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NEW CAST ANNOUNCED
FOR THE WEST END PRODUCTION OF

LES MISÉRABLES

IAN MCINTOSH AS ‘JEAN VALJEAN’
JACOB DACHTLER AS ‘MARIUS’
ROBSON BROAD AS ‘ENJOLRAS’
AND
ANNABELLE AQUINO AS ‘COSETTE’

AT THE
SONDHEIM THEATRE
FROM 14 OCTOBER 2024

Cameron Mackintosh is delighted to announce new casting for the critically acclaimed London production of Boublil and Schönberg’s LES MISÉRABLES at the Sondheim Theatre from Monday 14 October 2024.

Joining the company of LES MISÉRABLES at the Sondheim Theatre from Monday 14 October 2024 will be Ian McIntosh as Jean Valjean, Jacob Dachtler as Marius, Robson Broad as Enjolras and Annabelle Aquino who now steps into the role of Cosette. They join Stewart Clarke as Javert, Luke Kempner as Thénardier, Katie Hall as Fantine, Amena El-Kindy as Éponine, and Claire Machin as Madame Thénardier.

The company is completed by Matt Bateman, Michael Baxter, Emily Olive Boyd, Daniel J Brian, Ella May Carter,Adam Colbeck-Dunn, Matthew Dale, Irfan Damani, Sophie-May Feek, Matt Hayden, Christopher Jacobsen, Jessica Johns-Parsons, Sam Kipling, Anouk van Laake, Mia Lamb, Sarah Lark, Matthew McConnell, Aaron-Jade Morgan, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Danielle Rose, Jonathan Stevens, Georgia Tapp, Noah Thallon, and Imaan Victoria.

Ian McIntosh recently portrayed the role of Jesus in the National Tour of Tim Sheader’s critically acclaimed Jesus Christ Superstar. Ian was also previously nominated for an Olivier Award for Best Actor in a Supporting Role for his portrayal of Barry Mann in Beautiful: The Carole King Musical (Aldwych Theatre) – a role he originated for the West End production. Further theatre credits include Galileo Figaro in We Will Rock You (London Coliseum and UK tour), Deco Cuffe in The Commitments (Palace Theatre and UK tour), Follies (National Theatre), and An Officer and a Gentleman (UK and Ireland tour).

Jacob Dachtler’s theatre credits include Adam in Mamma Mia! The Party (The O2); Jacob Fry in Babies The Musical(Lyric Theatre); Will in Halls The Musical (Turbine Theatre).

Robson Broad’s theatre credits include Dick Jones in Street Scene – Opéra National de Paris, Ensemble/Cover Christian & Duke in the Original London Cast of Moulin Rouge (Piccadilly Theatre), Ensemble in Moulin Rouge – Australia (Regents Theatre), Swing in Hamilton (Victoria Palace Theatre), Wonderful Town (Opera Holland Park)

Annabelle Aquino trained at the Royal Conservatoire of Scotland and made her West End debut in the ensemble of Les Misérables at the Sondheim Theatre in 2023. 

LES MISÉRABLES will enter its 40^th record-breaking year in London this October. To kick off the celebrations, the show launches its first World Tour with the highly anticipated LES MISÉRABLES THE ARENA SPECTACULAR, which opens in Belfast this week, then visits Glasgow, Sheffield, Aberdeen, Manchester, Newcastle, Luxembourg, Geneva, Trieste, Milan, Copenhagen, Oslo, Zurich,  Gothenburg, Stockholm, Malmö and Amsterdam before moving to Australia, Taiwan, Japan, and  South Korea, with more worldwide destinations to be announced. Simultaneously, and for the first time ever, 11 leading amateur companies in the UK will present their own staging of the full show across the country in 2025.

The staged production continues to triumph around the globe with local language productions currently on or in preparation, and it continues to break box office records on tour in North America. Earlier this year, the remastered and remixed Oscar-winning movie was released again in several countries around the world. 

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 130 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular musicals.

