Carmel Dean announced as composer for
musical adaptation of acclaimed novel The
Ghost and Mrs. Muir

Carmel Dean (music director/arranged: Funny Girl (revival), Broadway; The Notebook, Broadway) will be writing music and lyrics for London’s up and coming musical adaptation of The Ghost and Mrs. Muir.

The acclaimed romantic-fantasy novel The Ghost and Mrs. Muir by R.A Dick is being adapted for the stage as a new musical. Carmel comments, Being asked to write the score for this much beloved book is truly a dream come true. The story is sweeping and epic, full of mystery, humour, and of course romance, and lends itself perfectly to being musicalized for the stage. I can’t wait to bring it to life in collaboration with the rest of this brilliant and passionate team!

Producer Scott Ihrig (Producer, Drama Club Productions, Drama Club Camp, and The Radio City Christmas Spectacular) comments Carmel brings strong women to life in music and on the stage. These are the type of stories the world needs more of these days – and I’m excited to be working with such an amazing team of women writers to bring this book to a new medium and new audiences.

Under the direction of Kenneth Hoyt (The Blue Hour of Natalie Barney, Arcola; The Sea Plays, Old Vic Tunnels, Founder and Artistic Director Provincetown REP) this exciting project will see a full read through in London in September 2024 before it takes to the stage in 2025. The show’s book comes from novelist and playwright Penelope Faith (Novels: Hello, Mr Magpie / From A Past Life. Plays: Nothing To See Here, Arcola / Not Now, But Now, Canal Cafe Theatre. Audio: Dark Shadows, Dr. Who, Big Finish). Richard Roland (Broadway’s Follies, Scarlet Pimpernel, and Thoroughly Modern Millie, Prof. of Musical Theatre at Indiana University) serves as Associate Director with Raymond Sage (B’way Camelot, Beauty and the Beast, Artistic Director-Penn State NU Musical Theatre Festival , Prof of Musical Theatre- Indiana Univ) as Creative Consultant.

The Ghost and Mrs. Muir is a timeless ghost-infused romance between newly widowed Lucy Muir and the ghost of Daniel Gregg, a sea captain. Through this uncommon companionship, Mrs. Muir learns to find liberation from her grief and loneliness, showcasing the boundless nature of true love, and its ability to transcend this life and beyond.

The show is adapted from the original novel of The Ghost and Mrs Muir that was written by Josephine Leslie in 1945. She wrote under the pseudonym R.A Dick, taking the initials from her sea captain father Robert Abercromby. It was generally accepted that male novelists had a greater chance of having their work published with an increased likelihood of both sales and success.

The story was an immediate sensation and was quickly acquired by 20th Century Fox. The film starred Gene Tierney and Rex Harrison. It is widely considered to be one of the most classic love stories of all time and the film has a 100% rating on Rotten Tomatoes. The novel was adapted several times as a radio play, most interestingly in a 1951 version starring Charles Boyer and Jane Wyatt. It was re-imagined once again into a well-loved TV series in 1968.

Further information is available at www.theghostandmrsmuirmusical.com.

CAMERON MACKINTOSH
WELCOMES

BONNIE LANGFORD AS ‘MADAME THÉNARDIER’
AND
JAC YARROW AS ‘MARIUS’

TO THE WEST END PRODUCTION
OF

LES MISÉRABLES

AT THE SONDHEIM THEATRE

FOR 4-WEEKS ONLY

15 JULY – 10 AUGUST 2024

PRIOR TO THEM JOINING THE CAST OF THE WORLD TOUR OF
LES MISÉRABLES
THE ARENA SPECTACULAR

Cameron Mackintosh is delighted to welcome Bonnie Langford and Jac Yarrow into the West End production of Boublil and Schönberg’s worldwide phenomenon LES MISÉRABLES, for four-weeks only from 15 July to 10 August 2024, prior to them joining the cast of LES MISÉRABLES THE ARENA SPECTACULAR,which embarks on its highly anticipated World Tour from 19 September 2024.

