Home

FOUR-TIME OLIVIER AWARD WINNER

IMELDA STAUNTON

TO HEADLINE NEW PRODUCTION OF THE ICONIC MUSICAL

The show reunites Imelda with Dominic Cooke,

the director of their acclaimed production of Follies

Jerry Herman’s unforgettable score includes

Put On Your Sunday Clothes, Before the Parade Passes By,

It Only Takes a Moment and Hello, Dolly!

Strictly limited season begins at Adelphi Theatre on 11 August 2020

Today Michael Harrison and David Ian are thrilled to announce that Imelda Staunton is back where she belongs in Hello, Dolly! as one of the most iconic musicals of all time comes to the Adelphi Theatre in 2020. This brand new production reunites Imelda with director Dominic Cooke,following the critically acclaimed production of Follies at the National Theatre.

With an unforgettable score by the legendary Jerry Herman, Hello, Dolly! will begin performances at the Adelphi Theatre in London on Tuesday 11 August 2020 for a strictly limited 30-week season. Tickets go on sale today, Friday 22 November 2019.

Multi Olivier and BAFTA Award winning Staunton plays meddlesome socialite turned matchmaker Dolly Levi, as she travels to Yonkers, New York to find a match for the miserly, unmarried ‘half-a-millionaire’ Horace Vandergelder. But everything changes when she decides that the next match she needs to make is for herself.

With music and lyrics by Jerry Herman (La Cage aux Folles, Mack and Mabel, Mame) and book by Michael Stewart (42nd Street, Mack and Mabel, Barnum), Hello, Dolly! is one of the most iconic musicals of all time. Jerry Herman’s timeless score includes ‘Put On Your Sunday Clothes’, ‘Ribbons Down My Back’, ‘Before the Parade Passes By’, ‘Elegance’, ‘It Only Takes a Moment’ and of course, ‘Hello, Dolly!’.

Imelda Staunton and Dominic Cooke most recently worked together to spectacular effect with the critically acclaimed National Theatre production of Stephen Sondheim’s Follies. Now Hello, Dolly! reunites star and director in this classic Broadway musical.

Hello, Dolly! also reunites Imelda Staunton with producers Michael Harrison and David Ian. Their production of Gypsy at the Savoy Theatre was awarded the Olivier Award for Best Musical Revival, and for which Imelda also won the Olivier Award for Best Actress In A Musical for her acclaimed portrayal of Momma Rose.

Imelda Staunton commented: “Well, I’m delighted and daunted in equal measure to be doing a new production of Hello, Dolly! in London next year. I am so excited to be working again with Dominic Cooke, Michael Harrison and David Ian, and we all can’t wait to bring Hello, Dolly! – which is a truly joyous show – back to the West End after all these years. “

Further casting for the production will be announced at a later date.

Sheffield Lyceum Theatre – until 30 November 2019

Reviewed by Carla Whittaker

4****

The smash-hit West End show Motown The Musical is currently playing to sell-out crowds at Sheffield’s Lyceum Theatre until the 30th November 2019. I was exceptionally lucky to be able to get a ticket with my friend in order to review.

The production tells a story of Berry Gordy (Edward Baruwa) and the roller coaster of rags to riches of a journey for the famous Motown record label which launched the professional careers of the timeless favourites of Stevie Wonder, Smokey Robinson, Dianna Ross, Marvin Gaye and Michael Jackson plus many more. The audience are taking on a journey through Motown’s history from its beginnings when Gordy signs his first act Smokey Robinson. We see, the label grows with the signing of more acts having countless hits. It is the signing of the young Diana Ross who captures the heart of Gordy. During one of the performances Diana asks a member of the audience if they would like to join her on stage; one lady volunteered, and both gave a fabulous rendition of Reach Out. The orchestra and musical director accompanied the cast in fifty plus Motown hits including Stop! In the Name of Love, I Heard Through the Grapevine, I’ll be There, Ain’t No Mountain High Enough, My Girl, Dancing in the Street plus more had the audience going down memory lane; dancing, singing, whooping and clapping.

For me, a highlight of the show was the energy, passion and enthusiasm of the young Michael Jackson who was outstanding to watch and received a standing ovation at the end.

The production was perfect! It was sleek, and polished, using clever projection and archive footage of iconic event such as the assassinations of President Kennedy and Martin Luther King really sweep the audience into the nostalgia and right back into all things Motown in order to set context to the issues facing black musical artists during the Motown years.