LES MISÉRABLES

Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA

Currently booking until 6 September 2025 

Prices: Tickets from £25 – No booking fee applies 

Box Office: 0344 482 5151

Website: www.lesmis.com

Social Media: 

www.facebook.com/lesmisofficial/

www.twitter.com/lesmisofficial

www.instagram.com/lesmizofficial

www.tiktok.com/@lesmisofficial

#LesMiz

Theatre Royal, Nottingham – until 21^st September 2024.

Reviewed by Chris Jarvis

4****

What a brilliant production – the music and singing was upbeat, the staging simple yet stunning and the costumes remarkably sparkly for a musical set in a convent!

In 2020 I had tickets when this production was due to launch in UK at London Eventim Apollo starring Whoopi Goldberg, who played the part of Deloris Van Cartier in the 1992 film of the same name. Sadly, Covid intervened and 2 years later she wasn’t available, though I was delighted to see Deloris played by the amazing Beverley Knight.

Landi Oshinowo had a hard act to follow but she didn’t disappoint. Her voice and enthusiasm were sensational.

Set in Philadelphia in 1977, Deloris is a lounge singer auditioning in her married gangster boyfriends club but he refuses to let her perform. Hungry for fame and dreaming of wearing a white sequined dress and white fur stole, she decides to dump Curtis Jackson played by Ian Gareth-Jones. Deloris unwittingly witnesses Curtis shoot one of his gang members, suspecting he’s a police informant. Deloris seeks protection from the police and her old school friend, Officer Eddie Souther (Alfie Parker) takes her to a local convent and asks Mother Superior (Wendi Peters) to hide her within the convent until she can give evidence at the trial.

Deloris swaps her sparkly outfit for a nun’s habit and is introduced to the other nuns as Sister Mary Clarence. To minimise disruption to the quiet, sedate life of the convent, she is sent to practice with the very tuneless choir where she brings out the true characters and voices of the nuns with joyous singing, shaking of booty and strutting their stuff.

Much to the despair of Mother Superior the choir performs with much media interest and Curtis recognises Deloris, so his mob – dressed as nuns – try to finish her off before the trial. They clearly hadn’t expected the strong ‘sisterhood’ that had developed so there was a crazy, slapstick act where nuns took prisoners!

One of the funniest acts was when Eddie performed “I Could Be That Guy” and we learned that he had always fancied Deloris at school. He switched seamlessly from his police uniform to a spangly, sparkly, tasseled outfit and back again while leaping around the stage alongside 4 scantily clad police officers in tight trousers wearing green, sparkly motorbike helmets.

Funny in a different poignant way was the act where Mother Superior sings “Haven’t Got a Prayer” in her nightwear asking God for guidance on dealing with Deloris and telling of “disco piped into the Cloister” and ”her celibate nuns shaking their bums”

All the songs and vocals were incredible, though due to copyright issues, not the same as those in the film. They were memorable, soulful, funny and joyful and “The Life I Never Led” sung beautifully by Eloise Runnette playing novitiate Sister Mary Roberts, was very special. Her portrayal of the character was a pleasure to watch.

Two other nuns stood out for me. Sister Mary Patrick (Isabel Cannin) whose expressions were infectious and brought humour and delight to the audience while Sister Mary Lazarus’ (Julie Stark) pan expression and low tone were just as funny.

As one might expect in a convent most of the characters were female and all played strong parts. Of the few male characters Eddie Souther stood out and Monsignor O’Hara played by Phillip Arran, having initially come across as serious, fell under the spell of Deloris developing into a fun-loving character wearing Elton John style star shaped specs.

This was a brilliant comedy, but the influence of Doloris on the life of the nuns and the love and sisterhood she gained from them was profound as Sister Mary Roberts questioned her calling to be a nun and Deloris her need for fame.

The magnificent finale with brightly coloured sparkly costumes all round, and poignantly Deloris in her white sequined dress and white fur stole, left you feeling uplifted and buoyant. Audience appreciation was obvious, and a standing ovation finished the night.