Bonnie Langford as Madame Thénardier and Jac Yarrow as Marius will join the current cast of LES MISÉRABLES at the Sondheim Theatre including Milan van Waardenburg as Jean Valjean, Stewart Clarke as Javert, Katie Hall as Fantine, Amena El-Kindy as Éponine, Lulu-Mae Pears as Cosette, Luke Kempner as Thénardier,and Djavan van de Fliert as Enjolras.

Will Callan as Marius, and Claire Machin as Madame Thénardier will be returning to their roles from 12 August 2024.

The company is completed by Annabelle Aquino, Hazel Baldwin, Brad Barnley, Michael Baxter, Emily Olive Boyd, Rosy Church, Ben Culleton, Matthew Dale, Matt Dempsey, Sophie-May Feek, Matt Hayden, Tom Hext, Christopher Jacobsen, Jessica Johns-Parsons, Yazmin King, Sam Kipling, Anouk van Laake, Harry Lake, Sarah Lark, Ellie Ann Lowe, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Jonathan Stevens, Phoebe Williams and Ollie Wray.

Bonnie Langford’s most recent appearance in the West End was in Stephen Sondheim’s Old Friends at the Gielgud Theatre, having also appeared in the Gala cast of the show at the Sondheim Theatre. Her many other West End credits include Miss Evangeline Harcourt in Anything Goes, Roz Keith in 9 to 5 The Musical and Dorothy Brock in 42^nd Street. She created the role of Rumpleteaser in the original production of Cats and starred as Roxie Hart in Chicago, in both the West End and on Broadway,

Bonnie made her theatre debut in the West End at the tender age of seven in Gone with the Wind at the Theatre Royal, Drury Lane. The following year she played ‘Baby June’ in Gypsy opposite Angela Lansbury at the Piccadilly Theatre, making such an impact that the producers took her to America with the show for a highly successful run on Broadway. For this performance, at the age of ten, Bonnie was nominated for a Drama Desk Award.

Equally successful on stage and television, Bonnie won a British Soap Award for her role as Carmel Kazemi in EastEnders and most recently reached the final of ITV’s The Masked Dancer. Bonnie also appeared in the 2006 series of ITV1’s Dancing On Ice, skating her way to the final and returned for the All Stars season in 2014.  Her other television credits include The Catherine Tate Show and BBC’s Doctor Who where she has just returned to her role of the Doctor’s assistant, Melanie Bush.

Jac Yarrow made his professional and West End debut as the title role in Joseph and the Amazing Technicolor Dreamcoat, for which he was nominated for the 2020 Olivier Award for Best Actor in a Musical, the WhatsOnStage Award for Best Actor in a Musical and won The Stage Debut Award for Best West End Debut. He reprised the role of Joseph for the UK and Ireland Tour of the show and a run at Toronto’s Princess of Wales Theatre. He was most recently seen in Stephen Sondheim’s Old Friends at the Gielgud Theatre and as Pippin in Pippin – 50^th Anniversary Concert at the Theatre Royal, Drury Lane.

LES MISÉRABLES will enter its 40^th record-breaking year in London this October. To kick off the celebrations, the show will embark on its first World Tour with the highly anticipated LES MISÉRABLESTHE ARENA SPECTACULAR, that commences in the UK in September, and will over the next year visit Belfast, Glasgow, Sheffield, Aberdeen, Manchester, Newcastle, Luxembourg, Geneva, Trieste, Milan,  Copenhagen, Oslo, Zurich,  Gothenburg, Stockholm, Malmö, Amsterdam before moving to Australia, Taiwan, Japan, South Korea and beyond, 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 the US. 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 29 March 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

OVO PRESENTS, THE WORLD PREMIERE OF:

FOREVERLAND

Shortlisted for The Papatango Prize for New Writing in 2021

Southwark Playhouse Borough
2^nd – 19^th October 2024 

https://southwarkplayhouse.co.uk/productions/foreverland

“In Foreverland Emma has created a gripping and insightful dystopian drama that proved incredibly popular with our reading team and was well deserving of its place on the shortlist” 

 Papatango New Writing Prize 2021

—

“This is for her, really.

