Cambridge Arts Theatre, Cambridge – until Saturday 5th October 2024
Reviewed by Steph Lott
5*****
From the moment the curtain rose at last night’s performance of Alan Bennett’s The History Boys at The Cambridge Arts Theatre, there was a palpable energy on stage. This was a fantastic production of Bennett’s witty and thought-provoking play, directed by Sean Linnen. The cast of young men, portraying a group of bright sixth formers preparing for their Oxbridge entrance exams, exuded a charm and vibrancy that immediately drew the audience into their world. The chemistry between the actors was evident, creating a believable portrayal of school camaraderie in the 1980s.
Yazdan Qafouri’s portrayal of Scripps was particularly noteworthy. His nuanced performance captured the character’s intelligence and introspection, providing a thoughtful counterpoint to the more boisterous personalities on stage. Qafouri’s delivery of Bennett’s razor-sharp dialogue was impeccable, and his moments at the piano added a lovely musical dimension to the production.
In his professional stage debut, Archie Christoph-Allen impressed as the charismatic and self-assured Dakin. Christoph-Allen brought a perfect blend of cockiness and vulnerability to the role, making Dakin’s journey of self-discovery both compelling and relatable. His scenes with Hector (played by Simon Rouse) and Irwin (played by Bill Milner), were particularly captivating.
Lewis Cornay’s Posner was a standout performance. Cornay beautifully captured Posner’s unrequited longing for Dakin, and his struggle with his sexuality, with a passionate delicacy on stage. His vocal performances were nothing short of spectacular, bringing a poignant beauty to the musical interludes that punctuate the play.
The set design by Grace Smart was both practical and evocative, effortlessly transforming from classroom to staffroom to various other locations. The creative scene changes, accompanied by music and movement, added a dynamic visual element that kept the pace lively and engaging.
The History Boys is a multi-dimensional piece of theatre about many things. It discusses education, and brilliantly highlights the contrast between the two teaching philosophies represented by Hector and Irwin. The tension between knowledge for its own sake and knowledge as a means to an end was beautifully described, leaving the audience to ponder these issues for themselves.
The play’s exploration of how history should be studied and interpreted felt particularly relevant in our current era of “alternative facts” and contested narratives. The boys’ clever and sometimes outrageous discussions of historical events were not only hilarious but also served as a pointed commentary on the malleability of historical narrative.
Alan Bennett’s script, with its perfect balance of humour and pathos, was given full justice by this talented cast. From laugh-out-loud moments to scenes of profound emotion, the performance took the audience on a rollercoaster ride of feelings. Bennett’s ability to make us laugh, cry, and think was on full display.
In conclusion, this production of The History Boys at The Cambridge Arts Theatre was a triumph. The combination of Bennett’s brilliant writing, Linnen’s inspired direction, Smart’s evocative design, and the extraordinary talent of the young cast resulted in a memorable evening of theatre. For anyone who loves a production that both entertains and challenges The History Boys is for you.
TREVOR DION NICHOLAS AND RACHEL TUCKER JOIN THE LONDON CAST OF
HADESTOWN
FROM 15 OCTOBER 2024, THE LONDON CAST WILL INCLUDE:
TREVOR DION NICHOLAS AS HADES AND RACHEL TUCKER AS PERSEPHONE
MADELINE CHARLEMAGNE (EURYDICE), MELANIE LA BARRIE (HERMES) AND DYLAN WOOD (ORPHEUS) WILL CONTINUE IN THEIR ROLES ALONGSIDE
BELLA BROWN, ALLIE DANIEL AND FRANCESSCA DANIELLA-BAKER (FATES)
THE CRITICALLY ACCLAIMED PRODUCTION EXTENDS AT THE LYRIC THEATRE, LONDON UNTIL 28 SEPTEMBER 2025
New casting is announced for the multi award-winning Hadestown at the Lyric Theatre, London. From 15 October 2024, stars of musical theatre Trevor Dion Nicholas (Disney’s Aladdin, Next To Normal, Hamilton) will play Hades and Rachel Tucker (Sunset Boulevard, Wicked, Come From Away) will play Persephone.
They join Madeline Charlemagne as Eurydice, Melanie La Barrie as Hermes, Dylan Wood as Orpheus, with Bella Brown, Allie Daniel and Francessca Daniella-Baker as the Fates.
Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short continue to play the Workers, with Lucinda Buckley, Winny Herbert, Ryesha Higgs, Miriam Nyarko, and Simon Oskarsson as Swings.
Today the producers are also pleased to announcethat at 12 noon on Thursday 3 October, the critically acclaimed production will extend bookings for performances from 11 February to 28 September 2025. The current cast, including Trevor and Rachel, are scheduled to perform until 9 February 2025, with further casting updates to follow.