JUST FOR ONE DAY

THE LIVE AID MUSICAL
 

TO OPEN IN THE WEST END NEXT MAY
 

WITH SPECIAL GALA PERFORMANCE ON 13 JULY 2025
TO MARK THE 40^TH ANNIVERSARY OF THE

ICONIC CONCERTS IN LONDON AND PHILADELPHIA 

Preview performances in London begin at

The Shaftesbury Theatre from 15 May 2025

Tickets on sale now – visit www.theliveaidmusical.com
 

Monday 16 September 2024, London: JUST FOR ONE DAY – The Live Aid Musical will transfer to the West End, beginning performances at The Shaftesbury Theatre on Thursday 15 May 2025, before a Special Gala Performance on Sunday 13 July, exactly 40 years after the iconic concerts were staged in London and Philadelphia.

After its record-breaking premiere at The Old Vic earlier this year – where it became the theatre’s fastest selling musical ever – the strictly limited West End season of JUST FOR ONE DAY comes hot on the heels of a North American premiere at the CAA Ed Mirvish Theatre in Toronto.

Craige Els returns in the role of Bob Geldof with further casting to be announced.

Performances at The Shaftesbury Theatre, London will play through until 10 January 2026.

Bob Geldof, speaking on JUST FOR ONE DAY – The Live Aid Musical, said: 
“My comment before I saw Just For One Day was that “It better not be s***”. It’s not s***! It is FANTASTIC. Joyous, largely true, and the music is beyond miraculous. I have never been to a show where night after night there is a standing ovation at THE INTERMISSION!! Amazing.”

Jamie Wilson, Producer of JUST FOR ONE DAY – The Live Aid Musical, commented:  
“Just For One Day was the fastest selling musical in The Old Vic’s history. The story of how the world united together through music has captivated audiences of all ages. We are thrilled to be able to bring this production to The Shaftesbury Theatre in the West End, opening on the 40th Anniversary of the Live Aid concerts with the same timeless songs, renowned creative team and a hugely talented company.”

Tickets are on sale today, Monday 16 September. Visit www.theliveaidmusical.com

On 13 July 1985, music united the world.

40 years on, discover the story of Live Aid in a whole new way — in London’s West End at JUST FOR ONE DAY – The Live Aid Musical.

The show’s World Premiere production “blew the roof off the Old Vic” (Baz Bamigboye) in early 2024, where it became the theatre’s fastest-selling musical ever.

This exhilarating night out “rocks in all the right ways” (WhatsOnStage), with hit songs by Bob Dylan, David Bowie,The Who,U2,Queen,Madonna, The Police,Elton John,Paul McCartney, Diana Ross and more of the iconic artists who made history at simultaneous charitable concerts in London and Philadelphia.

Live Aid was an unprecedented global music event that brought 1.5 billion people together, and they all have a story to tell about ‘the day rock ‘n’ roll changed the world’. Whether you saw it live, watched it from home or weren’t even born yet, you won’t want to miss this “rip-roaring” (The Telegraph) and “remarkable” (Daily Mail) new musical written by John O’Farrell (Mrs. Doubtfire, Something Rotten!) and directed by Luke Sheppard (& Juliet, The Little Big Things).

10% from the sale of all tickets will be donated directly to The Band Aid Charitable Trust.

By permission of The Band Aid Charitable Trust.

Joining John O’Farrell and Luke Sheppard on the creative team of JUST FOR ONE DAY – The Live Aid Musical are: Musical Supervision, Arrangements & Orchestration by Matthew Brind, Choreography by Ebony Molina, Set by Soutra Gilmour, Costume by Fay Fullerton, Lighting by Howard Hudson, Sound by Gareth Owen, Video & Animation by Andrzej Goulding and Casting by Stuart Burt CDG. 

JUST FOR ONE DAY – The Live Aid Musical is produced by Jamie Wilson Productions, Kevin McCollum, Sonia Friedman Productions, Gavin Kalin Productions, Kenny Wax Ltd, The Ambassador Theatre Group, Mirvish Productions, Nederlander Theatres, No Guarantees, Burnt Umber Productions, Stephen C Byrd,Willette & Manny Klausner and The Old Vic by permission of The Band Aid Charitable Trust.

