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BRAND NEW MUSICALS AND A RETURNING
FAVOURITE AT THE ALHAMBRA THEATRE IN 2020 –
NOW ON SALE!

BRING IT ON THE MUSICAL
Tuesday 14 – Saturday 18 July 2020
Alhambra Theatre
Tickets £39 – £19

MY BEST FRIEND’S WEDDING THE MUSICAL
Monday 5 – Saturday 10 October 2020
Alhambra Theatre
Tickets £48 – £20

SUNNY AFTERNOON
Tuesday 3 – Saturday 7 November 2020
Alhambra Theatre
Tickets £45 – £19.50

Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk
All prices shown include booking fees but are subject to postage charge if applicable.
Bradford Theatres usual terms and conditions apply.

BRING IT ON, a smash hit Broadway Musical is now coming to the UK. Inspired by the film of the same name, Bring It On The Musical takes you on a high-flying, energy fuelled journey which tackles friendship, jealousy, betrayal and forgiveness – wrapped up in explosive choreography and tricks.

Bring It On is produced by Selladoor Productions (Flashdance, Avenue Q) and written by Tony Award Winners Lin-Manuel Miranda (Hamilton), Jeff Whitty (Avenue Q) Tom Kitt (Grease Live) and lyricist Amanda Green (High Fidelity).

The smash-hit 90s movie My Best Friend’s Wedding is a brand new musical comedy starring the talented Alexandra Burke, who recently wowed Alhambra audiences with her performance in The Bodyguard, and has also starred on stage in Chicago and Sister Act.

My Best Friend’s Wedding features some of the most iconic pop anthems ever written by the legendary Burt Bacharach and Hal David, including I’ll Never Fall in Love Again, I Just Don’t Know What To Do With Myself, Walk on By, I Say A Little Prayer, What’s New Pussycat and many, many more.

The musical will have a book by Ronald Bass (My Best Friend’s Wedding, Rain Man, and The Joy Luck Club) and Jonathan Harvey (Beautiful Thing, Gimme Gimme Gimme, and Coronation Street). Recommended age 12+

Sunny Afternoon the multi Olivier Award winning musical returns to Bradford following a phenomenal two years in the West End and a sensational hit tour across the UK and Ireland in 2016.

With music and lyrics by Ray Davies, book by Joe Penhall and direction by Edward Hall, experience the faultless musicianship and brilliant songs played live and loud on stage including You Really Got Me, Waterloo Sunset, Dedicated Follower of Fashion, All Day and All of the Night, Lola, Sunny Afternoon and many more.

BRAND NEW PRODUCTION COMPANY represent. ANNOUNCES THEIR INAUGURAL SEASON

Brand-new theatre company represent., is today announced with a mission to increase access to the industry for those from lower socio-economic backgrounds*. Inspired by the repertory model, represent. will offer six 18–30 year olds an acting apprenticeship where they can develop their craft on the job, earning a London living wage. 

represent.’s inaugural season includes the European première of Stephen Jeffreys’ Interruptions adapted and directed by Guy Woolf with movement direction fromComplicité’s Kasia Zaremba-Byrne and Annabel Arden, HMP Macbeth written by Darren Raymond after William Shakespeare and directed by Karen Tomlin, and Albatross written by Isley Lynn and directed by Jess Edwards. In connection with Albatross, Abigail Sewell will present Repfest; a festival of post-show work including poetry, live music and new writing from emerging artists with further details to be announced. 

Creative Director of Represent Guy Woolf said today, “Represent is a new repertory company dedicated to redressing the socioeconomic imbalance in the industry. For our very first season we are so excited to present a diverse programme of 3 plays in a diverse set of venues , performed back to back, that will greatly challenge our cast of 6, who appear in each play while they rehearse the next one during the day! We are working with an extraordinary creative team, presenting two professional premières by Darren Raymond and Isley Lynn and a European première of a play by Stephen Jeffreys. We are also presenting repfest., programmed by Abigail Sewell, a festival of work by emerging artists to celebrate the launch of our bold initiative. Timely, disruptive and powerful: welcome to represent theatre!”

represent. is also working alongside Mousetrap Theatre projects to provide open rehearsals and workshops for schools, as well as releasing a limited amount of £5 tickets for under 25s for each show.