Winner of 8 Tony® Awards including ‘Best Musical’ and a Grammy® Award for ‘Best Musical Theatre Album’, Hadestown continues its critically acclaimed run in London’s West End, five years after its sold-out engagement at the National Theatre in 2018.
Blending modern American folk music with New Orleans-inspired jazz, the Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 350 million streams to date. It won the Grammy Award® for ‘Best Musical Theatre Album’,topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart.
Hadestown features music, lyrics, and book by acclaimed Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell, who originatedHadestown as anindie theatre project and acclaimed album. Mitchell then transformed the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin, whose theatre credits include Mission Drift (National Theatre) and American Clock (The Old Vic).
Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone. A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.
The Hadestown creative team features Obie Award® winner and Chita Rivera Award® winner David Neumann (choreography), Tony Award® winner Rachel Hauck (scenic design), four-time Tony® Award nominee Michael Krass (costume design), two-time Tony Award® winner Bradley King (lighting design), Tony® Award winners Nevin Steinberg and Jessica Paz (sound design), Liam Robinson (music supervision and vocal arrangements), Tony® Award winners Michael Chorney and Todd Sickafoose (arrangements and orchestrations), Ken Cerniglia (dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director). Casting for the London production is by Jacob Sparrow.
Hadestown is produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.
On a dreary, rainy October night with a serious case of flu I needed something to inspire me to venture outside and get myself into gear. Luckily I had tickets booked to see Heathers the Musical at Sheffield Lyceum and this cure was far greater than any Lemsip or Olbas stick you’d normally try!
With a set ripped straight out of the west end production at The Other Palace and lighting, sound and effects to boot we were off to a head start and I have to say the rest of the show didn’t disappoint.
Upon arrival we were informed that Jenna Innes would not be playing Veronica tonight and May Tether would be on as cover. Always happy to see an understudy step up and take the spotlight, I was thrilled to see what May could do with the part. May brought a certain fun quirkiness to the role in a different sense to any Veronica I’ve seen before, being much more nerdy but also quite plain faced with her humour. She also blended like caramel on the ear with Keelan McAuley as JD, who again played the role completely differently to how I have seen it done before. McAuley’s JD was much more visibly unhinged from the beginning, skipping out on some of the mysterious brooding that others have gone for in favour of a more comical and visual performance. His slightly rocky tone to his vocal also brought a different tone to the music than what I have heard before and I have to say I was very pleasantly surprised by a Bon Jovi esque JD.
The three Heathers, Chandler, Duke and McNamara played by Esme Bowdler, Sedona Sky and Daisy Twells respectively were all good in the roles, lacking in energy possibly early on but definitely growing into the show and absolutely killing it by the end. Jason Battersby and Ivan Fernandez Gonzalez were both solid as Ram Sweeney and Kurt Kelly respectively, with Battersby putting in a top drawer comedic performance on the night. Lucy Sinclair and Conor McFarlane were both hilarious as Ms Fleming and Ram’s dad, with Sinclair taking the notorious “Steve” segment further than I have EVER seen it taken before, asking the unfortunate audience member to demonstrate some tongue action from the swinging sixties to the audience, of course eliciting a suitable reaction from the crowd.
However my absolute standout of the night was Amy Miles as Martha Dunnstock. Miles was pitch perfect in the role, both in terms of the vocal and her delivery and tenderness in the part. Lovably innocent and endearingly believing she absolutely stole the show in this smaller role for me and was well worth the watch on her own.
Overall, this latest tour of Heathers the Musical keeps up with the exceptionally high standards of the past and juts out on its own at the same time. This show is well worth a watch whether it be your first time or your thousandth. Get yourself down to Sheffield Lyceum by 5th October to avoid missing out.
Theatre Royal, Nottingham – until 5th October 2024
Reviewed by Howard Whitehurst
5*****
Come From Away had a very successful run in London a few years ago and this is its first visit to Nottingham as part of a major national tour. It was written by Canadian team Irene Sankoff and David Hein and first performed in Canada before opening on Broadway to great acclaim. When I tell you that its back story is the tragedy of 9/11, and we all know what happened then, you might think it dull subject matter for a musical but it’s a wonderful story of fellowship and kindness in the face of great tragedy.
On that day in 2001, when international flights into USA were grounded, Gander, in Newfoundland, found its population double in size when 38 planes were forced to land unexpectedly. And when almost 7,000 strangers arrived, the locals set to work, entirely unprepared, to make their visitors feel welcome. Food was drummed up, beds found, activities, and even internet access, were organised such that the friendships formed have endured to this day.
From the rousing, full-ensemble opening number, Welcome to the Rock, we knew we were in for a very entertaining evening. The cast of 12 each played a number of different roles, from the captain of one of the aircraft, cabin crew, passengers and local Gander people and they did this seamlessly with unbelievably quick costume changes, well-chosen props and various accents. It was an energetic performance, the pace never slipped and we were treated to some excellent singing from the multi-talented group of actors.