London Coliseum – Saturday 14 September 2024

Reviewed by Claire Roderick

4****

For one night only, Lazgi – Dance of Soul and Love came to the London Coliseum on its UK premiere. Hopefully, it will return, as this gloriously uplifting show from the National Ballet of Uzbekistan is an unforgettable experience.

Based on an idea by Saida Mirziyoyeva, the traditional dance style is interwoven with a modern ballet beginning on the ancient silk road depicting the origins of love and the timelessness of the loving soul throughout history. A museum scene also celebrates the history and culture of Uzbekistan and Lazgi as living, vibrant forces that should not be simply observed through glass. A humorous scene of modern office life (all office chairs and vertical blinds) shows that even this digital monotony can’t crush the dancing soul, while the stunning finale envisions and embraces the continuity of Lazgi for future generations.

Davidson Jaconello’s score is wonderfully evocative, whether the dance is on the silk road or a bleak modern office. Yoko Seyama’s scenography and Tim Waclawek’s lighting design create magical moments as projections swirl on gold cloth, and a beautiful candlelit climax to the show. Frol Burimski’s costumes are delightful. Raoul Raimondo Rebeck’s choreography is beautiful, with sublime pas de deux from the couples depicting Love and Soul, and mesmeric and powerful ensemble work. When the Lazgi dancer is onstage, the joy and energy if palpable, and the simple section with accompaniment by two traditional instruments was the highlight of the evening. Rebeck fuses Lazgi with ballet to profound effect, and this celebration of this special dance form is an utterly unique and exuberant show.

FAULTY TOWERS THE DINING EXPERIENCE

13 YEARS IN THE WEST END…WHAT COULD POSSIBLY GO WRONG?

THOUSANDS OF TICKETS RELEASED FOR LONDON AND UK RESIDENCIES IN 2025

https://www.interactivetheatre.com.au/faulty-towers-the-dining-experience

SOME PEOPLE JUST DON’T GET IT: CLICK HERE!

[Friday 13 September 2024] On the most auspicious day of the year, Artistic Director Alison Pollard-Mansergh, Producer Jared Harford, and the whole team at Interactive Theatre International are proud to announce that Faulty Towers The Dining Experience – the multi award-winning global phenomenon that offers an experience like no other, set in the iconic Fawlty Towers hotel – is releasing thousands of new tickets for 2025, as it heads into its 13^th year in London.

Audiences can enjoy a quintessentially British experience as Basil, Sybil and Manuel serve up theatre and chaos alongside a 70s-style 3-course meal at the President Hotel, right in the heart of Bloomsbury, London, where the trio have spent over a decade setting West End records for longest running immersive experience, longest running show based on a TV series, and the longest running Fawlty Towers show of any kind worldwide!

Tickets go on sale today for the President Hotel (9 January to 21 December 2025). [LINK] – To reflect increased demand, from 5 February performances will increase from 5 to 7 per week, with Wednesday and Sunday evening shows now added to the weekly schedule.

As well as constantly touring round the UK, the show has also enjoyed a series of sell out sit down residencies in major UK cities during 2023 – 24. Return dates for spring 2025 residencies are also on sale today.

13 – 23 February voco Manchester

27 February – 2 March Novotel Bristol Centre

6 – 9 March Northampton Town Centre Hotel

11 – 16 March Birmingham Council House

20 – 23 March York Pavilion

25 – 30 March Royal Station Hotel Newcastle

Producer Jared Harford said, “We continue to be thrilled and humbled by the global success of Faulty Towers The Dining Experience. With such renewed interest and demand out there for Fawlty Towers, we’re so pleased to be extending our London season into our 13^th year, and once again have an extensive UK tour planned. 13 has always been my lucky number, and I’m so grateful for the opportunity to continue brining Britain’s most loved hoteliers to life in our largest season yet!”