EUROPEAN PREMIÈRE

INTERRUPTIONS

Written by Stephen Jeffreys, adapted for six actors by Guy Woolf

Director: Guy Woolf; Movement Director: Kasia Zaremba-Byrne Lighting Designer: Jai Morjaria Sound Designer: Charlotte Bickley Designer: Catherine Morgan; Associate Artist: Annabel Arden 

1 April – 18 April

At Jacksons Lane Theatre, Highgate 

“I like to read about the comedy of the world. But there is no point any more in taking part. I believe in nothing.”

Interruptions shows an imaginary country preparing for an election, undergoing a military coup, and then living through the consequences. Originally devised by Annabel Arden and Stephen Jeffreys, represent.presents its UK première with a new adaptation for a smaller cast. 

In her introduction to the collection Stephen Jeffreys: Plays (Nick Hern Books, 2018), Jeffreys’ wife Annabel Arden writes: ‘[Interruptions] sprang from [Stephen’s] fascination with the Japanese aesthetic principle of Jo-ha-kyu and his desire to create a particular narrative form to express our struggles with democracy and leadership.’ It asks the questions: Do we need to be led? How do we decide who leads? and What happens when there are no leaders?’

Stephen Jeffreys (1950 – 2018)was an internationally-acclaimed playwright and winner of the Evening Standard and Critics’ Circle Award for Most Promising Playwright. His theatre credits include The Clink (Paines Plough), The Libertine (Royal Court Theatre), A Jovial Crew (Royal Shakespeare Company), A Going Concern (Hampstead Theatre), I Just Stopped by to See the Man (Royal Court Theatre) and Bugles at the Gates of Jalalabad (Tricycle Theatre). For film his credits include The Libertine and Diana.

Guy Woolf is an actor, director and composer. Previous credits as an actor include 3 Guys Naked From The Waist Down (Finborough Theatre), Thrill Me (The English Theatre of Hamburg/Jermyn Street Theatre) and Becoming Electra (The Roundhouse/UK tour). He plays Electra in Cabaret Troupe Denim (Soho Theatre/Arts Theatre/Glastonbury), with TV credits including Trigonometry (BBC 2). His credits as a composer include Great Again (Tristan Bates Theatre/Vault Festival). 

HMP MACBETH 

Written by Darren Raymond after William Shakespeare

Director: Karen Tomlin; Lighting Designer: Jai Morjaria; Sound Designer: Charlotte Bickley 

Designer: Catherine Morgan 

29 April – 16 May 

At Waterloo East Theatre

“Read your bible and say your prayers and it won’t be long till you’re home. Remember, angels are bright still, though the brightest fell.”

HMP Macbeth reimagines this classic, dispensing with king and castle, in a prison where institutional syndrome descends on the inmates.

Originally devised and written by Darren Raymond with Intermission Youth Theatre, based on Raymond’s experience, HMP Macbeth’s is an atmospheric, horrifying and immersive production.

Darren Raymond is the Artistic Director of Intermission Youth Theatre which was established in 2006. His credits include Shakespeare Walks, Sonnet Sunday and Voices in the Dark (Shakespeare’s Globe). He is a member of RSC’s Education Advisory Committee. 

Karen Tomlin is a director. Her previous credits includeThe Tempest (East 15),Not Bound Within (Albany Theatre), Stars in the Morning, Merchant of Venice (Fourth Monkey), Streets (Theatre Royal Stratford East), Our Four Walls, Doors, The Bear (Ovalhouse), The Wish Collector, Bye Bye Planet Earth (Unicorn Theatre), Yerma Response (Gate Theatre), De Botty Business (Hackney Empire/UK tour), Short and High (Shoreditch Town Hall), Three of Four the Bonnington Group (Arcola Theatre), The Gift (Cockpit Theatre), Skin Deep (Almeida Theatre) and A Light Swell (Bridewell Theatre).

WORLD PREMIÈRE

ALBATROSS 

Written by Isley Lynn

Director Jess Edwards; Lighting Designer: Jai Morjaria; Sound Designer: Charlotte Bickley 

Designer: Catherine Morgan

27 May – 13 June 

At The Smiths at The Vaults, Waterloo 

“It’s not just the choice

It’s never just the choice

Choice is a fairy-tale.”

Tattoos are forever. Almost. And at Noodle Soup Tattoo there are strict rules: No names unless they’re dead. Nothing on the face. Nothing you might get sued for later.

When Jodie, a rough sleeper, asks for a free tattoo from apprentice Kit, her request is well within the guidelines. But Kit is still unsure, because they know only too well that getting inked isn’t the only decision that stays with you for the rest of your life.

Albatross is a small but sweeping story about the past refusing to stay in the past.