The onstage chemistry between Gordy and Diana is electric, delivering outstanding, faultless performances. The choreography is sharp, and the choreographers have clearly gone to great lengths to ensure the recreation of classic Motown moves to show case the individual acts. The costumes are incredibly, filled with glitz, glammer and clearly no expense spared to recreate Motown outfits including the shiny suits of the Temptations and the red dress of Diana Ross.

For me, the show was much more than a celebration of Motown, it highlighted issues such as acceptance, racism, strained relationships, acceptance and the problems faced with fame and fortune which often musicians face. Motown the Musical did not disappoint. It was fast paced, professional and took me and my friend down an entertaining journey which left us leaving the theatre dancing and singing in the street!

St Helen’s Theatre Royal – until 23 November 2019

Reviewed by Carla Whittaker

5*****

I was delighted to be offered the opportunity to review Bill Kenwright’s production of Tim Rice and Andrew Lloyd Webber’s Joseph and the Amazing Technicolour Dreamcoat with my 8 year old son, at the St Helen’s Theatre Royal as part of its record-breaking tour. Last night’s show did not disappoint, what a blast! This biblical musical has been reborn as a modern day take on the vibrant, glitzy, all singing and dancing show, more than fifty years following its first production.

Narrated by Alexandra Doar the story like other productions of Joseph and the Amazing Technicolour Dreamcoat retells the biblical saga of Joseph and his coat of many colours and his eleven brothers. It tells the story of Joseph being his father’s favourite son who is blessed with prophetic dreams. His jealous brothers sell Joseph into slavery and taken to Egypt where he ensures an adventure that challenges his spirit. Joseph is purchased by Potiphar then thrown into prison for refusing the advances of Potiphars wife. Whilst in prison Joseph’s ability to interpret dreams catches the attention of Pharaoh which sees the rise of Joseph’s journey from slave to second in command.

At the start of the show, it was announced that Jaymi Hensley of Xfactor Boyband Union J in the lead role would be replaced by the understudy of Tom Bainbridge who would take the lead role of Joseph. Initially I was disappointed to hear of the replacement as I have always been a fan of Union J, but Tom did not disappoint, and any doubts instantly disappeared with his outstanding performance throughout the production. He certainly was no substitute! Tom captivated the St Helen’s audience, with a twinkle in his eye and his enthusiasm for the role shining through! Surprisingly for me, Tom’s vocals are phenomenal with an impressive range and fantastic jaw dropping operatic tones and power. I especially enjoyed Close Every Door and Any Dream Will Do which were amazing. On multiple occasions a tear was brought to my eye due to the emotion.

I was surprised to hear that Joseph was the professional debut for Alexandra Doar. Her vocals were beautiful, with an amazingly clear voice and clear passion for performing. She engaged beautifully with the audience adding humour to her narrating. Her vibrant personality shone through and I am sure she will be one to watch in the future!

My son was particularly taken by Andrew Geater who was entertaining, charismatic and so funny in his role as The Pharaoh. Additionally, the 11 brothers of Joseph brought exceptional humour and fun to the show. Every member of the cast worked exceptionally hard (often having more than one role), each bringing individual character to the show, leaving members of the audience unable to take the eyes of the stage with sublime new choreography by Gary Lloyd. The costumes, lighting and backdrops were effective, catchy and professional. I felt a connection with all the characters which, for me, is really important in order to maximise the enjoyment of the show.

The young choir sang their hearts out with pure passion and were amazing; I am sure several the choir members will be stars of the future!

Myself and my son love every second of the show. It was easy to follow, with it being both mine and son’s first-time seeing Joseph and the Amazing Technicolour Dreamcoat. For me the finale at the end was outstanding. In all the shows and concerts, I have seen I have never heard so much whooping, cheering, dancing and interaction from the audience before, providing a vibrant and electric atmosphere which both myself and son will never forgot.

If you have not got tickets yet for Joseph I would highly recommend that you go and see the show whilst it is showing in St Helen’s. If I didn’t have plans over the weekend I would go and see it again. It certainly has a sense of a family’ feel good factor! As usual, the St Helen’s Theatre staff were exceptionally helpful, and the theatre is easily accessible to individuals who may have disabilities.

BARBRA STREISAND AND JOAN RIVERS ARE BACK IN BUSINESS…….

