This was made even more memorable thanks to Solomon Davy’s portrayal of Link Larkin – his puppet like movements during the scene was well-choreographed and perfectly delivered.
Penny Pingelton, the quirky and lovable best friend, was brilliantly brought to life by Freya McMahon. For someone making her professional debut, her portrayal was flawless and is a master of physical comedy – she captured Penny’s innocence and goofy charm to perfection.
Kirsty Sparks and Allana Taylor are splendidly spiteful as Velma and Amber Von Tussle and as well as being great antagonist, Taylor has a wonderful tone.
A scene that had the audience in stitches was the duet between Neil Hurst as Edna Turnblad and Dermot Canavan as Wilbur Turnblad. Their performance of ‘Timeless to Me’ was packed with comedic timing and tenderness, a real showstopper that had everyone laughing out loud. This was without a doubt the highlight of the night for me. Neil Hurst, in particular, captured that larger than life personality that made Edna such a favourite character.
When it comes to power ballads, Motormouth Maybelle played by Michelle Ndegwa stole the spotlight with her stunning rendition of ‘I Know Where I’ve Been’. Her vocals were incredible and the raw emotion in her performance made it a truly unforgettable moment.
Another high note was the ensemble cast who nailed every moment, and the beautiful vocals of Grace Anyiam and Vanessa Dumatey. Also, the scene with the three girls – Tracy, Amber and Penny – alongside their mothers was also a particular high.
The set was cleverly done with the rolling sets used for Tracy’s home and her Dad’s joke shop. During the Corny Collins show I loved how the live band was also revealed as this makes it much more personable when you can see where the love music is coming from.
The production of Hairspray is truly a feel good extravaganza. There’s so much to love about the show, with its fantastic characters and catchy songs, but it’s the heart and soul of the musical that really make it sing, and this production captures them perfectly. It thoroughly deserved the standing ovation and I’d highly recommend getting tickets while you can.
February-May 2025 season at the Finborough Theatre
The world premiere of a new adaptation of
THE PASSENGER
by Nadya Menuhin. Based on the novel by Ulrich Alexander Boschwitz.
Directed by Tim Supple. Associate Direction by Joseph Alford. Set and Costume Design by Hannah Schmidt. Lighting Design by Mattis Larsen. Sound Design by Andy Pink.
Cast: Ben Fox. Eric MacLennan. Dan Milne. Robert Neumark Jones. Kelly Price.
Presented by Toby Parsons Productions in association with Neil McPherson for the Finborough Theatre.
‘Perhaps their idea is to undress us carefully before killing us, so that our clothes won’t be bloodstained and our
banknotes ruined. Murder is carried out economically these days.’
The world premiere of a new adaptation of The Passenger by Nadya Menuhin, based on the critically acclaimed novel by Ulrich Alexander Boschwitz, and directed by the multi-award-winning former Artistic Director of the Young Vic, Tim Supple, opens at the renowned Finborough Theatre for a five-week limited season on Monday, 10 February 2025
The Passengerstars Ben Fox (Mother Courage (Southwark Playhouse), Troilus and Cressida and Bedroom Farce (Theatr Cymru), Blitz (Steve McQueen, Apple TV+); Eric MacLennan (Summer and Smoke (Duke of York’s Theatre and Almeida Theatre), Three Sisters (Almeida Theatre), Brave New World and 1984 (Creation Theatre Company)); Dan Milne (More Grimm Tales, The Jungle Book, As I Lay Dying and Twelfth Night (The Young Vic), Grimm Tales (The Young Vic and International Tour), The Comedy of Errors (Royal Shakespeare Company)); Robert Neumark Jones (One Jewish Boy (Old Red Lion Theatre and Trafalgar Studios), The Mikvah Project (Orange Tree Theatre, Richmond), A Very Royal Scandal (Amazon MGM Studios)); Kelly Price (Grantchester, Endeavour (ITV), Flowers for Mrs Harris (Riverside Studios), The Sex Party and The Secret Diary of Adrian Mole (Menier Chocolate Factory)).
Shot through with Hitchcockian tension, The Passenger is the terrifyingly absurd story of Otto Silbermann, a criminal on the run who hasn’t committed a crime.
Kristallnacht, Berlin, November 1938. The streets of Germany are an orgy of state-sanctioned violence.
As Nazi storm troopers batter down his door, respected businessman Otto flees his home and finds himself plunged into a new world order, his life dissolved overnight.