Isley Lynn is a playwright. Her previous credits include Skin A Cat (Vault Festival/The Bunker/UK tour), Sleight of Hand (Theatre503/Arcola Theatre/Gate Theatre), What’s So Special (The Royal Court), Lean (Tristan Bates Theatre), Bright Nights (The Space) and Sie Und Wir (Werk X). 

Jess Edwards is a director. Herprevious theatre credits include Fitter (Soho Theatre), Hotter (Underbelly / Soho Theatre), Passengers (Edinburgh Festival Fringe 2018 – Winner of Summerhall Lustrum Award), Sparks (Vaults / Pleasance), Nacktsängerin (BKA Theater Berlin), Denim: World Tour (Soho Theatre / Underbelly), Punts (Theatre503), Torch (Latitude / Edinburgh Festival 2016), Haters Make You Famous (Almeida Theatre), Queering Marlowe (Duke of York’s Theatre), The Box (Latitude / Theatre Delicatessen), The Itinerant Music Hall (Lyric Hammersmith / Watford Palace / Greenwich+Docklands International Festival / Latitude), and Jekyll & Hyde (Southwark Playhouse / Assembly Edinburgh).

REPFEST

Curated by Abigail Sewell

1 June – 13 June 

The Vaults 

A festival of work post-show, celebrating emerging artists and marginalised voices. Repfest will platform artists from a variety of disciplines in this unique space under the arches in Waterloo. A ticket to Albatross guarantees you a seat for the Repfest show that night!

Abigail Sewell is a director. Her credits include The Lost Ones (Ovalhouse), PYNEAPPLE (Bunker Theatre), Never Forget (Tristan Bates Theatre), Heard (Camden People’s Theatre). Credits as assistant director include The Merchant of Venice (RSC), Pah-La (Royal Court), Rosenbaum’s Rescue (Park Theatre), Things of Dry Hours (Young Vic). 

*represent. measures socioeconomic status using the civil service guide, more details found here: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/768371/Measuring_Socio-economic_Background_in_your_Workforce__recommended_measures_for_use_by_employers.pdf

Partnership with Darwin Escapes helps Birmingham Hippodrome stage more Relaxed Performances in 2020 to give everyone the magical experience of live theatre

Birmingham Hippodrome has announced the renewal of a long-term four year partnership with the national holiday homes and rental company Darwin Escapeswhich will support the theatre’s relaxed performances in 2020.

Birmingham Hippodrome’s relaxed performances are open to all, but are created for people with special needs who may find the theatre challenging, to support them to enjoy the magic of live theatre with their family and friends. This includes people with an Autistic Spectrum Condition, learning disability or sensory and communication disorder. For these special performances, the script may be adapted, bright lights and loud noises reduced, and the Hippodrome provides calm spaces in the main building with beanbags, sensory toys and a space to watch the show on screens outside of the main auditorium.

A relaxed performance of Snow White and the Seven Dwarfs will take place on Wednesday 29 January and has already sold out over two months in advance. The sparkling production stars Birds of a Feather’s Lesley Joseph as The Wicked Queen, Hippodrome panto favourite Matt Slack as Muddles, X Factor winner Joe McElderry as The Spirit of The Mirror and Coronation Street’s Faye Brookes as Snow White.

Judith Greenburgh, Head of Partnerships & Events at Birmingham Hippodrome, said: “As an independent charity, without partnership support, we wouldn’t be able to create these wonderful experiences. Our programme of relaxed performances grows every year and we are thrilled to be working with Darwin Escapes again.

Staff members from Darwin Escapes will also be volunteering at the relaxed performance of Snow White and the Seven Dwarfs to welcome and support audiences.

James Penney of Darwin Escapes added: “I am delighted to be continuing our partnership with Birmingham Hippodrome which offers a wonderfully diverse programme of arts and entertainment. The partnership provides an opportunity for Darwin Escapes to engage with the local community alongside an organisation which also provides unforgettable experiences.

 “Darwin Escapes aims to carve memories for life across its holiday resorts and I have no doubt that working with the Hippodrome will ensure we both continue to leave a lasting impression on our customers.”

As an independent charity, Birmingham Hippodrome relies on the generous support of the public to deliver Hippodrome Projects; a programme of indoor and outdoor live performance, community work and transformational learning projects.