She’s the one we’re doing this for”

In the very near future, Alice and Jay decide to undergo a new form of gene therapy. One which will indefinitely extend the length of their lives.

They’re optimistic, hoping their decision will lead to perfect careers, the perfect relationship, and most of all, a perfect family.

Life’s good. And you can’t get enough of a good thing, right?

OVO is delighted to announce that new play ‘FOREVERLAND’ by upcoming playwright Emma Hemingford will premiere at Southwark Playhouse Borough (The Little) for a three-week run, from 2^nd – 19^th October 2024. ‘Foreverland’ isa gripping drama tackling the future of biotechnology and what it might mean to ‘cure’ death, and truly live forever. Grounded in the inter-generational story of one family’s love and loss, the play raises the universal questions; what makes a good life? How far would we go to be with our loved ones? How do the decisions of one generation affect the lives of the next?

‘Foreverland’ imagines a near future in which immortality has become possible for the privileged elite, adding a new and intriguing layer to the concept of the ‘haves and the have nots’. This dystopian projection is far closer to our lived reality than we may realise: a recent boom of Silicon-Valley investment in longevity medicine has caused leading scientists to predict that the first generation of people to live for hundreds of years, or even thousands, has already been born^[1].

In the past, the world has welcomed medical advancements that extended the human life-span; but is there a line that should never be crossed? ‘Foreverland’ asks; what would vastly extended human life-spans mean for social change, or for interpersonal relationships? 

Tackling a fascinating subject, and one which is both appealing and terrifying in equal measure, ‘Foreverland’ challenges audiences to open up ideological conversations around the issue, borne of witnessing the characters’ intimate dialogues, as their lives look set to be transformed.

More than an exploration of the future of biotech, the play is also a timeless parable with an intimate focus on one family. ‘Foreverland ‘invites audiences to reflect on the deeply ingrained desire for control over our bodies, our lives, and our deaths. 

^[1] https://www.independent.co.uk/news/long_reads/live-longer-longevity-stem-cells-ageing-a8332701.html

Forum Theatre, Malvern – 5th July 2024

Reviewed by Courie Amado Juneau

5*****

Mozart at Malvern. What a treat! Not only that but the Age of Enlightenment mysticism of The Magic Flute, his last opera (from 1791).

The story is a convoluted concoction that’s, frankly, barking (in an entertaining, pantomimic way). Then again, considering that a magic flute helps protect Prince Tamino from dangers in tasks to prove his worth during his quest to save the Queen of the Night’s daughter from the clutches of Sarastro, her rival…

The first surprise tonight was no orchestra pit. The orchestra were assembled in a semi-circle at the rear of the stage, with just a single player for each instrument! As the overture struck up the hall was filled with glorious music, perfectly balanced. To have a fully fledged opera played with such reduced forces and for it to not jar is testament to the band and their Musical Director Orlando Jopling (also playing the tinkly keyboard).

Tamino (Richard Dowling) gave us delicious velvety tones and he and Natasha Page (playing Pamina) made a very convincing and likeable pair. Her quiet notes (especially) took the breath away with an ethereal beauty! The aria “Oh, I feel it, it is gone” was (for me) the emotional high of the entire piece as it embodied that universal human feeling of your partner’s love slipping away.

Gareth Brynmor John as Papageno provided a commendably multi-faceted characterization. I loved his comedic timing throughout and his “A girl or a woman” was very emotional. His duet: “Pa… pa… pa…” with the wonderful Eleanor Sanderson-Nash playing Papagena was another of the night’s undoubted highlights – the pair combining beautifully.

Luci Briginshaw gave us a hissable, fleshed out Queen of the Night. Her famous aria “Hell’s vengeance boils in my heart” was spellbinding and (to my admittedly wooly ears) she hit all those stratospheric notes. Her opposite number, Sarastro (Edward Hawkins) was impressively sonorous and a commanding presence befitting his status in the story.

This piece is heavily symbolic of Mozart’s Masonic beliefs. The number 3 features prominently with trios (ladies; Eleanor Oldfield, Martha Jones, Abbie Ward and men; Lachlan Craig, Henry Wright, Ben Thapa) propelling the story along at key moments. All were masterful in their parts.