The musical numbers matched the evolving story, whether it was sad or funny, and it is a challenge to pick out any outstanding moments but I am going for the wonderfully entertaining Screech In which was followed by Nottingham’s own Sara Poyzer delivering the thoughtful and inspirational Me and the Sky.
Christopher Ashley’s direction is full of energy, fast-moving and intense with the contrasts between the darkness and the losses of the story and the humour of everyday life sharply drawn, yet sympathetically balanced. Kelly Devine is responsible for the stylised movement in some of the sequences and scene changes, when tables and chairs are turned into bars, coffee shops, a plane and even an air traffic control centre.
Beowulf Boritt‘s simplistic set design uses pine trees to frame the acting area along with wooden panels and signs and it’s well lit by Howell Binkley. Andrew Corcoran’s musical direction is rousing and rhythmic and delivered by an excellent eight-piece band just out of sight, but still on stage.
I’m pleased I didn’t know much about this show prior to this evening as, in spite of the bleak nature of the subject, I was able to enjoy a truly energised, uplifting performance with brilliant singing and dancing, fully meriting the standing ovation for both cast and band
AS THE ARTS THEATRE DUE TO CLOSE FOR REDEVELOPMENT,
FINAL PERFORMANCE OF THE CHOIR OF MAN AT ITS FIRST WEST END VENUE
TO BE NEW YEAR’S EVE 2024
FUTURE PLANS FOR THE SELL-OUT SENSATION TO BE ANNOUNCED SHORTLY
TICKETS AT THE ARTS THEATRE AVAILABLE TO BOOK HERE
Choir Of Man
Arts Theatre London
17th September 2024
Following the news that the Arts Theatre is likely to close to proceed with a major redevelopment, the producers of Olivier-nominated international stage sensation THE CHOIR OF MAN today announce that the final performance at the venue will be New Year’s Eve, Tuesday 31 December 2024, with tickets on sale now.
The show, which is selling to record capacity audiences, kicked off its West End journey at the Arts Theatre in October 2021. It has welcomed over 280,000 audience members through the doors over 1000 performances.
Plans for its next London home will be announced shortly. Fans who wish to be the first to know these plans can sign up for updates via the website.
Nic Doodson said on behalf of the producers, “We are so very proud of this smash hit show, and we want to thank our wonderfully loyal and passionate audiences, who come back night after night. We’ve broken box office records at the Arts Theatre, whilst keeping our ticket prices as low as possible. Our 5 brilliant casts have given out over 2,500 free pints of beer, and we want to raise a glass to them and to the extended Choir of Man family.
Whilst we’re sad to say goodbye for now to our current West End home, we’re really excited for what comes next – watch this space!”
Welcome to THE JUNGLE, the best pub in the world.
Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.
Brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!
An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.
The current cast is Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘Romantic’, Sam Pope (Bat Out of Hell – UK Tour) as ‘Joker’, Rob Godfrey (Choir of Man – Sydney Opera House)as ‘Beast’, Tyler Orphé-Baker (Disney’s The Lion King, Lyceum; The Choir of Man, West End) as ‘Pub Bore’, Shane McDaid (Titanic the Musical, UK/International; The Choir of Man NCL and Chicago) as ‘Poet’, Ifan Gwilym-Jones (The Choir of Man, NCL; Australia and Chicago) as ‘Maestro’, Kristian Morse (The Corn is Green, National Theatre; The Choir of Man, Chicago) as ‘Barman’, George Knapper (Joseph and the Amazing Technicolour Dreamcoat, UK Tour and The Choir of Man NCL; Canada; Australia; Chicago; Florida and West End) as ‘Handyman’ with Bradley Walwyn (We Will Rock You, Royal Caribbean; The Choir Of Man NCL and Australia) as ‘Hardman’ and David Shute (Once: The Musical, Barn and The Choir of Man NCL; Chicago; Tampa; Australia; Edinburgh; Coventry) and Tom Carter-Miles (Frankenstein Illyria; The Choir of Man, NCL and West End), Seán Keany (Once in Concert – West End, China and Japan, The Choir of Man – Korea), and Paul Deegan (The Choir of Man NCL and Chicago) as swings.
The on-stage band has Jacob Evans on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.
THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. In 2023 the show announced partnerships with suicide prevention charity CALM (The Campaign Against Living Miserably), and Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner.
THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with Daniel Harnett as associate director and resident director; monologues written by Ben Norris; with musical supervision, vocal arrangements and orchestrations by Jack Blume, with Lee Freeman as resident musical director, and Alistair Higgins as associate musical supervisor; movement direction and choreography by Freddie Huddleston, with Adam Hilton as associate choreographer and movement director; scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and co-scenic design by Verity Sadler, sound design by Sten Severson, with Liam McDermott as associate sound designer; casting by Debbie O’Brien.