THE FUNNY GIRLS

BY ROY SMILES

WORKSHOP PERFORMANCE AT LONDON COLISEUM

27 NOVEMBER 2019

A workshop performance of Roy Smiles comic play The Funny Girls will take place at the London Coliseum on 27 November. Loosely based on Barbra Streisand and Joan Rivers, the play explores the egos and dreams of two of the greatest talents of their generation. It stars Debbie Chazen as Joan Rivers and Victoria Yeates as Barbra Streisand.

British playwright Roy Smiles’ comic two hander follows two New York Jewish actresses as they bicker across years of struggle and fame. From humble beginnings as they star in a lousy off off off Broadway play, Barbra terrified to go on stage, fearful of her mother’s criticism as she sits in the audience and Joan desperate to get her big break. It’s up to Joan to talk Barbra into going on stage: to become the star she will surely be. There is an agent in to see the show. It’s Rivers big chance. She will get Streisand on stage come hell or high water. Fast forward ten years: Streisand is playing Las Vegas. She is a huge star. Rivers is now a hugely successful comedian. The toast of The Tonight Show. She comes to visit Barbra. Both believe they are the most talented Jewish woman on the planet. One of them is wrong….

Olivier Award- nominated actress Debbie Chazen is a familiar face on stage and screen and will perform the role of Joan Rivers. Her theatre credits include Ruth in the stage show Calendar Girls from November 2009 to January 2010 at the Noël Coward and following breast cancer treatment she returned to the role for the national tour and subsequently the musical version The Girls at the Phoenix Theatre in the West End. Other credits include Mother Clap’s Molly House at the National Theatre, Dick Whittington and His Cat at the Barbican Theatre, The Cherry Orchard in Sheffield, The Girlfriend Experience at the Royal Court Theatre and The Young Vic.  Television credits include Holby City, Doctors, Eastenders, Gimme Gimme Gimme, Mile High, A Christmas Carol, The Life and Adventures of Nicholas Nickleby. She also starred in the Mike Leigh film Topsy Turvey.

Victoria Yeates is perhaps best known for her role as Sister Winifred in BBC’s Call The Midwife. Her theatre credits include The Crucible, Private Lives, The League of Youth (Nottingham Playhouse), Noises Off (New Wolsey, Ipswich), Rookery Nook (Menier Chocolate Factory), Wuthering Heights (Birmingham Rep), Don Juan, Pains of Youth (Belgrade Theatre Coventry), Dying City (BAC), Days of Hope (King’s Head Theatre), Big Live (Gate Theatre) and T5 (Thomas Hopkins Productions).  She also starred as Bunty in Fantastic Beasts: The Crimes of Grindlewald. She will play Barbra Steisand.

@funnygirlsplay 

FURTHER EXTENSION ANNOUNCED FOR

Book by Jessie Nelson
Music and lyrics by seven-time Grammy Award-nominee Sara Bareilles
Based upon the motion picture written by Adrienne Shelley
Directed by Tony Award-winner Diane Paulus

• Waitress today announced a further extension. The show will play its final performance at the Adelphi Theatre on 4 July 2020. Following the end of the West End season the production will embark on a tour of the UK prior to returning to the West End
   
• The tour will visit Manchester, Birmingham, Milton Keynes, Glasgow, Plymouth, Dartford, Eastbourne, Liverpool, Woking, Stoke, Ipswich, Aberdeen, Bristol, Canterbury, Dublin, Nottingham, Cardiff, Truro, Llandudno, Leeds, Hull, Southend, Wolverhampton, Oxford, Edinburgh, Southampton, Northampton, Crawley, Sunderland, Wimbledon, Bromley and Sheffield. With full dates and on sale details to be announced soon.
   
• Tickets for the performances until 4 July 2020 at the Adelphi Theatre are now on sale.
   
• Sara Bareilles and Gavin Creel will join the London company to perform as Jenna and Dr Pomatter from 27 January until 7 March

The producers of Waitress announced today a further extension to the West End run. The show will finish its run at the Adelphi Theatre on 4 July 2020.  Following the West End, the production will embark on a UK-wide tour which will take in Manchester, Birmingham, Milton Keynes, Glasgow, Plymouth, Dartford, Eastbourne, Liverpool, Woking, Stoke, Ipswich, Aberdeen, Bristol, Canterbury, Dublin, Nottingham, Cardiff, Truro, Llandudno, Leeds, Hull, Southend, Wolverhampton, Oxford, Edinburgh, Southampton, Northampton, Crawley, Sunderland, Wimbledon, Bromley and Sheffield. Full details of the tour will be announced soon. Following the tour producers plan for the show to return to the West End.