The staging was stark with modern costumes courtesy of Sophie Lincoln giving the production a nevertheless sumptuous feel. This concentrated the attention on the singers whilst also giving the musicians amongst us the rare opportunity to watch the orchestra.

I generally prefer to see operas in their original language as the metre scans better (and it’s what the composer intended after all) but this translation (into English) from Jeremy Sams was adroitly done and I quickly got over myself and revelled in the spectacle.

This highly imaginative opera is, at heart, about the human condition and some very lofty ideals – like love. So, there’s much to warm the heart here – far beyond the perfection of the musical score (which is enough all by itself). I saw Wild Arts before and they were sensational. They were again tonight in a production that was innovative, fresh and delightful and which I wholeheartedly recommend.

EVERYMAN THEATRE, LIVERPOOL – FRIDAY 5TH JULY 2024

REVIEWED BY MIA BOWEN

5*****

A Monster Calls by Patrick Ness is one of my favourite books, so when I received an invitation to the Everyman Theatre to watch a stage adaptation, I eagerly accepted! Witnessing a novel being brought to life on stage can be a truly transformative experience. I had also seen the film in the cinema back in 2016. I remember it being a significant release, with its enchanting CGI scenes and moving story. Therefore, this theatre production held a lot of excitement for me.

The story revolves around Conor, a 13-year-old boy who is feeling isolated and lonely. He is facing bullying at school and struggling to come to terms with his mother’s battle with cancer. In addition, his relationship with his grandmother is strained, and he feels disconnected from his father. Conor is dealing with a lot of challenges. When a monster resembling a yew tree visits Conor at seven minutes past midnight, it disrupts his life by sharing three stories with him, one each night. On the fourth night, Conor must share a true tale with the monster.

As the book was aimed at young adults, I felt it was perfect for the YEP Actors 18-25 Company, under the direction of Nathan Crossan-Smith, to stage this production.

Finn Kearns portrayed Conor, while Kieran Gregory took on the role of Harry, the bully. Their boundless energy captivates the audience from start to finish. Kearns portrayal is sincere, taking us along on his journey with every word. You can truly feel the ups and downs of emotions that a young person would experience, and he gave an outstanding performance, especially considering the sensitive nature of the subject matter.

Indeed, the entire cast was outstanding, comprising a fantastic group of young performers. Niamh Parrington and Moli Wyn portrayed Conor’s grandma and mother brilliantly, delivering emotive performances. An essential element of the play is getting the monster portrayal right, which could easily have gone awry. However, the innovative use of ropes and pipes, along with performers altering their voices through a microphone to deepen them, effectively brought the monster to life in a unique and compelling way.

The experience I had last night gives just a glimpse of what to expect from the upcoming generation of actors, creative and technical teams. It has left me feeling extremely excited about the future of live theatre! Brace yourself for tears!

Live Theatre, Newcastle – until Saturday 6th July 2024

4****

Reviewed by Sandra Little

This one woman play, written and performed by Kemi-Bo Jacobs and directed by Becky Morris was first performed at Alphabetti Theatre in Newcastle in 2022. It charts the life and career of Althea Gibson, who was born to sharecroppers in South Carolina in 1927. Althea became the first black tennis player to win at Wimbledon in 1957 and despite this remarkable achievement her story has remained virtually untold.

The first taste of success for Althea came when she was 12 and won a local paddle tennis competition; she then went on to achieve further success after being coached by Buddy Walker. Althea eventually left her home in Harlem to take up the offer of a scholarship in Florida. At 22 Althea was the National Indoor Tennis Champion, but despite her talent and success, she was not allowed to play in “all white” competitions. After sending off numerous applications Althea was eventually allowed to participate in American Tennis Association competitions, however she was not allowed to attend social functions! After winning Wimbledon in 1957 Althea returned to America to a ticker tape parade and at the age of 28 she turned professional.