The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.
The Menier Chocolate Factory today announces the full cast for Mel Brooks and Thomas Meehan’s The Producers. Joining the previously announced Andy Nyman, Marc Antolin, Harry Morrison and Joanna Woodward are Trevor Ashley and Raj Ghatak, with Jermaine Woods and Nolan Edwards joining Charis Alexandra, Michael Franks, Matt Gillett, LeahHarris, Hana Ichijo, Esme Kennedy, Josh Kiernan, Alex Lodge, Kelsie-Rae Marshall, and Chloe Saunders to complete the ensemble.
Tony Award winning director for Leopoldstadt, Patrick Marber’s production opens on 9 December, with previews from 26 November, and runs until 1 March 2025.
Full casting for the production will be announced shortly.
THE PRODUCERS
Book by Mel Brooks and Thomas Meehan
Music and Lyrics by Mel Brooks
Direction by Patrick Marber; Choreography by Lorin Latarro; Set Design by Scott Pask; Costume Design by Paul Farnsworth; Lighting Design by Richard Howell; Sound Design by Niamh Gaffney & Terry Jardine for Autograph; Musical Supervision by Gareth Valentine; Musical Direction by Matthew Samer; Orchestrations by Larry Blank & Mark Cumberland
The first major London revival of Mel Brooks’ musical adaptation of The Producers will be staged at the Menier this winter by Tony Award-winning director Patrick Marber and Broadway choreographer Lorin Latarro.
Based on the classic cult film of the same name, the original Broadway production won a record twelve Tony Awards, and skewers Broadway traditions, taking no prisoners as it proudly proclaims itself an “equal opportunity offender!”
Marc Antolin plays Leo Bloom. His theatre credits include I Wish You Well (Edinburgh Fringe/ Criterion Theatre), Quiz (UK tour), The Band’s Visit (Donmar Warehouse), Murder on the Orient Express, Amadeus, Taken at Midnight, Singin’ in the Rain, The Music Man (Chichester Theatre), The Magician’s Elephant (RSC), Camelot (The Watermill Theatre), Romantics Anonymous (Bristol Old Vic/Sam Wanamaker Playhouse/US tour), Cry Havoc (Park Theatre), Hedda Gabler (Sherman Theatre), Little Shop of Horrors, Into the Woods, Hello Dolly (Regent’s Park Open Air Theatre), Flying Lovers of Vitebsk (Edinburgh Festival, Bristol Old Vic, Shakespeare’s Globe), Twelfth Night (Shakespeare’s Globe), Peter Pan (National Theatre), Taken at Midnight (Theatre Royal Haymarket), The Trial (Young Vic Theatre), From Here to Eternity (Shaftesbury Theatre), Matilda (RSC/Cambridge Theatre), Bells are Ringing, Once Upon a Time at the Adelphi (Union Theatre), Billy Liar (UK tour) and Imagine This (New London Theatre). His television credits include The Outlaws, Keeping Faith, Caerdydd and More Than Love; and for film, London Road, Hunky Dory and Love Actually.
Trevor Ashley plays Roger de Bris. His Australian theatre work includes Les Misérables, Hairspray, Priscilla Queen of the Desert, Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat. His television work includes RFDS – Royal Flying Doctor Service, Les Norton and Significant Others; and for film, Seriously Red. Also a renowned cabaret performer, he has performed Liza (on an E), I’m Every Woman and Diamonds are for Trevor. He was the runner-up on Queen of the Universe.
Raj Ghatak playa Cermen Ghia. His theatre work includes The Father and the Assassin (National Theatre); Am Dram, Simply Cinderella (Curve, Leicester); Life of Pi, Everybody’s Talking About Jamie (Sheffield Theatres); The Kite Runner (UK tour); Miss Meena and the Masala Queens (Watford Palace and UK tour); This Tuesday (Arcola Theatre); Hector (Traverse Theatre and Ambassador’s Theatre); Golgotha (Conspirators’ Kitchen); Soho Cinders (Soho Theatre); The Secret Garden (Festival Theatre and Toronto); The Great Extension, High Heel Parrot Fish (Theatre Royal Stratford East); The Low Road,The Spiral/Rough Cuts, Free Outgoing, Shades – Unheard Voices (Royal Court Theatre); Bombay Dreams (Apollo Victoria); Hijra (West Yorkshire Playhouse, Bush Theatre, Theatre Royal Plymouth); My Dad’s Corner Shop (Birmingham Rep) and West Side Story (Prince of Wales Theatre). For television his work includes The Amazing Mr Blunden, Ackley Bridge (as semi regular Asif), Ghosts, Hetty Feather, Taboo, The 7.39, Dead Set, Synchronicity, All About Me, Hard Cash and Out of Sight; and for film, An Evening with Taglioni, Christopher Robin, Defrosted, Job’s Dinner, Mrs Brown’s Boys D’Movie, Naachle London, Diary of a Thagee, Karma Magnet, Dangerous Parking, Starter for Ten, The Lives of Saints, Never Say Never Mind, Birthday Girl, and Sari and Trainers.