In October 2009, the show played its first performance in London: a sold-out weekend in Covent Garden. The next two years saw sold -out summer seasons of six weeks. Then, in 2012, the show opened its first London West End residency at Charing Cross Hotel (now Amba Hotel Charing Cross). Since opening, the cast have performed to notable guests including Fawlty Towers’ very own Andrew Sachs, John McEnroe, Stefan Edberg, and England footballer Joe Cole, as well as taking a pop-up version of their restaurant on the London Underground and to a sold-out Royal Albert Hall.

In 2019, the one millionth guest welcomed through the door at Edinburgh Festival Fringe – celebrations include bagpipes and Champagne!

In 2022, the show moved from the Raddison Blu Edwardian to the President Hotel in Bloomsbury, and the show celebrated its 25^th anniversary worldwide, as well as ten years in London.

for the critically acclaimed international immersive dining phenomenon that recently celebrated its fifteen year in the UK and more than twenty five years worldwide,

Devised by Alison Pollard-Mansergh, Andrew Foreman and others, the show has been touring the UK and internationally since 2008, having appeared in 43 countries to date, and employing 56 actors per season. The show has toured to over 1000 venues, with approximately 400 shows per year on average across the UK. A loving tribute to the BBC’s classic TV series, the show has been seen by over a million people worldwide since the very first show at the Ridges Hotel in Brisbane on 24 April 1997.

Faulty Towers The Dining Experience is a loving tribute to Fawlty Towers. Faulty Towers The Dining Experience uses scripts and a dining experience format devised by Imagination Workshop Pty Limited and is not endorsed in any way by John Cleese or Connie Booth.

For more information on the show visit www.faultytowersdining.com

FULL CAST ANNOUNCED FOR THE WORLD PREMIERE OF REYKJAVIK BY RICHARD BEAN DIRECTED BY EMILY BURNS

18 OCTOBER – 23 NOVEMBER

Hampstead Theatre today announces casting for the world premiere of Reykjavik, a new play by Richard Bean and directed by Emily Burns. The production will run from 18 October to 23 November.

John Hollingworth (Poldark, Napoleon) will play trawler owner Donald Claxton. He will be joined by Sophie Cox whois making her professional London stage debut; Matthew Durkan (Daddy Issues, BBC; Rosencrantz and Guildenstern are Dead, The Old Vic); Laura Elsworthy (Corrina, Corrina, Headlong and Liverpool Everyman); Paul Hickey (Brokeback Mountain, Soho Place; House of the Dragon, HBO); Adam Hugill (Standing at the Sky’s Edge, Sheffield Theatre; Sherwood, BBC)and Matt Sutton (Big Big Sky,Hampstead Theatre).

February 1975. In freezing weather off the coast of Iceland, the sidewinder Graham Greene ices up, heels over, and sinks in seconds, taking fifteen of her crew with her. Such are the realities of the brutal world of trawler fishing. On impulse, despised trawler-owner Donald Claxton flies to Reykjavik to see the survivors, setting in train an evening of drinking, horseplay, romance and story-telling that will change all their lives forever.

Richard Bean revisits Hull’s Distant Water trawling fleet that gave him his 2005 hit Under the Whaleback. His other plays include To Have and To Hold, Kiss Me and In the Club at Hampstead, and One Man, Two Guvnors and Jack Absolute Flies Again at the National Theatre.Hull tralwrer

Director Emily Burns makes her Hampstead Theatre debut. Her previous productions have included Dear Octopus and Jack Absolute Flies Again (National Theatre) and Love’s Labour’s Lost (RSC).

The production team, led by Emily Burns, includes designer Anna Reid, lighting designer Oliver Fenwick, sound designer Christopher Shutt, composer Grant Olding, dialect Mary Howland and fight director MC_Combat (Maisie Carter). The Casting Director is Bryony Jarvis-Taylor.

Reykjavik plays the Main Stage at Hampstead Theatre from 18 October to 23 November. Tickets are on sale now at hampsteadtheatre.com.

BUSH THEATRE – UNTIL 26th OCTOBER 2024

Reviewed by Jackie Thornton

4****

Can friendships forged in childhood make it through the trials and tribulations of adulthood when life comes to get you? That’s the question preoccupying award-winning playwright WALEED AKHTAR (The P Word) in his latest drama making its debut at the Bush Theatre.