This high energy one woman performance by Kemi-Bo Jacobs not only highlights Althea’s talent and determination to win tennis competitions but also her struggles to overcome the barriers she encountered due to the racism which existed in America at the time. There is mention of the death of her friend for example, and reference to the murder of Emmett Till who was lynched for whistling at a white woman .

The set for this play is very simple, consisting mainly of a white rocking chair and white tennis balls We are told that tennis balls at the time of Althea’s success, “like everything else,” were white. Yellow tennis balls were not introduced at Wimbledon until 1986. Althea’s costume for this performance is also white.

Whilst the dialogue throughout this this 70 minute performance was extremely fast paced, and packed with interesting information, I would have preferred the pace of delivery to be a little slower in some parts. I feel that a more varied pace would have enhanced the impact of some very powerful statements.

This play does come with a warning about the material including discussion of racial insults and physical abuse however I felt that both issues are addressed sensitively. Although this play coincides with Wimbledon fortnight it is not primarily a play about tennis; it is more about the forgotten story of a talented woman who had to battle against strongly held racist views to achieve her success. It also raises the question, “Why has this woman’s story been overlooked for so long?”

Running time is 70 minutes with no interval

Everyman Theatre, Cheltenham – until 6th July

Reviewed by Jacqui Radford

5*****

Based on the novel written by Khaled Hosseini, this production written by Matthew Spangler adds a powerful punch to the themes that are woven through the storyline. From the outset, the production draws you into a powerful reflection on the effect of conflict on relationships between generations, family, communities and nations.

The play is effectively an insight into the reflections of the main character, Amir (played by Stuart Vincent) on his own guilt and regrets. Amir recounts his experiences of growing up in Afghanistan, raised by his father in a large house through times of political and civil unrest. His regret stems from the effect of these on his closest relationship with Hassan (played by Yazdan Qafouri).

Hassan and Amir grew up together in the same house; one of them a servant boy (Hassan). Amir reflects on the innocence of childhood and its lack of prejudice and judgement. However, the storyline shuttles between joyful recounts of kite running and roaming in safety to heart wrenching moments of bullying, harassment and violence motivated by prejudice.

The audience is subject to an emotional rollercoaster that includes joy in the shared moments of childhood, stunned silence at the unfathomable effect of prejudice and judgement, and utter grief at opportunity lost.

This production has a depth to it that is evoked by a careful and professional mix of narrative, casting, music and stage setting. Every scene prompts the audience to really think about the consequences of conflict and connect with the communities affected by it.

For me, this production had a lasting effect. Not only are the themes within it thought provoking but the combination of all production elements is awe inspiring. It sets the bar high for a 5***** review.

THE LOWRY THEATRE, SALFORD – UNTIL SATURDAY 6TH JULY 2024

REVIEWED BY MIA BOWEN

5*****

In all my years of attending the theatre, there have been only a few occasions when I felt compelled to rise to my feet and start a standing ovation. Last night, however, was one of those special moments. By the time the interval arrived, I already had the urge to express my admiration as the performance was truly outstanding – and it continued to exceed my expectations as it progressed. It’s no wonder that this show won an impressive five Olivier awards and making history by honouring a team of puppeteers as the Best Supporting Actors!

Whether or not you have read the book or seen the movie, this production is definitely worth your time. The Life of Pi tells a captivating story, and the whole team has done an impressive job in bringing it to the stage while maintaining the charm of the original book. The opening line, ‘I can tell you a story that will make you believe in God’, sets the tone for a well written and clever narrative, that will have you laughing and perhaps shedding a tear or two. The twist at the end is thought-provoking and encourages contemplation about life, beliefs, morality and the essence of truth in storytelling. Perhaps most resonantly, the unique power of Live Theatre.

For those who know the story either from the novel or the Ang Lee film, what I was particularly excited to see was the part with Pi and the Bengal Tiger named Richard Parker on the lifeboat. The design of the floor and visuals resembling the sea with its blue colour and subtle movements, convincingly created the illusion that the two of them were actually on a boat in the middle of the sea. The whole production really drew me into that world, making it feel exceptionally realistic. This brings me to THE standout feature of the show, among many others, which is the use of puppetry. The puppets are incredibly lifelike, accurate representations of the creatures they depict. Nick Barnes and Finn Caldwell have creatively used driftwood and other debris to craft various animals such as zebras, hyenas, giraffes, fish, butterflies, a goat, and a mother and baby orangutan. These creations are brought to life by the skill of the cast under Caldwell’s expert guidance.