Waitress celebrated its official opening night at the Adelphi Theatre on 7 March 2019. In addition to London, Waitress is now playing on Broadway at the Brooks Atkinson Theater until 5 January 2020, on a North American tour, and will open in Australia and Holland in 2020, and Japan in 2021. The show’s producers are also in talks with over 20 international markets about future productions. The Waitress US tour is approaching a hugely successful 2-years on the road, currently extended to continue into 2021.

Based on the 2007 motion picture written by Adrienne Shelly, Waitress is the first Broadway musical in history to have four women in the four top creative team spots, with a book by Jessie Nelson, a score by seven-time Grammy Award-nominated singer-songwriter Sara Bareilles, choreography by Lorin Latarro and direction by Tony Award-winner Diane Paulus.

Waitress tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This American musical celebrates friendship, motherhood, and the magic of a well-made pie.

On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.

Waitress is produced by Barry and Fran Weissler and Norton and Elayne Herrick.

Leeds Playhouse – until 23 November 2019

Reviewed By Dawn Smallwood

4****

Barber Shop Chronicles makes a return visit to the Leeds Playhouse after successful runs at the National Theatre and worldwide since its debut. Inua Ellmam’s play is a co-production between Fuel, National Theatre and Leeds Playhouse.

The audience is firstly invited to join the cast for a pre-warm up party on stage with opportunities for a dance or a “haircut”! Under the direction of Bijan Sheibani and Rae Smith’s creative staging, the play is set in barber shops in London and Africa and packed with conversations taking place over one day.

Traditionally African men access barber shops as community and social platforms as well as getting their hair needs done. They would often congregate, share news and have animated and heated discussions about the world. They would pessimistically and optimistically put the worlds to rights whether it is politics, family loyalties or football. This one act performance captures a lot of conversations and explores such relationships including families, the community, and also individual and collective aspirations and plans for the future.

Barber Shop Chronicles is cleverly staged with smooth transitions and accompanied with African dance and song interludes which are arranged by Michael Henry’s music and Aline David’s choreographic movements. There are featured barber shops’ scenes in Peckham (known as “Little Nigeria”), Lagos, Johannesburg, Harare, Kampala and Accra. With Jack Knowles’ innovative lighting each barber shop is lighted to indicate where in the world the conversations are taking place. The men maybe countries apart physically but united in banter and barber on what matters to them including manhood, dreams and hopes for the future. This is an opportunity to explore what topics matter to them and also to men in general.

Members of the cast, playing multiple roles, have put on an excellent, heartfelt, funny and insightful performance and successfully engage with the audience in this content packed play. Topics and series of events that are captured in the conversations are relevantly universal and the audience are invited to get an insight into a unique wider community of how Africans meet and talk. It must be said that meetings in hairdressing establishments are common among many communities worldwide, men and women. Barber Shop Chronicles is not exclusive but inclusive and how having such settings is socially and societically very important to one and all.

Shaftsbury Theatre – currently booking until May 2019

Reviewed by Alexandra Sykes

5*****

“What if Juliet didn’t kill herself?” asks Anne Hathaway at the start of the show. Well, if she had lived you get & Juliet, the brand new jukebox musical featuring songs written by Max Martin.

Starting at the end of Romeo and Juliet, Anne Hathaway (Cassidy Janson) asks Shakespeare (Oliver Tompsett) why Juliet has to die, just because Romeo does. This leads to Anne taking over and rewriting the ending of the play, even giving herself a role in the play. Things seems to be going well for Juliet until Shakespeare brings Romeo (Jordon Luke Gage) back from the dead. This does not go down well with Anne and leads to an argument between her and her husband until they have a heart to heart and Anne, and Juliet, get the ending they want.

Miriam-Teak Lee is amazing as Juliet, being both confused by her feelings for Romeo and her sense for adventure. Joining Lee is Arun Blair-Mangat as May, Juliet’s best friend, and Melanie La Barrie as her nurse. Whilst on her adventures Juliet as meets Francois, Tim Mahendran, whom she nearly marries, and Lance (David Bedella), the strict father of Francois.

The cast work well together and the relationship between Tompsett and Janson is absolutely amazing, they need more stage time together. The mix of modern and Shakespearean English works well with several famous Shakespeare quotes thrown in for good measure.

With an amazing set designed by Soutra Gilmour, costumes designed by Paloma Young and wigs by Linda Mcknight, this reimagining of a classic will have everyone singing and dancing.