Betrayed by family, friends and colleagues, and desperately trying to conceal his Jewish identity, he takes train after train across Germany in a race to escape his homeland that is no longer home…
23 year old Ulrich Alexander Boschwitz wrote The Passenger at breakneck speed in 1938 in the immediate aftermath of Kristallnacht. Rediscovered 70 years later, The Passenger became an international hit, was translated into over twenty languages and was a Sunday Times Top Ten bestseller more than 80 years after it was originally published.
Playwright Nadya Menuhin makes her full-length debut at the Finborough Theatre.She studied languages at University College London, and currently works as a literary agent. She was part of the Royal Court Theatre Writers’ Group, mentored by Stef Smith, and BBC Writersroom London Voices cohort. Her previous plays include I, Mother (Fuel Residency at Druid Theatre, Galway), The Second Rule (Mercury Theatre, Colchester) and Tremors, starring Tamsin Greig (Online for Bitter Pill Theatre).
Novelist Ulrich Alexander Boschwitz (1915-1942) was born in Berlin. In 1935, Boschwitz’s uncle, the lawyer Alexander Wolgast, was murdered in the street after criticizing the Nazi’s anti-semitic Nuremberg Laws. Shortly thereafter, Boschwitz and his mother fled Germany for Norway; his sister, Clarissa, had already left Germany for Palestine when the Nazis came to power. In Norway, Boschwitz wrote his first novel Menschen neben dem Leben (People Alongside Life), which was first published in Swedish, under the pseudonym John Grane, in 1937. From Sweden, he and his mother moved to Luxembourg, France, and Belgium, before fleeing to Britain in 1939. Boschwitz wrote The Passenger (Der Reisende) in 1938, and it was published in French, Swedish and English. At the outbreak of the Second World War, Boschwitz and his mother were interned as ‘enemy aliens’ on the Isle of Man. In July 1940, Ulrich was deported to Australia, where he was interned at a camp in New South Wales. On the voyage there, a crew member threw the only draft of his latest work, Das Grosse Fressen (The Big Feast), into the ocean. In Australia, Boschwitz worked on revising a second edition of The Passenger and began a new novel, Traumtage (Dream Days).In 1942, he was freed and allowed to return to Britain. On 29 October 1942, the vessel he was on, MV Abosso, was torpedoed and sunk by the German submarine U-575. Boschwitz, aged 27, was one of the 362 people onboard who died. His last works died with him.
Director Tim Supple’s awards and nominations include Olivier, BAFTA, Evening Standard, Time Out, TMA, Herald Angel, Dora Mavor Moore Award in Toronto, and Yapi Krede Afifi in Istanbul. He was the former Artistic Director of The Young Vic where he directed A Servant to Two Masters (also West End, National and International Tours), As I Lay Dying, Twelfth Night, Blood Wedding, The Jungle Book, Grimm Tales (also International Tour), More Grimm Tales (also Broadway), The Slab Boys Trilogy and Oedipus. For the Royal Shakespeare Company, he directed Midnight’s Children (Barbican, National Tour and Apollo Theatre, New York), Love in a Wood, Tales from Ovid (The Young Vic), The Comedy of Errors (The Young Vic, National and International Tours) and Spring Awakening (Barbican Theatre). For the National Theatre, Haroun and the Sea of Stories, The Epic of Gilgamesh, Billy Liar (also National Tour), Accidental Death of an Anarchist (also National Tour), Whale, Romeo and Juliet, and The Villains Opera. For the Donmar Warehouse, The Cosmonauts Last Message… For Kenneth Branagh’s Renaissance Theatre Company, Coriolanus and John Sessions’ Traveling Tales. Other theatre includes A Midsummer Night’s Dream and One Thousand and One Nights (Dash Arts and Edinburgh Festival), Freedom on the Tyne (Tyne Bridge), TheTempest (National Centre for Performing Arts, Beijing), Dmitry (Marylebone Theatre), What We Did To Weinstein (Dash Arts and Menier Chocolate Factory), As You Like It (Dash Arts and Curve Leicester), Beasts and Beauties, Too Clever By Half (Norwegian National Theatre, Bergen), Much Ado About Nothing (Maxim Gorki Theatre, Berlin), The Comedy of Errors (BBT, Istanbul), Oh What a Lovely War, Guys and Dolls (Haymarket Theatre, Leicester) and Billy Budd (Crucible Theatre, Sheffield). He has directed, adapted, researched and taught theatre across the world in a wide range of languages – including in Europe, India, North Africa and the near East, Iran, Turkey, China, Japan, South Korea, Australia, Russia and the post-Soviet States, and North and South America. Tim is the recipient of a NESTA Invention and Innovation Award for experiments in film.
