Howard Panter for Trafalgar Entertainment Group,

GWB Entertainment, BookMyShow, Tokyu Theatre Orb,

Tulchin/Bartner and David Lazar

in association with KHAM Inc.

proudly present

The Lincoln Center Theater

production of

RODGERS & HAMMERSTEIN’S

DEAN JOHN-WILSON (WEST END STAR OF ALADDIN)

& NA-YOUNG JEON, CAST AS ‘THE YOUNG LOVERS’

IN WEST END PRODUCTION OF THE KING AND I,

AS LONDON PALLADIUM ENGAGEMENT IS

EXTENDED FOR THREE FINAL WEEKS TO 29 SEPTEMBER

& FIVE EXTRA MIDWEEK MATINEES ADDED

DUE TO EXTRAORDINARY TICKET DEMAND

 

TICKETS FOR NEW BOOKING PERIOD ON SALE FRIDAY 16 MARCH AT 10AM

 

Dean John-Wilson (who starred in the title role of Disney’s original West End production of Aladdin) and Na-Young Jeon (Fantine in Les Misérables in the West End and Gigi in Miss Saigon on world tour) join the West End cast of THE KING AND I as the young lovers, Lun Tha and Tuptim. They will join Tony Award winner and “Broadway musical’s undisputed Queen” (Sunday Times) Kelli O’Hara as Anna, Tony and Oscar nominee Ken Watanabe as The King and Tony award-winning Ruthie Ann Miles as Lady Thiang.  Rodgers & Hammerstein’s multi-award winning musical transfers from Broadway to the London Palladium on 21 June.

 

THE KING AND I also today announces that the London Palladium engagement will extend for a final three weeks until Saturday 29 September.  This is the very last opportunity West End audiences will have to see the Broadway stars reprise their original roles on the London stage, as Kelli O’Hara will return to Broadway to star in Kiss Me Kate and Ken Watanabe has filming commitments.

 

Five extra matinees on Thursdays (30 August, 6, 13, 20 and 27 September) have been added to the London Palladium performance schedule.  This follows continued unprecedented demand for tickets, with early performances already sold out.  Much like it’s acclaimed 16 month run at New York’s Lincoln Center Theater and record-breaking sold out USA tour, The King & I is tipped to be London’s must-see musical of 2018.  

 

 

 

Dean John-Wilson played the title role in Aladdin at the Prince Edward Theatre and was a semi-finalist on Britain’s Got Talent in 2008.  His other theatre credits include:  Miss Atomic Bomb and Songs For a New World at The St James’ Theatre, Aquino in Here Lies Love at the National Theatre, Tim Rice’s From Here to Eternity at the Shaftesbury Theatre and Sister Act: The Musical UK Tour.

 

Netherlands born Na-Young Jeon played Gigi in the international tour of Miss Saigon and Fantine in Les Misérables in South Korea and in the West End.  Other theatre work includes Esmerelda in Notre Dame de Paris in South Korea and Bianca in Kiss Me Kate in Amsterdam.  On TV she played the lead in Conny and Clydeand Bo in Van Hier Tot Tokio and her films include The Calling and Hitomi.

 

Acclaimed Tony Award-winning Bartlett Sher will direct the production, hot on the heels of his work on The Lincoln Center Theater’s World Premiere of J.T. Rogers’ smash hit play Oslo, which opened on Broadway and then transferred via the National Theatre to London’s Harold Pinter Theatre in October last year to rave reviews.  He, along with the celebrated creative team behind the award-winning production of South Pacific and the Lincoln Center Theater production of My Fair Lady which began previews this week, will reunite to bring this majestic production to life at the London Palladium.  

 

With music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, this masterpiece – one of their finest works – boasts a score featuring such beloved classics as Getting To Know You, Hello Young Lovers, Shall We Dance, I Have Dreamed, and Something Wonderful.   Set in 1860s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher, whom the imperious King brings to Siam to tutor his many wives and children.

 

WHAT THE USA PRESS HAVE SAID ABOUT THE LINCOLN CENTER THEATER

BROADWAY PRODUCTION OF THE KING AND I

 

“I’ll doubt I’ll ever see a better production in my lifetime.”

THE WALL STREET JOURNAL

 

“Something wonderful indeed. Breathtaking. Exquisite. Remarkable.”

NEW YORK TIMES

 

“Five stars. Grand and glorious.”

TIME OUT NEW YORK

“A landmark production and a shot of purest rapture. I never wanted it to end.”

THE HOLLYWOOD REPORTER

“Too beautiful to miss! An astonishing achievement.”