With female empowerment a key theme throughout this is a musical not to be missed. You will laugh, you will cry, you will sing. Grab a ticket while you can because this show is going to sell out fast and you do not want to miss it.

York Theatre Royal – until 23 November 2019

Reviewed by Marcus Richardson

5*****

Nigel Slater is a famous food writer known for his several books, one of which is his autobiography Toast: The Story of a Boys Hunger. Now a play on stage which delves into Slater’s childhood discovering his passion for food, relationship with his parents and his own personal journey. Currently at the York Theatre Royal, Toast is on tour around the UK.

Walking into the theatre was an experience in itself as as soon as you see the stage you are treated to the smell of toast, the smell reminds you of a moment maybe your childhood or just of breakfast. The smell of toast made me think of my own experiences and right away made the show a lot more personal. The show starts with a young Nigel (Giles Cooper) reading ‘Cookery in Colour’ by Marguerite Patten, the kitchen counters were weaving around the stage as Nigel manoeuvres over them, all whist Carole King’s ‘I Feel the Earth Move’ is playing. Such a strong way to open the show and grab the audiences attention, then we are left with Nigel and his mother (Katy Federman) about to make jam tarts.

Federman was one of the highlights of the show as the Mum, with being the strong idol for Nigel but also dealing with serious asthma problems, she captures motherly love perfectly. Nigel’s relationship with his Father was less sweet and more savoury. His Father (Blair Plant) was strict and believed in the tradition ideals of manhood. Plant did a good job of making sure that his father wasn’t a villain but it was hard to like him from Slater’s point of view. Slater’s rival as a teenager was Joan (Samantha Hopkins) whom he fought over to get his fathers attention through the power of food; Hopkins played ‘that’ woman very well, cigarette in hand and a sickly sweet attitude but aggressive behaviour to Slater. The last actor in the show is Stefan Edwards who played a gardener Josh when Slater was a child, Josh bought sexuality into the play and explored those moments in our childhood that define who we are as adults. Edwards played other character such as Slater’s best friend, and later a ballet dancer to who Slater has his first kiss with.

The entire play was well thought out with every single moment being both entertaining and important to the themes of the play. I would say the play is sophisticated but doesn’t go over the audiences head, there was a point in the play where Nigel made a game show on which sweets are for boys and girls, something his father believed; then sweets were shared with the audience, I got my hand on Parma Violets, everyone was rustling sweet wrappers and chewing and then straight after was a serious scene so they literally sugar-coated it all. I loved how the show was also a sensory experience with the smell of toast and near the end of the play mushrooms on toast were made on stage and the smell filled the whole theatre, which I absolutely loved and got me craving food.

Toast is one of the best shows I’ve seen and has certain left it’s mark. I will own up that I wasn’t expecting to like it whatsoever, I didn’t know anything about Nigel Slater or have an interest in cookbooks or other food articles. I knew as soon as I entered the theatre that it was going to be something special, they enhanced the show with so many little but important things that just made the show incredible to watch. I would gladly see the show again and if anyone has a spare ticket they better invite me because this show is not to be missed!

FOLLOWING A SELL-OUT 2019 TOUR

2020 DATES NOW ANNOUNCED

FOR

DOLLY PARTON’S

9 TO 5 THE MUSICAL

Music and Lyrics by Dolly Parton, Book by Patricia Resnick

and Directed by Jeff Calhoun

Based on the 20^th Century Fox Picture

OPENING AT THE

AYLESBURY WATERSIDE THEATRE

ON 29 MAY 2020

Following a sell-out 2019 tour that ends in Dublin this Saturday, Dolly Parton announced today that 9 TO 5 THE MUSICAL will return for a second tour in 2020. The tour will open at the Aylesbury Waterside Theatre on 29 May 2020where it will play until 6 June 2020, before visiting Wolverhampton Grand Theatre (9 – 13 June 2020), Nottingham Theatre Royal (16 – 20 June 2020), Southampton Mayflower (22 – 27 June 2020), Leeds Grand Theatre (29 June – 4 July 2020), Theatre Royal Plymouth (14 – 18 July 2020), Regent’s Theatre Stoke on Trent (21 – 25 July 2020), Southend Cliff’s Pavilion (28 July – 1 August 2020), Marlowe Theatre Canterbury (4 – 8 August 2020), Bristol Hippodrome (11 – 15 August 2020), Llandudno Venue Cymru (18 – 22 August 2020), Manchester Palace Theatre (25 – 29 August 2020), Eden Court Inverness (1 – 5 September 2020), King’s Theatre Glasgow (8 – 12 September 2020) and Sheffield Lyceum (15 – 19 September 2020). Casting for the 2020 tour will be announced soon.