The Cast of The Passenger is:
Ben Fox | Gustav Becker, Franz Theatre includes The Commitments (Palace Theatre), Backbeat (Duke of York’s Theatre), Dirty Rotten Scoundrels (Savoy Theatre),Guys and Dolls (National Tour), Mother Courage (Southwark Playhouse), Troilus and Cressida and Bedroom Farce (Theatr Cymru), Judgement Day (Almeida Theatre), A Trip to Scarborough and Awaking Beauty (Stephen Joseph Theatre, Scarborough). Ben has appeared in many pantomimes including in Catford, Liverpool, Bolton, Hornchurch, Ipswich, Clwyd and Salisbury. Film includes Blitz, Detective Pikachu, Beauty and The Beast, Muppets Most Wanted and Robin Hood. Television includes Star Wars Andor, The Living Dead, Les Misérables, Pennyworth, The Crown, Game Of Thrones and Silent Witness.
Eric MacLennan | Theo Findler, Schwartz Trained at Ecole Jacques Lecoq.
Theatre includes Summer and Smoke (Duke of York’s Theatre and Almeida Theatre), Three Sisters (Almeida Theatre), Brave New World and 1984 (Creation Theatre Company), A Tale of Two Cities (Chung Ying Theatre Company, Hong Kong), One Snowy Night (Slot Machine), Government Inspector and Annie Get Your Gun (The Young Vic), Backwards (Station House Opera), Henry V (Southwark Playhouse), Sirens of Titan, The Odyssey, Alice Through the Looking Glass, The Wolf, Mother Goose and… The Wolf, You Can’t Say You Can’t Play, Cinderella, Pericles, Sleeping Beauty and The Wolf, Red Riding Hood and The Wolf,(London Bubble Theatre), Salt (Ruhrtriennale Festival and Theatre-Rites), Beachcomber/Strandjutter (Boilerhouse and Waterlanders, Netherlands), Cyrano de Bergerac (Royal Exchange Theatre, Manchester), Gormenghast (David Glass Ensemble), Half Life (National Theatre of Scotland), Get Carter (Red Shift Theatre Company), Here’s What I Did With My Body One Day (National Tour), The Most Excellent and Lamentable Tragedy of Romeo and Juliet, Private Lives and TalkSexShow (Volcano Theatre), The Night Shift and A Wing and A Prayer (Battersea Arts Centre and Oxford Playhouse) and The Caucasian Chalk Circle (Orange Tree Theatre, Richmond).
Film includes Mary Queen of Scots, Darkest Hour, Rogue One, Mindhorn and Anna Karenina. Television includes The Inside Man, The Last Bus, The Night Manager and The Borgias.
Dan Milne | Fritz, Lilienfeld Trained at Drama Studio London. Theatre includes More Grimm Tales, The Jungle Book, As I Lay Dying and Twelfth Night (The Young Vic), Grimm Tales (The Young Vic and International Tour), The Comedy of Errors (Royal Shakespeare Company), He Who Saw Everything and From Morning Till Midnight (National Theatre) and Lionboy (National and International Tour for Complicité). Television includes Eastenders, Murder Most Horrid, In a Land of Plenty, The Nevers and Star Wars: The Acolyte. Direction includes Big Space and Small Space (Battersea Arts Centre). Associate Direction includes A Servant to Two Masters (New Ambassadors Theatre, Duke of York’s Theatre and International Tour). In New York, he helped create the storytelling performance piece, Two Men Talking, and directed this for ten years as it played off-Broadway, around the US, at the Edinburgh Festival and at Trafalgar Studios in London. As a film producer, he works with US writer/director Camille Thoman, and produced her documentary feature The Longest Gameand narrative feature Never Here, starring Sam Shepard and Mireille Enos. In the UK, he produced Widow’s Walk starring Miranda Raison, David Caves and Virginia McKenna with writer/director Alexandra Boyd. He is currently developing another feature with Camille Thoman and Tobias Menzies, entitled The Gate. As Co-Director with Jane Nash, Dan runs the storytelling consultancy Narativ London.