NEW YORK MAGAZINE

“Absolutely stunning. Kelli O’Hara is ravishing. Ken Watanabe is powerfully seductive. Chalk up another triumph for Lincoln Center Theater.”

VARIETY

“Magnificent. A sweepingly romantic production. How good to be getting to know the show all over again.”

NEWSDAY

 

 

“Simply divine. You can’t overstate how stunningly beautiful, how achingly well sung this new revival is.”

NEW YORK POST

 

“This splendid revival emerges as majestic and intimate simultaneously. Grandeur and grace fill each scene and song. O’Hara and Watanabe share warm chemistry.”

DAILY NEWS

“Splendid! This just may be, in fact, the finest staging of a Rodgers and Hammerstein musical in my experience.”

THE WASHINGTON POST

 

 

LISTINGS  INFORMATION

LONDON PALLADIUM

Previews: From 21 June

Tickets: £15 – £82.50, Premium Seating available

Box Office: 020 7087 7755

 

Performances: Monday – Saturday at 7pm, Wednesdays and Saturdays at 2pm and 7pm

Extra matinee performances on Thursdays at 2pm: 30 August, 6, 13, 20 and 27 September

No performance on 28 August, 4, 11, 18 and 25 September

 

Website: KingandIMusical.co.uk

Twitter: @KingandIWestEnd

Facebook: @KingandIWestEnd

Instagram: @KingandIWestEnd

Palace Theatre, Watford – until 24 March 2018.  Reviewed by Sharon Hines Kennedy

5*****

The set and stage design for this production was simple but very clever. The stage rotated between scenes it was built to look like a glass block which contained a solo cellist (more about that later).

This play, one of Arthur Miller’s later plays was written in 1994. It is well known having been made into a film in 1996 and a BBC television production in 1997. Miller wrote this play as a reaction to the nationalism, war and sub-sequent genocide that took place in the former Yugoslavia. The genocide taking place in Rwanda was not lost on him either.

The play itself is set in New York in 1938 just as America and Europe look like they may be drawn into a Second World War. The characters are drawn from a Jewish community. The main character Sylvia (Amy Marston) has become paralysed in her legs. Her doctor (Michael Higgs) believes this has been caused by psychological problems rather than physical as he can find nothing medically wrong with her.

Sylvia is an intelligent woman. She is also the only one who appears to be concerned about what Hitler and his Nazis are doing to Jewish people in Ger-many. She reads the newspapers and listens to radio reports avidly. The rest of her community including her husband Philip (Michael Matus) do not see what’s happening as their problem. The Jews of Germany far from New York and are not personally known to them. They are unwilling to acknowledge the antisemitism around them in New York.

As mentioned earlier, each scene change was accompanied by the soloist on the cello, the music was key to setting the mood in the next scene.

This was a wonderful interpretation of this important play that is relevant to-day as when it was written in 1994 and the World events taking place at that time. And as it was in the time period that Miller wrote and set the play originally.

 

Shoreditch Town Hall, London – until 28 March 2018.  Reviewed by Brian Gordon

5*****

Immersive Theatre taken to another level….This “show” for want of a better term delivers a powerful and resonant message from the second you walk into the building to the moment you collect your coat. Written by The Company and Max Barton this artistic delivery takes the audience through the tragic and normality of the history of care in the UK.

Researched and connected via the story of Mabel Cooper, a resident, patient, service user of a throw back archaic care system, in which the patients of St Lawrence, the Madhouse tell their side of the system. Paradise Fields is the new wave of “no patronising face to face care” web-based future of care systems. However, the sales pitch delivered by Sandra, Sue and Sally is rudely interrupted by the service users’ perspective. David Munns as the escapist breaks into the dynamic and gives some truths.

The space and the set indulge and encourage the interaction in the production. Guided by patient 36 and through clever use of technology and basically a great performance by every member of the cast the show flows through stages and performances. Grabbing your emotional and physical senses in each phase. The use of the space and the development of the atmosphere is genius and tests your every sense.

From the Mental Deficiency Act 1913 in which those with learning disabilities were labelled as idiots, imbecilic, feeble minded or having moral defects and being tied to a post as “therapy” though to the financial driven and emotional disconnected systems of the now this show tells an important message. It does it with humour, humility and a fantastic delivery based in good research and a genuinely amazing use of technology and space. I’ve never fed a pea to person I don’t know before and Dayo Koleosho as The Eater made this a pleasant experience from the other side of the glass. The thought of the morality of isolation through giving money rather than time or thought is created by the clever use of perspectives and expanding centres of gravity around the metaphors. Think carefully about that next Waitrose charity token.