If you would like to find out more about how you can support Birmingham Hippodrome, please visit https://www.birminghamhippodrome.com/giveandjoin/

Jack Studio Theatre – until 1 February 2020

Reviewed by Claire Roderick

3***

Yard Players return to the Jack Studio Theatre with this rather subdued production of Twelfth Night. The promise of a modern setting shown with an immediate technology gag is never followed up, but seems to just serve as a method to replace exposition and minor characters with a glimpse at a mobile phone.

The ridiculous cross-dressing and cross-gartered plot remains intact, with shipwrecked Viola dressing as a young man and calling herself Cesario to enter the court of Count Orsino and wooing the Lady Olivia for him. Olivia falls for Cesario, who is in love with Orsino, who in turn is developing feelings for his young servant. Meanwhile Olivia’s uncle, Toby Belch, and maid Maria plot revenge against pompous steward Malvolio for his attitude towards them, aided by Olivia’s foolish suitor Aguecheek. The arrival of Sebastian, Viola’s twin brother who she believes dead, creates more comic confusion and chaos before Shakespeare ties everything up neatly, pairing up lovers for a happy ending.

The simple set and unobtrusive music and sound keeps the focus on the actors, and director James Eley has cut characters to create a streamlined and fast-paced play. This means there is no Feste with his world-weary words of wisdom, and instead Maria voices his and Fabian’s lines as the plot against Malvolio and duel with Cesario unfold. For me, this made Maria seem much more vindictive and manipulative, rather than sharp-witted and mischievous- especially with Heloise Spring’s sneering and lairy interpretation. Pete Picton impresses as Toby Belch, with a bottle in every pocket, but the pair are made so unlikable in order to present the heavy handed acknowledgement that what they do to Malvolio is unimaginably cruel that lots of the comedy is lost. Luckily Duncan Dury as Aguecheek never fails to deliver big laughs when he is onstage with them. Daniel Chrisostomou is a very sympathetic Malvolio, and Olivia Price and Duncan Dury nail the self-entered points scoring relationship between Olivia and Orsino. Their courts wear different coloured lanyards, whether this is a comment on identity or their business rivalry is unclear. James Viller is great fun as Orsino’s frustrated servant Valentine, and wide-eyed and confused as the fickle Sebastian, while Jessica Kinsey is a quietly passionate but melancholic Viola.

The downbeat ending, with the twins gradually realising they are just trophies in the nobles’ shallow game is satisfying, but perhaps would have been more effective if the rest of the plot had been played with a lighter comic touch.

It’s worth a visit to the Jack to see this well-meaning and reflective adaptation of Twelfth Night, but this approach obscures the playful joy of Shakespeare’s comedy.

Leeds Grand Theatre – until 20 March 2020

Reviewed By Dawn Smallwood

4****

Kurt Weill’s Street Scene marks the new Opera North’s season at the Leeds Grand Theatre. Set to Elmer Rice’s book and Langston Hughes and Rice’s lyrics, Street Scene was premiered in 1947 in New York. This American opera, which has a musical twist, gives an insight to a Manhattan neighbourhood and its residents’ daily lives over 24 hours.

This new Opera North production is set to Weill’s musical composition where Act One, introduces the families and their unassuming livelihoods in a tenement. Anna Maurrant (Giselle Allen) is introduced along with her drink dependent husband, Frank (Robert Hayward), and their daughter, Rose, (Gillene Butterfield). Sam Kaplan (Alex Banfield) is also introduced and falls in love with Rose. The first act is fairly lengthy but it is appropriately paced to fit with the musical components and tempo for the retelling of the plot and the families concerned. The pace is picked up in Act Two when drama unfolds when it becomes apparent when Anna (Allen) and her lover, Steve Sankey (Paul Gibson), are discovered by husband Frank (Hayward). Tragedy follows which changes daughter Rose’s life forever as conclusively reflected in the final stages of the opera.

Conducted by James Holmes, Street Scene’s musical composition has varied genres which arrange and combine both opera and Broadway style singing and dancing – particularly the fast paced energetic Moon Face, Starry Eyed number performed by Mae Jones and Dick McGann (Michelle Andrews and Rodney Vubya) in the latter stage of the first act. The stories being shared indicate the harsh reality of living communally and the complexities which are explained musically and lyrically by the tenants. However they are able to reminisce about the past and notably hope for better lives in the future as picked up in Somewhere I Never Could Believe (Allen), Lonely House (Hayward) and What Good Would the Moon Be? (Butterfield)

Francis O’Connor’s dark staging, in support with Howard Hudson’s lighting, is exceptional with a multitude of suitcases snaking the four levels and the communal spaces, space is well used, of the tenement building. Directed by Matthew Eberhardt this is an enjoyable production with outstanding performances from the cast and its diverse and reflective music accommodating the reality of living in a tenement in the 1940s.