Robert Neumark Jones | Otto Silbermann Trained at Drama Centre London. Theatre includes One Jewish Boy (Old Red Lion Theatre and Trafalgar Studios), The Mikvah Project (Orange Tree Theatre, Richmond),The Tempest (London Theatre Workshop), Bang Bang (Mercury Theatre, Colchester), Kiss Me and You Will See How Important I Am (Pleasance London) and The Seagull, The Threesome, The Deep Blue Sea and Twelfth Night (Drama Centre London). Television includes A Very Royal Scandal, Spotless and Grange Hill. Radio includes Les Anti-Mythes and Yentl The Yeshiva Boy.
Kelly Price | Elfriede, Ursula Productions at the Finborough Theatre include Perchance to Dream.Theatre includes Flowers for Mrs Harris (Riverside Studios), The Sex Party and The Secret Diary of Adrian Mole (Menier Chocolate Factory), Passion and Aspects of Love (Hope Mill Theatre, Manchester), What’s New Pussycat? (Birmingham Rep), Peter Pan (Troubadour Theatre), Othello (English Touring Theatre), All The Angels: Handel and the First Messiah (Shakespeare’s Globe Theatre), Little Shop of Horrors, The Day We Sang and Zack (Royal Exchange Theatre, Manchester), One Man Two Guvnors (National Theatre Tour), Company and Boeing Boeing (Crucible Theatre, Sheffield), Stepping Out (Salisbury Playhouse), The Misanthrope (Comedy Theatre), A Little Light Music (Menier Chocolate Factory and Garrick Theatre), Chicago (Cambridge Theatre), Desperately Seeking Susan (Novello Theatre), The Rise And Fall Of Little Voice (The Watermill, Newbury), Guys and Dolls (Donmar Warehouse and Piccadilly Theatre), It’s A Wonderful Life (Avalon), Mamma Mia (Prince Edward Theatre) and The Woman in White (The Really Useful Group).
Film includes The Sense of an Ending and A Bunch of Amateurs. Television includes Grantchester Series 7,The English Game, Endeavour, Midsomer Murders, Waterloo Road, Doctors, Accused – Helen’s Story, Massive and Kombat Opera.
The press on the novel The Passenger “Gripping.” The Telegraph “Extraordinary.” The Sunday Times “A story that is part John Buchan, part Franz Kafka and wholly riveting.” The Guardian “Vibrating with fury…a highly accomplished work, filled with vivid characterisation, sharp dialogue and intensely observed scenes.” Financial Times“All too chillingly real…a deserving bestseller.” Daily Mail “A riveting, noirish, intensely filmic portrait… a jewel of a rediscovery.” Wall Street Journal “By turns claustrophobic, dizzying and symbolic, The Passenger is a work with sufficient pace to be a thriller, yet possessed of enough nuance and psychological depth to be of real literary weight.” The Spectator “This brilliant rediscovered thriller is up there with the best Second World War novels.” David Mills, The Sunday Times
The press on director Tim Supple “The leading storyteller in British Theatre” Financial Times for 1001 Nights. “A production that’s already entered the annals of theatrical history” Time Out on A Midsummer Night’s Dream.
“An evening full of wonder and delight.” Time Out on A Servant to Two Masters.
“A triumphant recreation of Goldoni’s comedy. One of the gems of the season.” The Sunday Times on A Servant to Two Masters.
“An enthralling production – one hangs on these tales as if they had never been told before.” Financial Times on Tales from Ovid.
“This dark, beautiful show offers more rough magic than any in living memory… One of the most gripping and exciting productions of the year.” Daily Telegraph on More Grimm Tales.
“Not a single line feels familiar…everything feels new, but also true. A lesson to all London theatre.” Financial Times on Twelfth Night.
“The National Theatre should be very proud of this enchanting, beautiful production.” The Sunday Times on Haroun and the Sea of Stories.
“Challenging, tough minded and dramatically thrilling, this is the kind of show that restores one’s faith in the power of theatre…I left the theatre in a state of awe.” The Daily Telegraph on The Jungle Book.
“A complete triumph…The best demonstration all year of the living power of theatre.” The Observer on Spring Awakening.
Finborough Theatre, 118 Finborough Road, London SW10 9ED
Book online at www.finboroughtheatre.co.uk
Box Office 020 7244 7439
No booking fees
Performance Length: Approximately 90 minutes.
Monday, 10 February – Saturday, 15 March 2025
Monday, 10 February at 7.30pm. Tuesday to Saturday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.
Prices for Week One – Tickets £20, £18 concessions. Previews £15 all seats. £10 tickets for Under 30s for performances from Monday to Saturday of the first week when booked online only. £15 tickets for residents of the Royal Borough of Kensington and Chelsea and the London Borough of Hammersmith and Fulham on the first Saturday evening of each run, when booked online only. Prices for Weeks Two and Three – Tickets £23, £20 concessions, except Tuesday evenings £20 all seats. Prices for Week Four and Five – Tickets £25, £23 concessions. No concessions on Friday or Saturday evenings.