The choreography and development of the metaphor throughout the story is testament to the performances of many, but of particular note must be DJ Hassan as the bird and Imogen Roberts as the goddess. Both of which created poignancy through their performance. Cian Binchy gave a staunch delivery of the baby…. Never has a baby had such insight into the simplicity of finance and tax, nor pulled of the most phallic of props. You will be laughing, engaging, dancing and most importantly thinking during this performance. Beware the feast you are promised, but most of all, be an active citizen and get to see this show.

Alankar, Manchester – 14 March 2018.  Reviewed by Marcus Richardson

4****

Handlooms asks the questions that needs to be asked but society is too afraid to talk or address them. What can we do about refugees, is men in woman’s clothing ok, is history more important that the present, what does it mean to have heritage? This piece of site-specific theatre, which is set in a sari shop, give us an insight into a relationship between a mother and son, we see the trials the sari industry faces and how modernisation takes away culture and heritage.

They play is performed in an actual sari shop, this immersion adds to the naturalistic quality and really makes you feel like you’re part of the action, Rajesh Sharma played by Ashraf Ejjbair is the leading force in keeping the traditional sari business alive, the actor gave the character a lot of depth and layers we learn throughout the play, the acting here was incredibly good, with great attention to detail and how he presents himself in different scenes. His mother Asha Patel played Riana Duce, I loved her character she was sweet and very maternal. Before the show properly began we were welcomed into the shop by her, this relaxed the audience-actor relationship and instantly calmed and made the audience feel at home, we were offered to look around and feel the saris. Her acting was amazing and she had a believable and kind aura. The acting and the story of this show is the main aspect why this this show stays in my mind, it proves that theatre is a great way to send a message across to make people aware of issues.

The show is short only lasting about sixty minutes, but we are given enough of a story arc. The sari shop is in the heart of the curry mile in Manchester, it’s amazing that so much thought had been put into the show. I loved watching the show and I walked away learning things that change the way I think about society and how we treat different cultures and people. The venue is very small, so the audience per show is limited. I would highly recommend to anyone to go and see this show.

Shrapnel Theatre and Iris Theatre present
H.R.Haitch
A right royal musical comedy!
Union Theatre, 204 Union Street, London SE1 0LX
Wednesday 9th May – Saturday 2nd June 2018

Following a highly successful concert version as part of Iris Theatre’s Workin Process scheme, H.R.Haitch opens at the Union Theatre as a freshly re-imagined full-length production. Featuring original music composed by Luke Bateman (Mr. Poppers Penguins) and lyrics written by children’s author and Carnegie Medal nominee Maz Evans, H.R.Haitch is a hilarious and charming new musical for princesses and paupers alike.

Starring Tori Allen-Martin (Hair, UK Tour; Wretch, VAULT Festival; Muted, The Bunker), H.R.Haitch is a 21st century British satirical production about class, celebrity, patriotism, politics, race and a dash of social values. Set in an East London pub under the threat of closure, H.R.Haitch follows the family of the Dog & Duck as they are thrust into the limelight when their love-struck daughter Chelsea discovers a sudden unexpected connection to the Royal Family.
First written in 2015, this show began as a piece of pure fiction but it now pertinently reflects the current excitement surrounding the royal family and this year’s royal wedding.

It’s 2011 and feisty east ender Chelsea’s future is bright. She has a new man and there’s a new progressive Prime Minister to light the days ahead. The media can stick their obsession with the identity of Prince Albert – the secret royal who’s been in hiding for 20 years. However, Bertie has something big to tell Chelsea. He’s down on one knee, but it’s not a ring he has in store… it’s a crown. And Chelsea will soon discover that travelling from Barking to Buckingham Palace takes more than a topped-up Oyster Card…

Director Daniel Winder comments, H.R.Haitch is a real culmination of all the new musical theatre development we do at Iris Theatre which often flies under the radar. We first introduced Luke and Maz to one another as part of the Workin Process scheme and ended up commissioning them to write the show after they won three awards at our competitions. To be able to bring that musical forward from the 2015 showcase to a full production is so exciting – especially now in the light of current affairs!

The full cast for this exciting new musical will be announced in April

Aegis Productions in association with Park Theatre presents

SCHISM

A play based on the real encounter of leading disabled playwright, Athena Stevens

 

16 May – 09 Jun 2018 | Park Theatre

 

“I never wanted to change, in case you didn’t like it.”

 

 

Aegis Productions in association with Park Theatre are proud to present Schism, a stunning play from disabled playwright, Athena Stevens. Questioning the power dynamics between male and female, and disabled and non-disabled, at its heart Schism is a play about two people finding each other, which questions the point where dreams and relationships become unrealistic or out of date. 