Skilfully directed by ANTHONY SIMPSON-PIKE, it follows British Pakistani best friends ZAID and NEELAM from drug-taking, partying 19-year-olds in 2006 to grown ups with careers and responsibilities at 36 in the present day. With jibes at the entrenched racism and classism of the British theatre industry as well society at large, this witty, moving and provocative play glides so seamlessly across time that the ending kind of sneaks up on you.

NATHANIEL CURTIS takes on the role of aspiring playwright Zaid with cheekiness, charm and an endearing dose of naivety as we wonder if he’ll ever gain the courage to come out to his conservative parents let alone introduce his white and considerably older lover JEREMY (ANTHONY HOWELL). Zaid’s partner in crime, Neelam is played with a steely and determined grit by MARIAM HAQUE, so adept at conjuring up a forced smile, as she faces presenting her Black British Nigerian partner DEJI (NNABIKO EJIMOFOR) to her devout Muslim family. Zaid and Neelam are so tactile and at ease with each other that we root for them like they were lovers, leaving Jeremy and Deji to play second fiddle, which naturally becomes the source of much conflict.

A simple circular pit set and minimal costume changes by ANISHA FIELDS ensures the spotlight is always on the performers while contemporary indie tunes are blasted in and a backdrop intermittently signalling the ages of our beloved characters perfectly situates us in time.

This story charting friendships across youth and towards middle age is warm yet spiky, familiar yet devastating and will certainly leave you wanting more

Grand Opera House York – until Saturday 21st September 2024

Reviewed by Michelle Richardson

4****

I was lucky enough to attend the rocking Grand Opera House York, for York Stage’s opening night, of their latest production, School of Rock: The Musical, based on the 2003 film of the same name, book by Julian Fellow, lyrics by Glenn Slater and music by Andrew Lloyd Webber. With some huge names in the entertainment world, plus the added bonus of being performed by the wonderful York Stage, it certainly promised to be a great night.

Opening with a performance from rock band ‘No Vacancy’, we are introduced to Dewey Finn (Finn East), the guitarist. With his over-the-top eagerness, he just can’t help himself in morphing into his rock god persona, which should never be seen in public, throwing shade on the rest of the band. Finding himself ditched by the band, penniless and the threat of being kicked out by his best friend Ned Schneebly (James Robert Ball), Dewey can’t resist an unexpected opportunity. Impersonating Ned, a teacher, to cover at the prestigious Horace Green. Thinking he can just coast by, letting the kids take permanent recess, his attitude changes when he hears them taking classical music lessons. What follows is an education in rock’n’roll, with one aim, entering Battle of the Bands and getting one over his old band ‘No Vacancy’.

East is magnificent as Dewey, with strong comparisons to Jack Black, who played the original Dewey in the film, he encapsulates the role perfectly. East puts his stamp and throws himself into the role, with his personality and comedic timing. Managing to make loser, into a hero, who not only teaches the kids, but also grows into a man with a purpose in life. Despite his bad habits and failings, but with the progress he makes, you can’t help but rooting for the loveable Dewey.

The young, super talented kids are truly excellent. Led by some truly gifted musicians, guitarist Zack (Charlie Jewison), Lawrence (Daniel Tomlin) on keyboard, Katie (Matilda Park) on bass and Freddie (Zach Denison) on drums. All the band were sensational, with some great ‘rock’ faces, who not only play live, but act, sing and dance as well. They are joined by an ensemble, who perform on rotation. I watched Team Gibson, and I have no doubt that Team Fender would be just as excellent. Shout out to the sass of Theo Rae playing stylist Billy. I cannot express fully, how fabulous each and every one of them were.

The grownups were the cherry on the cake. Couple Ned and Patty (Amy Barrett), squabbling over Dewey, prim and proper Principal Mullins (Megan Waite), plus the ensemble playing numerous roles. The show is also supported by a live band playing in boxes at the side of the stage.