Group Bookings for all performances – 1 free ticket in every 10 purchased.
Covid Safe performance – Masks are mandatory at the first Sunday matinee performance.
ROSE THEATRE, CHICHESTER FESTIVAL THEATRE AND ETT ANNOUNCE UK PREMIERE OF MARIE AND ROSETTA STARRING BEVERLEY KNIGHT
A ROSE THEATRE, CHICHESTER FESTIVAL THEATRE AND ETT CO-PRODUCTION
Rose Theatre, Chichester Festival Theatre and ETT today announce the UK premiere of George Brant’s (Grounded) critically acclaimed Marie and Rosetta, the roof-raising play with music telling the true story of American singer and songwriter Rosetta Tharpe and her protégé Marie Knight. Directed by Monique Touko (The Boy at the Back of the Class; School Girls; Or, The African Mean Girls Play), this production featuring gospel and blues hits is an electrifying portrait of the godmother of rock ’n’ roll.
Celebrating her professional play debut as Rosetta, is multi award-winning singer and actress Beverley Knight, whose many West End performances include Memphis, The Drifters Girl, Sylvia (for which she won an Olivier Award) and Sister Act. Full cast and creative team to be announced.
Marie and Rosetta runs at the Rose Theatre in Kingston 2 – 24 May before transferring to Chichester Festival Theatre 25 June – 26 July.
Beverley Knight, said: “It is a great honour to be cast in the role of Sister Rosetta Tharpe, one of the unsung architects of rock ‘n’ roll. I am and have always been a storyteller, whether it be in a purely music form or in a theatrical setting. I’m excited to be able to tell the Sister Rosetta story in this important play about her life, trailblazing career and her relationship with the legendary gospel singer Marie Knight. This will be my first role in a professional play; I have performed many times in plays at an amateur level and I’m so thrilled that I get to tell HERstory as my debut. Sister Rosetta Tharpe, with her powerful expressive voice, her electrifying guitar and her Gospel message laid the foundations on which Chuck Berry, Ike Turner, Elvis Presley and literally everyone else has walked. The Godmother of rock ‘n’ roll deserves to be celebrated and remembered”.
Monique Touko, Director, said: “It is truly an honour to stage the UK premiere of Marie and Rosetta by George Brant. Returning to both Rose and Chichester with this needed and powerful story feels very timely. This play allows us to not only celebrate the incredible lives of two trailblazing Black female musicians, but to immerse ourselves in their world, blending song and spectacle to bring their legacy to life. We’ll zoom in on the moments of their lives, big and small, and amplify their voices—both literally and metaphorically. It’s a privilege and a responsibility to depict these women in their full glory, ensuring they receive the recognition they so deeply deserve for their monumental contributions to music and culture.”
Christopher Haydon, Artistic Director of Rose Theatre, said: ”I have been passionate about Marie and Rosetta ever since I first read it eight years ago. Both women are icons who deserve far greater recognition than they have today. I knew immediately that Monique Touko was the right person to direct it – she brings such passion, style and integrity to everything she does. And there simply is no better performer in the country than Beverley Knight to bring the remarkable Rosetta Tharpe to life. This is a show that will delight and move anyone who sees it and I cannot wait to share it with our audience.”
Justin Audibert, Artistic Director of Chichester Festival Theatre, said: “We are delighted to be co-producing this wonderful play, and welcoming the incomparable Beverley Knight and director Monique Touko to Chichester. It’s a joy to renew our relationship with Rose Theatre, with whom we’ve recently co-produced Headlong’s A View from the Bridge, and also hosted Monique’s superb production The Boy at the Back of the Class. We know that Chichester audiences will relish this remarkable story, and can’t wait to fill the Minerva Theatre with Beverley’s renditions of this glorious music.”
Marie and Rosetta is a co-production between Rose Theatre, Chichester Festival Theatre and ETT.
Rose Theatre priority booking opens for new and current Rose Circle and Members (Friends, Family, and 30 & Under) from Tuesday 14 January at 9.00am. Tickets will be available to general audiences from Monday 20 January at 10.00am via www.rosetheatre.org.
The Chichester Festival Theatre run will be part of Festival 2025, full details of which will be announced on 13 February (priority booking from Saturday 22 February, general booking from Saturday 1 March).