There are some notably dark and almost graphic scenes to be mindful of that may be difficult to watch, especially if you’re thinking of bringing children along. However, the children around me appeared to be untroubled by this and completely captivated by the animal puppetry.

For an even more impressive insight, I was truly astonished to find out that the actor who plays Pi, Divesh Subaskaran, made his professional debut in this tour. Subaskaran shines in his portrayal of Pi, skilfully blending serene moments with intense bursts of energy. His performance offers an engaging and spellbinding experience that can take your breath away.

I usually prefer musicals to plays, but this play is definitely one of the best things I’ve seen on stage.

Yvonne Arnaud – until Saturday 6 July 2024

Reviewed by Heather Chalkley 

5***** 

This award winning adaptation by Patrick Barlow is farcical and funny yet carries all the suspense of the original film. It maintains the central themes of espionage, love and revelation at the same time as producing belly laughs. The ability to send up the medium of theatre whilst remaining true to the story, combining peril and comedy, is an art form in itself. Barlow takes the genius of Hitchcock and molds it into his own inspired method, making it as relevant today as it was in 1935 when first filmed.  

Tom Byrne (Richard Hannay) is the constant in the production keeping us in tune with the storyline. He delivers the emotion of the original, beginning as an innocent, going on the run, falling in love and uncovering the truth, taking us on his emotional journey, all at pace and with perfectly timed physical humour. This is not possible without the slick teamwork of the whole cast. Safeena Ladha (Pamela/Annabella/Margaret) plays the femme fatale, Scottish farmers wife and leading lady, with supreme ease and a good dose of comedy. Eugene McCoy (Clown 1) has no need of lines; his body says it all and has the audience laughing out loud. Maddie Rice (Clown 2) delivers a performance to remember, having the most farcical quick character changes to keep you on your toes! 

The sliding in of props just enough out of sync to be hilarious is key to the genius of this play. The creative team has no room to hide and do not disappoint.  

This is a perfect play to escape into at a momentous time in this country’s political history. Leave it all outside and come and delve into this cerebral brain tickler!  

Hull Musical Theatre Company

Will be performing at Middleton Hall, University of Hull

10th -13th July 2024

By Dawn Bennett

Last night I had the pleasure of watching Hull Musical Theatre Company perform a run through of their forthcoming production of the musical Into the Woods. This wasn’t a musical that I was familiar with and didn’t know what to expect but I really enjoyed it.

Based on the book by James Lapine with music and lyrics by Stephen Sondheim these are the fairy tales of your childhood but not as you know it! You will recognise some of the characters, Cinderella and her father, step sisters, step mother. Little Red Riding Hood and the big bad wolf, Rapunzel, Jack and his mother and many more. The story has the baker and his wife cursed by a witch to remain childless. To get the child they long for they have to go into the woods and find things that will reverse the witches curse, these are hair as yellow as corn, a red cape, a slipper made of gold and a milky white cow. We then follow the story and see what happens when they try and break the curse and how they achieve it. The consequences of them doing this soon become apparent.

At the beginning of the second half, I was sat wondering how it could carry on as the first half finished on such a high, with the characters all seemingly to live happily ever after. As the story continued it definitely got darker and more sinister and it was fabulous and very funny!

The songs are woven seamlessly into the story and are Stephen Sondheim at his best, the singing was outstanding and I could hear every word the cast sang.

The company did the run through with hardly any costumes and very few props but the energy they brought to the rehearsal room made this a very watchable show and it was easy to follow the story. The cast put so much effort into this show. The singing and acting were first class. If the finished one is even half as good as the run through people are in for an absolute treat, and it really deserves full houses at every performance.

Hull Musical Theatre Company are very talented group of people, an amateur company with professional level performers, please go and see this brilliant show and give them the support they deserve!