9 TO 5 THE MUSICAL continues to play at The Savoy Theatre in London’s West End where it is booking until May 2020.

9 TO 5 THE MUSICAL opened in the West End in February this year, where Dolly Parton attended the premiere and joined the cast on stage at the finale. The musical features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by multi Grammy Award winner, country legend and pop icon Dolly Parton.

9 TO 5 THE MUSICAL tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the women manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, sound design by Poti Martin, video design by Nina Dunn, original arrangements by Stephen Oremus & Alex Lacamoire, original Broadway orchestrations by Bruce Coughlin, musical supervisor, reductions & extra arrangements by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe and Anne Vosser.

Based on the 20^th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.

9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group Productions, Selladoor Worldwide and Gavin Kalin Productions with Benjamin Lowy Productions, Glass Half Full Productions, Showtime Theatre Productions, Hartshorn – Hook Productions, Harmonia Holdings and Kilimanjaro Live.

THE MIRROR CRACK’D GAN GANOLFAN MILENIWM CYMRU A WILTSHIRE CREATIVES I’W LWYFANNU YNG NGHANOLFAN GELFYDDYDAU FWYAF INDIA

Bydd cynhyrchiad newydd o The Mirror Crack’d gan Ganolfan Mileniwm Cymru a Wiltshire Creative yn cael ei berfformio yn y National Centre for the Performing Arts ym Mumbai, India, rhwng 30 Ionawr a 9 Chwefror 2020.

Cafodd y cynhyrchiad llwyfan gwreiddiol o nofel Agatha Christie, The Mirror Crack’d from Side to Side, a addaswyd ar gyfer y llwyfan gan Rachel Wagstaff a’i gynhyrchu gan Melly Still, ei weld gan dros 28,000 o bobl yn Salisbury, Dulyn, Caergrawnt a Chaerdydd rhwng Chwefror ac Ebrill 2019.

Mae’r cynhyrchiad yn addasiad newydd sbon ar gyfer cynulleidfaoedd yn India gan yr awdur Ayeesha Menon, gyda Melly Still yn dychwelyd fel cyfarwyddwr. Mae’n nodi ymddangosiad cyntaf Canolfan Mileniwm Cymru fel cynhyrchydd yn Asia.

Wrth gyhoeddi’r cynhyrchiad newydd, dywedodd Mathew Milsom, Rheolwr Gyfarwyddwr Canolfan Mileniwm Cymru: “Ein nod yw creu gwaith arloesol a difyr sy’n arddangos Cymru i’r byd, ac yn tanio dychymyg y gynulleidfa. Mae ein cynyrchiadau eisoes wedi teithio i Affrica, America ac Awstralia, ac rydw i wrth fy modd taw Asia fydd ein cyrchfan nesaf, gan gyd-weithio ag NCPA i ychwanegu naws gyffrous, Indiaidd wreiddiol i’r clasur Prydeinig hwn.”

Dywedodd Mr Khushroo N. Suntook, y Gweledydd a Chadeirydd NCPA: “Mae’r NCPA yn falch iawn o gyflwyno’r cynhyrchiad arbennig hwn o The Mirror Crack’d, gan roi iddo flas unigryw o’r India. Mae’r dehongliad Indiaidd newydd hwn yn enghraifft wych o’n huchelgais ar gyfer cynyrchiadau NCPA, sef creu cynnwys arloesol mewn cydweithrediad â’r artistiaid gorau yma yn India yn ogystal ag yn rhyngwladol. Gall ein cynulleidfaoedd edrych ymlaen at noson wych o ddiddanwch yn yr hyn sy’n addo bod yn uchafbwynt yng nghalendr theatr Mumbai yn 2020.”

Dywedodd Gareth Machin, Cyfarwyddwr Artistig Wiltshire Creative: “Rydym yn falch iawn y bydd ein cynhyrchiad ni o’r clasur hwn gan Agatha Christie yn cael ei fwynhau gan gynulleidfaoedd ym Mumbai; gobeithiwn y byddan nhw’n mwynhau’r troeon clyfar yn y plot gymaint ag y mae cynulleidfaoedd yn y DU wedi ei wneud.”