The show is packed full of numbers, my favourites were, Waite’s Where Did The Rock Go, what a sensational voice, Amazing Grace sung by Eady Mensah as Tomika, I had goosebumps, and Stick It To The Man, such a catchy tune sung with vigour by Dewey and the students.

We did encounter some sound issues, with dialogue being lost and at times the music drowned out some of the vocals. Hopefully this can be improved over the run.

School of Rock is engaging and full of infectious energy, with some super talented youngsters, I am in awe. Make sure you get out and support this awesome cast, you will not be disappointed.

York Stage have once again hit the mark with School of Rock. Time and time again they elevate the standard of amateur theatre. With this show they have certainly built this city on rock‘n’roll.

FULL CAST ANNOUNCED

FOR ONE NIGHT ONLY

GHOST IN CONCERT

AT THE ADELPHI THEATRE

ON TUESDAY 1 OCTOBER 2024

Olivier Award-winning producer, Colin Ingram, the original West End and Broadway producer of the smash-hit musical GHOST,is delighted to announce the full cast for the one-off special concert at the Adelphi Theatre in London’s West End at 8pm on Tuesday 1 October 2024.

Joining the previously announced Lucie Jones as Molly and Oliver Tompsett as Sam, will be original Broadway cast member Moya Angela (America’s Got Talent, The Lion King and Dreamgirls) as Oda Mae Brown, David Seadon-Young (Ghost the Musical National/Australian Tour) as Carl Bruner, Sam Mackay (In the Heights, Mamma Mia!) as Willie Lopez and original West End cast members Lisa Davina Phillip (The Lion King, Matilda the Musical) and Jenny Fitzpatrick (Tina: The Tina Turner Musical, Rock of Ages UK Tour), who will reprise their roles as Clara and Louise. Completing the cast will be Gabriela García as Mrs Santiago/Featured Ensemble, Kimmy Edwards as Ortisha/Ensemble, C.J. Borger as Orlando/Ensemble, and Ensemble members Michael Cortez and Stevie Hutchinson.

GHOST IN CONCERT will be directed by original associate director Paul Warwick Griffin, with musical supervision by Laurie Perkins, video design by Jon Driscoll, lighting design by Ben Cracknell, sound by Jav Pando, choreography by Ashley Wallen, costume supervision by Sharon Williams and casting by David Grindrod Casting.

Producer Colin Ingram said, “I am delighted to be bringing GHOST THE MUSICAL back in a new format for this one-off performance, so audiences can enjoy some of the incredible music that Dave Stewart and Glen Ballard wrote over ten years ago and which has now been produced in over 20 countries, from Brazil to Hungary. I’m so happy to have Oliver Tompsett play Sam Wheat, after he helped develop the role in workshops, and for Lucie Jones to return as Molly, after playing the role in China and South East Asia. I’m thrilled that some of our original cast members, including Moya Angela from our run on Broadway and Lisa Davina Philip and Jenny Fitzpatrick from London, will be joining us, alongside the brilliant David Seadon-Young, who played Carl on the National Tour, Sam Mackay as Willie Lopez and a hugely talented ensemble from across the West End.”

Tony and Olivier Award-nominated GHOST THE MUSICAL first premiered at Manchester’s Opera House in March 2011, before transferring to London’s Piccadilly Theatre for its West End debut in July of the same year. The musical later transferred to Broadway in 2012, receiving three Tony Award nominations, and later embarked on a UK Tour in 2013. An official Original London Cast Recording was released in 2012, which has had over 10 million streams and purchases.

Based on Bruce Joel Rubin’s 1990 Oscar-winning hit film starring Patrick Swayze and Demi Moore, GHOST IN CONCERT will feature and focus on the music from the Olivier- and Tony-nominated show, written by six-time Grammy Award-winning Glen Ballard and multi Grammy Award-winning Eurythmics’ Dave Stewart, including the much loved With You,which has featured on Britain’s Got Talent, America’s Got Talent and The X Factor, alongside the iconic Unchained Melody.

GHOST tells the story oflovers Sam and Molly, who find themselves in danger walking back to their apartment one night, leaving Sam tragically murdered and trapped between this world and the next. Unable to leave Molly and worried about the ongoing peril she now faces, Sam attempts to communicate with her through the help of dubious psychic Oda Mae Brown.