Street Scene resonates with the Weill’s migrant journey from Germany to America when he fled the Nazis in the 1930s and today is a similar picture of neighbourhoods here and worldwide with many migrants who have been in a similar predicament as the composer. The opera is considered one of America’s greatest operas and the story and music is written and captured ahead of its time as it continues to relate in the 21st Century.

Above the Stag Theatre – until 22 February 2020

Reviewed by Elizabeth J Smith

4****

Pete and Rafe have been together seven years, well seven and a half if we’re being pedantic. They have been together since university and although still very much in love, they want a taste of another bee’s honey. They don’t want a stranger or a friend they may bump into in  Asda, well Sainsbury’s. So they proposition an acquaintance, Micheal, to see if he would be up for a one night stand with each of them. One time only, never to be repeated. Micheal, who is in an open relationship with Andrew, is up for the challenge and terms are agreed. Michael knows of the agreement but as the play moves on is he really happy with the situation? Can a long term relationship withstand the infidelity? Can a broken vase ever be glued together and look the same?

Four Play is a funny, emotive play looking at relationships. Although focused on gay men, it covers struggles all relationships can suffer, regardless of orientation.

Keeran Blessis – Pete, Ashley Byam – Rafe and Declan Spaine -Micheal, all give convincing performances. Displaying each characters flaws with accurate artistry. From timid Rafe to bossy Pete and who gives a damn Michael. Marc Mackinnon – Andrew, has some great one-liners. There is real chemistry between the couples and you want a happy ending for them all.

A simple set that carries you from scene to scene and a great soundtrack make this a very easy play to watch. With laugh out loud one-liners and tender emotional moments it really is a super night out.  A must see for anyone who has been in a long-term relationship and wondered if the grass is greener on the other side!

Yeadon Town Hall – until Saturday 25 January 2020

Reviewed by Aimee Liddington

4****

Enter into a world of classic pantomime entertainment with Yeadon Charities Association’s presentation of this classic fairy tale. The production follows the timeless story we all know too well of the kind and gentle Cinderella, who is pushed around by her ugly stepsisters and evil step-mother. Then, with a little help from a fairy friend, she meets the love of her life in Prince Charming and justice prevails. This interpretation gives us everything we expect from a pantomime: obvious slapstick humour, audience participation and the more ‘subtle’ innuendos for the adults in the audience. With his script, Tom Whalley has introduced content which is sure to resonate with the audience in Yeadon and its surrounding areas.

The actors handle the audience extremely well. Small blunders are smoothed over with direct address to the audience. This only adds to the humour and eventually it is impossible to tell whether these ‘side notes’ are actually built into the act. Buttons, who is played by Ian Mottram, deserves a lot of the credit for the humour in this production. His one-liners and general mannerisms defy anyone not to crack a smile. Further mention should go to the dynamic duo of Richard Atkinson and Rick Hoddy who play the ugly stepsisters, Bella Needs-A-Fella and Stella Artois. These two are entertaining even when they are not part of the main action on the stage. You only need to keep your eye on them to catch their hilarious facial expressions and body language at trying to keep in character as women.

Any production would not be complete without the creative and production team. Alison Sandoval, Justine Moglia and Sharon Walley deserve a huge congratulations for their costume designs. The transformation scene where Cinderella’s dress evolves from rags to riches is incredibly impressive. The costume is faultless and it is obvious that a lot of work has gone into the design of it. Additionally, the lighting design by Tom Hughes certainly highlights the fairy magic with the use of the disco ball and even sparks of fire.

Finally, along with the script, the music is kept relevant with well-known songs that have been adapted slightly to work better with the story. The Band perform flawlessly and their contribution to the production pulls everything together effortlessly.

Get yourself down to Yeadon Town Hall for some good, old fashioned family fun with Yeadon Charities Association production of Cinderella: The Magical Pantomime.

Richmond Theatre  – until 18 January 2020

Reviewed by Carly Burlinge

5*****

Dial M For Murder was first premiered at Westminster Theatre in 1952 and was also made famous and well known by Alfred Hitchcock’s film. Adapted by Frederick Knott’s and directed by Anthony Banks.