Harry Morrison returns to the Menier to play Franz Liebkind – he previously appeared in The Third Man and Assassins. His theatre credits include Beetlejuice (international tour), Come From Away (Phoenix Theatre/Abbey Theatre), Half a Sixpence (Chichester Festival Theatre/Noël Coward Theatre), Guys & Dolls and Kiss Me, Kate (Chichester Festival Theatre), The Wizard of Oz (Theatre Royal, Northampton), Checkley & Bush (Soho Theatre), Oliver! (Larnaca International Festival/ Sheffield Crucible), Crazy For You (Open Air Theatre Regent’s Park/Novello Theatre), The Sound of Music (Open Air Theatre Regent’s Park) and All The Town’s Men (Theatre on the Fly). His television credits include Mongrels and Doc Martin.
Andy Nyman plays Max Bialystock. He is an award-winning actor, director and writer who has earned acclaim from both critics and audiences for his work in theatre, film and television. His work for the Menier includes Tevye in Fiddler on the Roof (also at the Playhouse – Olivier Award nomination for Best Actor in a Musical), Stephen Sondheim’s Assassins,Abigail’s Party (also Wyndham’s Theatre) and Terrible Advice. Other theatre work includes Hello, Dolly! (The London Palladium), Martin McDonagh’s Hangmen (Wyndham’s Theatre/Broadway), and the original production of Ghost Stories (Duke of York’s Theatre/Arts Theatre) which he starred in, co-wrote and co-directed with Jeremy Dyson – later adapted into a film, in which he also starred. His extensive television credits include Hanna, Wanderlust, The Eichmann Show, Campus, Crooked House, Dead Set as well as his highly acclaimed performance as Winston Churchill in Peaky Blinders. Nyman’s extensive film credits include Jungle Cruise, Judy,The Commuter, Death at a Funeral, Kick-Ass 2, Black Death, The Brother’s Bloom, Severance and Shut Up & Shoot Me, for which he won the Best Actor award at the Cherbourg Film Festival in 2006. In addition, he has collaborated with Derren Brown for almost 20 years, co-writing and co-creating much of Brown’s early TV work. He has also co-written and directed six of Brown’s stage shows, winning the Olivier Award for Best Entertainment for Derren Brown – Something Wicked This Way Comes and a New York Drama Desk Award for Best Unique Theatrical Event 2017 for Derren Brown – Secret.
Joanna Woodward plays Ulla. She previously appeared at the Menier in Merrily We Roll Along (also at the Pinter Theatre). Her theatre credits include The Time Traveller’s Wife: The Musical (Apollo Theatre), Pretty Woman: The Musical (Savoy Theatre), Confessions, Zombies: The Musical (The Other Palace theatre), Beautiful: The Carole King Musical (Aldwych Theatre), The Life (Southwark Playhouse), Fings Ain’t Wot They Used T’Be (Theatre Royal Stratford East), Lost Boy (Finborough/ Charing Cross Theatre), Little Shop of Horrors (Kilworth House Theatre), The Adventures of Jason and the Argonauts (Scoop Amphitheatre), Medea and Pages: Promised Land (Union Theatre).
As a director, Patrick Marber’s work includes Habeas Corpus (Menier Chocolate Factory), Leopoldstadt (Wyndham’s Theatre and Broadway – Tony Award for Best Director of a Play and Outer Critics’ Circle Award for Outstanding Director of a Play), Travesties (Menier Chocolate Factory/Apollo Theatre/Roundabout Theatre Company’s American Airlines Theatre, NYC), Steve Coogan/John Thompson in Characters (Edinburgh/Purcell Room/Touring), and his own plays Dealer’s Choice (National Theatre/Vaudeville Theatre), Closer (National Theatre/Lyric Theatre/Broadway), Howard Katz and Three Days In the Country (both National Theatre). Other productions include 1953 (Almeida Theatre), Blue Remembered Hills (National Theatre), The Old Neighborhood (Royal Court at Duke of York’s Theatre), The Caretaker (Comedy Theatre) and I Remember (devised piece at Royal Court). For television, he directed After Miss Julie and The Curator (both for the BBC). As a writer, his other work includes The Musicians (NT Connections) After Miss Julie,Don Juan in Soho (Donmar Warehouse/Wyndham’s) and The Red Lion (National Theatre). For television, his work includes: co-writer of The Day Today,Knowing Me Knowing You with Alan Partridge, Paul Calf Video Diaries, The Curator, Natural Born Quizzers (all BBC); for film, The Critic (dir. Anand Tucker), Closer (dir. Mike Nichols), Notes on a Scandal (dir. Richard Eyre) and Love You More (dir. Sam Taylor-Wood); and for radio, Hoop Lane (BBC Radio 3) and Bunk Bed with Peter Curran (BBC Radio 4).