 

Failed architect Harrison had plans end his life. The last thing he needed was Katherine, a young student with cerebral palsy, breaking into his house begging for his help…

 

As their chaotic first encounter turns into the beginning of a twenty-year relationship, the unlikely couple grow to realise that they are capable of either building something great together – or absolutely destroying each other.

 

Schism, which was first performed at the Finborough Theatre, London (Neil McPherson, Artistic Director) is written and co-performed by playwright Athena Stevens, who, like her character, has cerebral palsy.

Athena comments:

“Schism took me years to write because I needed to understand the unhealthy power dynamics I was being asked to accept as a woman. People would set me up on a pedestal and call me ‘inspirational’ until I would ask to be their equal. To have a woman with a disability call you out for discrimination, or promoting an unhealthy power dynamic, or to say ‘your actions are hurting me’ throws a lot of people into shock. They get defensive and start gas-lighting because it’s easier to brush things under the rug than to take responsibility for their actions. So the question that this play presents is ‘how long do I hold onto the hope people will change and when do I need to let go and live my life without those people?”

Athena’s previous plays include The Amazing Vancetti Sisters (Tristan Bates Theatre) and Detours Ahead(Victory Gardens Theatre, Chicago). Her first online series Day of Small Things was commissioned as a full length documentary by Channel 4.  Athena is currently on the Channel 4 screenwriters course, as well as a playwright in attachment for the Finborough Theatre. Athena’s acting credits include Schism (Finborough Theatre), The Amazing Vancetti Sisters (Tristan Bates Theatre) and The Death of Hector (Sadler’s Wells).  In 2016, she was elected the national spokesperson for equality in the media for the Women’s Equality Party. In 2017, she was named a member of the Shakespeare’s Globe Creative Council, and will be directing there later in the year.

Jonathan McGuinness will be playing the role of Harrison. Theatre includes Bodies (Royal Court Theatre), Imogen (Globe Theatre), Four Minutes Twelve Seconds (Hampstead Theatre), The Oresteia (Almeida), Love’s Sacrifice (RSC), The Ritual Slaughter of Gorge Mastromas (Royal Court Theatre), Metamorphosis (Vesturpost/Lyric Hammersmith), Comedy of Errors (RSC), The Tempest (RSC), Twelth Night (RSC), Fatherland(Gate Theatre), Alice (Sheffield Crucible Theatre), 1984 (Manchester Royal Exchange), Orphans (Paines Plough/Traverse/Birmingham Rep/Soho Theatre), The Cleansing of Constance Brown (Stand’s Cafe), Love (Lyric Hammersmith), Once in a Lifetime (National Theatre), Playing with Fire (National Theatre) and The U. N Inspector (National Theatre). Television includes Holby City (BBC), Wolf Hall (Company Pictures), The Bletchley Circle (ITV), Silk (BBC), Casualty (BBC), Robin Hood (BBC), Catherine Tate Show (BBC/Tiger Aspect), A Touch of Frost (Yorkshire Television), In Search of the Brontes (BBC), The Convicts (BBC) and Have Your Cake and Eat It (Talk Back).

Schism is directed by Lily McLeish. She is a creative fellow of the RSC, associate director to Katie Mitchell and is the director of Fizzy Sherbet, a new writing initiative for women playwrights. As director her work includes The White Bike by Tamara von Werthern at The Space; Unlocked, a site specific installation for Glenside Hospital Museum in collaboration with alldaybreakfast; a colder water than here by Matt Jones for the Vaults Festival; Housekeeping by Rory Platt for Little Pieces of Gold at Southwark Playhouse; Absence by In-Sook Chappell directed as part of the Jerwood Assistant Director Programme at the Young Vic (2016); This Despised Love a devised piece based on Hamlet for the RSC Fringe Festival; Old Times by Harold Pinter at the Artheater Cologne and Footfalls by Samuel Beckett at the Severins-Burg-Theater, Cologne in collaboration with Port in Air.