Margot Wendice (Sally Bretton) is a wealthy women who is married to Tony Wendice  (Tom Chambers) an ex tennis pro who decides to give it all up for his loving wife. However when he discovers that she had an affair a year ago with a professional crime writer Max Halliday (Michael Salami) he tries to blackmail her into making her come clean. She chooses to keep things quiet and continues to go along with the blackmail in order to not get caught. Because of this he then decides to begin to plot the perfect murder. This involves him also blackmailing an old acquaintance from school, Captain Lescate (Christopher Harper) to help him but unfortunately things don’t quite work out as planned taking a turn for the worst. Leaving a murder to be solved by Police Inspector Hubbard (Christopher Harper).

This production is well worth a visit for Tom Chambers outstanding performance as Tony Wendice, a very calm, collective and confident character who has also played the part as charming and talkative using his chat to just about get out of any situation. He has only one thing on his mind though and that’s to get away with murder.

Margot Wendice (Sally Bretton) is a strong and likable character throughout, handling some of the more dramatic scenes with some powerful acting keeping the audiences at the edge of their seats.
Max Halliday played by Michael Salami, plays a very enthusiastic, adventurous writer with a lots of energy which was entertaining and enjoyable to watch on stage.

Christopher Harpers work as Inspector Hubbard was very distinguished as he plays an upfront, bold and blunt detective who with his very expressive ways had the audience in laughter throughout the play, giving a good sense of dramatic but also lively and amusing performance.  

Played in the flat of Tony and Margot Wendice, the set is lavish and  beautifully done to a high standard with great props.

The lighting and sound were extremely vibrant and loud with great music including some creepy tunes  for some of the more tragic and dramatic scenes which was gripping and exciting to watch.

This is definitely a must see production with a great cast full of intensity, superb acting. An all round fantastic night out that you won’t want to miss.

Applications now open for

The Alexandra’s 17^th Stage Experience

The Alexandra’s annual Stage Experience returns for another year, where the best in West Midlands talent will spend two weeks of their summer holiday alongside a professional creative team to put on a full-scale production of Fame The Musical.

Applications open today for 9 – 24 year olds who wish to take part in the historic project, with both opportunities for performers as well as those interested to take part behind the scenes in a limited number of technical spaces.

Stage Experience will take place from Friday 14^th to Saturday 29^th August and following an intense rehearsal period, culminates in 5 fully-staged performances on The Alexandra stage, complete with our professional orchestra, set, lighting, sound and costumes.

A unique opportunity to make new friends, hone skills in the fast-paced theatre environment, and ultimately experience what it is like to take part in a large-scale production on a par with west-end/touring musicals, the project is perfect for budding performers who want to experience treading the boards in a prestigious regional theatre.

For those interested in behind the scenes, Stage Experience technical places offer a rare opportunity to gain experience the areas of lighting, sound, wardrobe, flys, stage management and more.

To find out more and apply prospective participants should head to [bit.ly/fame2020]bit.ly/fame2020. The deadline for applications is Friday 17^th April, with auditions and technical interviews taking place on Sunday 26^th April and recalls for successful applicants on Sunday 3^rd May.

Fame The Musical, with its bittersweet and uplifting story and a score of unforgettable songs including Out Here On My Own, These Are My Children, Let’s Play A Love Scene and of course the famous theme song Fame, runs from Wednesday 26^th until Saturday 29^th August. See the stars of the future light up the sky like a flame next summer!

Fame The Musical was conceived and developed by David De Silva, with a book by Jose Fernandez, lyrics by Jacques Levy and music by Steve Margoshes. The Title Song “Fame” was written by Dean Pitchford and Michael Gore.

This amateur production is presented by arrangement with Music Theatre International (Europe). All authorised performance materials are also supplied by MTI Europe

Jason Manford to return as host for Olivier Awards 2020 with Mastercard

Jason Manford has been announced as the host of the Olivier Awards 2020 with Mastercard. This is the third time the comedian, actor and singer will host the prestigious ceremony, celebrating the best of London’s world-leading theatre, which takes place at the Royal Albert Hall on Sunday 5 April.

Jason Manford said:

‘It’s great to be back hosting the Olivier Awards. Having trod the boards myself many times, I’ve experienced first-hand the huge wealth of creativity and talent across the UK theatre industry.  I look forward to celebrating all the incredible work produced over the last year. It will definitely be a night to remember – see you at the Royal Albert Hall!’

Olivier Awards nominations will be announced on Tuesday 3 March, and public tickets for the ceremony go on sale on Friday 24 January, through priceless.com.

Further details of plans for this year’s Olivier Awards will be revealed soon.

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