Lorin Latarro choreographed Broadway’s recent Once Upon a Mattress (currently at the Hudson Theatre), The Who’s Tommy, TheHeart of Rock and Roll, Oliver!, Into The Woods, Waitress, Mrs. Doubtfire (also in the West End), Les Liaisons Dangereuse, Waiting For Godot. Her other theatre work includes Merrily We Roll Along (Roundabout); Assassins; Fanny and God Bless You, Mr Rosewater (New York City Center Encores); La Traviata and Rigoletto (The Metropolitan Opera); Chess (The Kennedy Center); Lin-Manuel Miranda’s 21 Chump Street for “This American Life” (Brooklyn Academy of Music); The Visitor (The Public Theater); Twelfth Night;The Odyssey (Public Works, Delacorte Theater) and A Christmas Carol (McCarter Theatre).
LISTINGS INFORMATION
MENIER CHOCOLATE FACTORY
THE CABINET MINISTER
Until 16 November
THE PRODUCERS
26 November – 1 March 2025
Box Office: 020 7378 1713 (£2.50 transaction fee per booking)
‘An Inspector Calls’ at the Darlington Hippodrome was nothing short of dynamically dramatic.
With no prior knowledge to ‘An Inspector Calls’, I really had no idea what to expect. The show kicks off with a bang. Sirens play throughout the auditorium captivating the audience members straight away, hundreds of which include school children. I believe they must study this piece in their curriculum.
As the curtain lifts, I was instantly blown away by the set design within this production. It was stunning. Rain was falling, along with a delicate mist, perfectly capturing a miserable evening in 1912 London. A rather large dollhouse like set piece dominates a huge portion of the stage. Actors could be seen through the windows and it really was impressive. Like a dolls house, it later opened up to reveal a beautiful interior set.
We’re introduced to Jeffrey Harmer’s ‘Mr Birling’, a very powerful father figure who demands the audience from the very get go. His ability to command the entire stage was a skill I was happy I got to witness. Complimenting Harmer’s performance was Leona Allen, playing his daughter ‘Sheila Birling’. A complete contrast to her father, Sheila has a playful energy. Dressed in a beautiful white period costume, she stands out among the suits.
Tom Chapman plays Sheila’s fiancée ‘Gerald Croft’ respectively. He has some beautiful moments with Allen. Their relationship rollercoaster was a fun watch.
Up next, providing a little comedy relief is ‘Eric Birling’ played wonderfully by George Rowlands. Rowlands gets to play with his character in a way the other performers do not. Providing some of the shows most funny moments, as well as some of the shows most dramatic. He did it so well.
Jackie Morrison stole the show with her portrayal as the lady of the house ‘Mrs Birling’. Not appearing until the shows 2nd act, her addition was a welcome change. Her characterisation was perfection.
Playing the mysterious ‘Inspector Goole’ was the talented Tim Treloar. His interaction with each of the “suspects” was a lot of fun to witness. In particular his moments with Morrison were incredibly powerful. Bravo to both of them.
With no lines in the show, but arguably the most stage time, I would like to mention Alice Darling’s portrayal of ‘Edna’, a subtly sublime masterclass in the art of reacting. Chefs kiss.
Without an interval, I would say this production missed it. I would have liked an intermission, a little time to process act 1 and prepare myself for what was to come. I think this production would benefit from a break, for comfort if nothing else.
The special effects used around the middle of this production were incredibly impressive. Nothing short of something you would find in London’s West End.
If you studied ‘An Inspector Calls’, or if you enjoy a period murder mystery – i would highly recommend this chilling rendition of the story.
Jonny Davidson, Sinéad Donnelly, Nicholas Gauci, James Grimm, James Mackay
Stage Door Theatre, The Prince of Wales pub, 150-151 Drury Lane, London WC2B 5TD
Wednesday 27 November – Saturday 4 January
Jonny Davidson, Sinéad Donnelly, Nicholas Gauci, James Grimm and James Mackay will star in a new London production of The Crumple Zone by Buddy Thomas.
Directed by Helen Bang, it will run at the Stage Door Theatre in Drury Lane, the first pub theatre in the West End, from Wednesday 27 November – Saturday 4 January. Press night is Friday 29 November at 7.30pm.
This hilarious Off-Broadway hit, set in a run-down apartment on Staten Island, centres on three roommates coming to a crisis during one frantic Christmas weekend. Terry, an out-of-work actor who can’t keep a job or get a date, spends his days swilling cheap vodka and playing referee to a messy love triangle. Extremely funny and deeply moving, The Crumple Zone is about staying together, breaking apart, and the things we lose along the way.