GHOST THE MUSICAL has been produced in 20 countries across the world, including Germany, Spain, France, Italy, Australia, Japan, Denmark, South Korea, Singapore and Dubai, alongside two UK National Tours and a North American Tour. 

LISTINGS INFORMATION

GHOST IN CONCERT

1 October 2024

Adelphi Theatre

Strand

Covent Garden

London WC2R 0NS

Performance at 8pm

Box Office: 020 3925 2998 

Website: https://lwtheatres.co.uk/whats-on/ghost-in-concert/
Instagram / Facebook / X: @GhostTheConcert

Garrick Theatre, London – until 13 February 2025

Reviewed by Emily Smith

5*****

From the writers of the hugely successful musical, SIX, comes the brand new ‘big, fancy’ musical Why Am I So Single? which has burst onto London’s West End, complete with an impressive pink sparkly sign.

Without spoilers, this is a musical about writing a musical. Toby Marlow and Lucy Moss take the audience on a journey of their self-discovery by revisiting their own dating histories to try and find out why they are so single. While this, as a plot, doesn’t sound like much, somehow Marlow and Moss have managed to make an entire musical out of this concept, and there’s plenty of musical numbers, jokes and cut-scenes to keep the audience entertained throughout! There is a mixture of narration show-tune flashbacks, and audience interaction as the fourth wall is broken and rebuilt throughout. I really enjoyed this, especially because it is so different to other shows.

The musical numbers in this show are very well-written and apt, with plenty of pop culture references. The catchy number 8 Dates is an early audience favourite and had me wishing I could dance with the cast, rather than just bop along in my seat. The late 90s and 00s references brought plenty of nostalgia, with these influences being carefully crafted into the songs themselves, with nods to artists such as Blink 182, Shakira and Flo Rida. I also couldn’t write this review without also mentioning the fantastic number, Interlude in B minor, but you’ll have to see the show to find out why! There were also plenty of references to other musicals, from the obvious Oliver! to references to Les Misérables, Wicked and of course SIX – the Musical. I almost saw it as a challenge to try to spot them all, which I am sure will please fellow musical theatre lovers!

Jo Foster was absolutely brilliant as Oliver – they are a star! Jo has a fantastic vocal range, bringing great diversity to the role and getting plenty of laughs from the audience. That being said, Jo also delivered an emotionally-charged performance in their standout number, Disco Ball. Leesa Tulley was also a fantastic leading lady in the role of Nancy. For me, some of the songs had some hesitant, or slower beginnings, but I was pleasantly surprised each time at how they built into the type of musical numbers that we all love. This was particularly true of Leesa’s number Just In Case, where it was clear to see her confidence building throughout the song, to the point that by the end the audience were mesmerized and captivated by her incredible vocals. Noah Thomas (Artie) was also fantastic, particularly when leading the catchy number, C U Never. The entire ensemble were also fantastic – delivering flawless choreography and vocals.

The set design (by Moi Tran) is relatively simple, formed of freestanding walls with cut-out windows, a sofa and coffee table, moveable doorways, and with the band on stage on an upper level. Because of this, the use of the ensemble as (usually) inanimate household objects and furniture such as fridges, bins, coat stands, and footstools was very clever and brought its own comedic value to the show, and it helps that these costumes were very cleverly designed.

I think it is important to acknowledge that I most definitely fit into this show’s ‘target audience’ – born in the 90s, with experience of online dating, meaning the plentiful pop culture references and humour brought to online dating experiences were relatable. While I am sure older and younger audiences alike would still appreciate the show, it may be said that some of the references or relatability would be lost. Despite this, the underlying story of platonic love and self-exploration feel incredibly genuine and you can’t help but fall in love with these two friends.

This feel-good show had us laughing throughout – at the jokes, clever plays on words, and innuendo – and it is complete with catchy show tunes and a standout cast. For anyone who has grown up in the 90s and 00s, this is a must-see!