Jonny Davidson’s roles include Scrooge in A Christmas Carol and the title role in Agamemnon.
Sinéad Donnelly was Hortensia in the international tour of Matilda the Musical. She choreographed Go! The Musical (A New Musical) at the Camden Fringe Festival.
Nicholas Gauci was in Phaedra (National Theatre) and played Kamal in The Mother of Kamal at the Camden Fringe Festival.
James Grimm played Harry Houdini in The Vanishing Elephant (New Victory Theater, New York and Grand Opera House, Belfast).
James Mackay’s roles include Albert in the musical Fit For a King and Ollie in Bones.
Creative team to be announced.
Produced by LAMBCO Productions.
Buddy Thomas (Playwright)
Buddy Thomas is a widely produced playwright, and is the author of, among others, The Crumple Zone, which was an off-Broadway hit in the 2000-2001 season starring Mario Cantone. It has been produced around the world, with major U.S. productions in Los Angeles, San Francisco, Seattle and elsewhere, and foreign productions in Spain, Italy and the Netherlands. Devil Boys from Beyond premiered at the New York International Fringe Festival in 2009, where it won the FringeNYC Award for Outstanding Play and then went on to transfer to an off-Broadway run at New World Stages. The play was nominated for the 2010 GLAAD Media Award for Outstanding New York Theatre, and for Best New Play by the Off-Broadway Alliance. Other plays include Physical and Spotlight. Mr. Thomas is also an agent at ICM Partners, where he he represents many internationally known writers, artists and estates.
Helen Bang (Director)
Helen Bang was most recently seen as Lady Susan Bloom this year in Don’t Take The Pith! having originated the role last year at the Drayton Arms in An Absolute Farce of a Murder Mystery. She also directed both productions. Other recent theatre includes Miss Twitterton in Brian Blessed’s production of Busman’s Honeymoon at The Mill at Sonning. She also notably played the title role in Edward Bond’s Dea, a role created for her by the recently departed playwright. During her long association with international theatre company TheatreLab she played Herodias in their interpretation of Wilde’s Salome, a production which toured internationally; Miss Haversham in Great Expectations; as well as roles in Medea, Jamaica Inn; The Oresteia and Dancing with the Devil at Sadler’s Wells. For English Rep theatre company she played Gertrude in Hamlet and Madame Arcati in Blithe Spirit, and for Oxford Shakespeare Company, Titania in A Midsummer Night’s Dream. Most recent screen appearances include The Nevers for HBO and Belgravia. As a director she is responsible for various projects for Canonbie Productions including their web series Gentrification and The Self-Tapers. She made her feature film directing debut with Quixotic, written by her husband Peter Rae.
LISTINGS INFO
THE CRUMPLE ZONE Written by Buddy Thomas
Directed by Helen Bang
Stage Door Theatre The Prince of Wales pub 150-151 Drury Lane London WC2B 5TD
27 November- 4 January
Tuesday – Friday at 19:30 Saturdays at 20.30pm
Dinner Tickets: £41, Show only: £24 (plus booking fee)
Chichester Festival Theatre – until 18th October 2024
Reviewed by Emma Barnes
5*****
Redlands is a thrilling and colourful dive into the swinging 60´s, bringing an infamous moment of local history to the Chichester Festival Theatre stage in the portrayal of the Rolling Stones’ 1967 drug trial at Chichester Magistrates Court. Charlotte Jones’s play offers a thought-provoking and highly entertaining exploration of the band’s cultural impact, the complexities of youth rebellion, and the ever-shifting boundaries of law and morality.
The performances are absolutely electric, with Jasper Talbot in his professional theatre debut and Brenock O’Connor capturing the essence of Jagger and Richards with energy, accuracy and all the right moves. Their on-stage chemistry is palpable, the combination of fantastic storytelling and great music striking all of the right chords for me.
The supporting cast, including Emer McDaid as Marianne Faithfull and Louis Landau in his stage debut as Nigel Havers deliver equally strong performances, adding depth and an intriguing sub plot to the story, seamlessly weaving together the personal and the political. I enjoyed the narrative on the Havers family just as much as the main storyline.
The play’s soundtrack obviously adds to the night with classic Rolling Stones hits well known by the crowd, showcasing the enduring legacy of the rock ´n´roll pioneers. We were also treated to ´As Tears Go By´ and the beautiful ´This Little Bird´ both recorded by Marianne Faithfull.
Audibert’s direction is dynamic and visually striking, making use of the Chichester Festival Theatre’s spacious stage and dipping into the crowd to create immersion and a sense of chaos and energy. The production’s design is equally impressive, with stunning colourful costumes, amazing footwear and a set that transport the audience to the heart of the Swinging Sixties.
I thoroughly recommend Redlands for an exhilarating night out. The show succeeded as an eclectic mix of storytelling, comedy, farce, drama and rock musical. A vibrant, energetic and entertaining journey through one of the most iconic eras in music and history. If this show doesn’t make it onto tour then it will be a crying shame.
Northern Ballet announces new original work: Gentleman Jack
Northern Ballet will debut a groundbreaking new full-length production based on the life of Anne Lister in 2026.
Northern Ballet is thrilled to announce the creation of a major new full-length ballet based on the extraordinary life of Anne Lister, or ‘Gentleman Jack’ (1791-1840), the historical Yorkshire figure often referred to as ‘the first modern lesbian’ whose diaries have captivated audiences around the world. Gentleman Jack will open in Leeds before touring to Sheffield, Nottingham, Salford, London and Norwich in spring 2026 with live music.
As Northern Ballet’s first large-scale commission since 2021 and the first under Artistic Director Federico Bonelli, Gentleman Jack marks a significant milestone for the organisation. This new ballet will explore the narrative of this fiercely independent woman who defied societal norms and expectations, presenting a unique opportunity to tell her story through the powerful medium of dance.
Anne Lister’s remarkable life inspired the hugely popular and critically acclaimed BBC/HBO series, Gentleman Jack, written by Sally Wainwright and starring Suranne Jones. The series, which premiered in 2019, brought her story to a global audience and highlighted her relationships with other women. Now, Northern Ballet will be the first to bring this narrative centring on a gay woman to the classical ballet stage in a groundbreaking production.
A carefully selected artistic team will ensure that Anne Lister’s story is staged with respect and maximum impact including Sally Wainwright, series-writer of Gentleman Jack; choreographer Annabelle Lopez Ochoa and New Zealand-based composer Claire Cowan who will create a new score for Gentleman Jack.
Artistic Director Federico Bonelli said:
“Northern Ballet is renowned for our expert storytelling and mastery of ballet technique, and this production will be no exception. Like many, I first became aware of Anne Lister through the BBC drama in 2019 and have been fascinated by how the traditionally gendered language of classical ballet could be adapted to convey her story.
As an organisation, our aim is to break down barriers to world class ballet for larger and more diverse audiences. It is my vision to diversify the stories represented in ballet, and add to the landscape of the dance sector through stories that connect with audiences. Anne Lister’s story, the story of someone many call the first modern lesbian, is a perspective we rarely see represented through ballet. With her connection to our home in Yorkshire it feels like a perfect fit, and I am thrilled that Annabelle Lopez Ochoa will choreograph this ballet alongside a talented creative team.”
Creative Consultant Sally Wainwright said:
“It’s so exciting to see Anne Lister’s influence and legacy continue to expand and for her life and writing to reach new audiences. What a thrilling opportunity to present Anne Lister to the world in a brand new way.”
Choreographer Annabelle Lopez Ochoa said:
“I’m so excited for the opportunity to create this ballet, a piece that I hope will resonate with audience members on a personal level. Anne Lister’s story, as revealed through her diaries, offers an incredible depth and richness that are fascinating to explore through ballet, particularly with Northern Ballet’s dancers who are renowned for their ability to combine compelling storytelling with the classical technique.”
Composer Claire Cowan said:
“The discovery and translation of Anne Lister’s secret diary is a phenomenal insight into queer history. Her life and story is a very exciting one to explore, especially through the artform of ballet where it is a rare delight to see a queer female character, let alone a queer female love story based on real life. Being commissioned by Northern Ballet is such an amazing opportunity for the whole creative team to come together and create something which reaches a really wide audience. I’m looking forward to learning more about Anne and exploring how all the complexities of her character can be portrayed through music to heighten the impact of the choreography and storytelling.”
Dramaturg Clare Croft said:
“It’s fascinating to be delving into all the nuances of how we will tell a story—through ballet—of a more masculine woman, a woman who loved women. In this ballet, it’s not just that such a woman—a woman who refused to marry a man—is on stage, but that she’s at the centre of the story. Queer women get a shot at seeing one version of ourselves on a ballet stage. That shouldn’t be a big deal, but it is.”
International Partnership
Northern Ballet is proud to partner with Finnish National Opera and Ballet to deliver Gentleman Jack internationally. Finnish National Ballet, established in 1922, is the only full-sized professional ballet company in Finland and will present Gentleman Jack in Helsinki in April 2028.
Community Engagement
Alongside the creation of Gentleman Jack, Northern Ballet’s Learning team will launch a comprehensive schools education program, exploring themes of identity, allyship and compassion, drawing inspiration from Scottish Ballet’s Safe to Be Me program. By supporting young people to challenge prejudice, celebrate diversity and express themselves, Northern Ballet hopes to make a lasting impact.
Further details of Gentleman Jack‘s tour will be announced in spring 2025. To find out more about the ballet and sign up to receive the latest behind the scenes content and updates, visit northernballet.com/gentleman-jack.