• FURTHER DETAILS ABOUT ROAD TO THE OLIVIERS ANNOUNCED; AN UNPRECEDENTED NEW, FOUR-PART SERIES CELEBRATING THIS YEAR’S OLIVIER AWARD NOMINEES
• BRITAIN’S GOT TALENT WINNER JAMIE LAMBERT, OF BAND COLLABRO, TO HOST THE FIRST EPISODE LIVE ON FRIDAY 16 MARCH ON THE OLIVIER AWARDS FACEBOOK PAGE AT 1PM
• STUDIO GUESTS TO INCLUDE: OLIVIER AWARD NOMINEES DERREN BROWN; JOHN MCCREA AND JOSIE WALKER FROM NEW BRITISH MUSICAL EVERYBODY’S TALKING ABOUT JAMIE; THE STAGE EDITOR, ALISTAIR SMITH; AND BE INSPIRED CHAMPION, WILLY MUKENDI
• EXCLUSIVE FOOTAGE TO PREMIERE INCLUDING BACKSTAGE FILMS WITH THE FERRYMAN COMPANY AND BEST ACTRESS NOMINEE FOR LONG DAY’S JOURNEY INTO NIGHT, LESLEY MANVILLE

The Olivier Awards with Mastercard is delighted to announce further details about Road to the Oliviers, an unprecedented new four-part series celebrating this year’s nominations.

Britain’s Got Talent winner Jamie Lambert, of Collabro, will host the first episode on Friday 16 March at 1pm on the Olivier Awards Facebook page.  Studio guests will include Olivier Award nominees, Derren Brown, whose show Underground is nominated for Best Entertainment and Family show; John McCrea and Josie Walker from Everybody’s Talking About Jamie who are nominated for Best Actor and Actress in a Musical; The Stage Editor, Alistair Smith; and Willy Mukendi, an Olivier Award Be Inspired champion.  This episode will also feature exclusive backstage footage of the most nominated new play, The Ferryman, and Best Actress for Long Day’s Journey Into Night nominee, Lesley Manville.

Details of the other Road to the Oliviers episodes will be announced in due course via officiallondontheatre.com and the Olivier Awards social channels.

The Olivier Awards are also delighted to announce Taittinger as their Champagne partner.

Catherine Tate will host the Awards at the Royal Albert Hall on Sunday 8 April and they will be broadcast to the UK and worldwide.  Full broadcast details will be announced at a later date.

Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love.

LISTING INFO

FACEBOOK LIVE BROADCASTS

DATE: 16th March

TIME: 1pm

EVENT: First Road to the Oliviers, an unprecedented and intimate look at the nominees with live performances, exclusive footage and interviews

DATE: 23rd March

TIME: 1pm

EVENT: Road to the Oliviers, an unprecedented and intimate look at the nominees with live performances, exclusive footage and interviews

DATE: 29th March

TIME: 1pm

EVENT: Road to the Oliviers, an unprecedented and intimate look at the nominees with live performances, exclusive footage and interviews

DATE: 6th April

TIME: 1pm

EVENT: Road to the Oliviers, an unprecedented and intimate look at the nominees with live performances, exclusive footage, interviews and a preview for Sunday 8th April awards ceremony

MOTOWN THE MUSICAL TOUR HEADING TO MANCHESTER in 2019

Motown the Musical will embark on a major UK and Ireland tour which will be heading to Manchester Opera House from Tuesday 26 February – Saturday 23 March 2019.

The London production of Motown the Musical continues to play to standing ovations at the Shaftesbury Theatre where it is about to enter its third year and is currently booking until 5 January 2019.

With music and lyrics from the Motown catalogue and book by Motown founder Berry Gordy, Charles Randolph-Wright’s production features a live orchestra playing 50 Motown tracks including Ain’t No Mountain High Enough, I’ll Be There, Dancing In The Street, Stop! In The Name Of Love, My Girl and I Heard It through the Grapevine and tells the story behind the classic hits.

Berry Gordy said today, “The UK has always been the gateway for Motown to the rest of the world.  While the west end production still continues to perform to great audiences, I’m thrilled that we are taking a second production of Motown the Musical to the rest of the UK.”

Sheena Wrigley, Theatre Director at the Palace Theatre and Opera House Manchester said, “We’re absolutely thrilled that Motown the Musical is coming to Manchester and we look forward to sharing this incredible, high quality production with our audiences in the city. The city has strong roots in the appreciation of Motown, and the Northern Soul movement that it influenced, so it’s fitting that this glittering musical is going to be back in the city’s spotlight.”

 

With just $800 borrowed from his family, Motown founder Berry Gordy, goes from featherweight boxer to heavyweight music mogul, discovering and launching the careers of Diana Ross, Michael Jackson, Stevie Wonder, Smokey Robinson, Marvin Gaye and many more.  Motown the Musical uncovers the true story of the legendary record label that changed music history and created the soundtrack of a generation.

Tony nominated Motown the Musical received its world premiere in April 2013 in New York and recouped its $18 million investment by the end of 2014.  The first US National Tour opened to critical acclaim in Spring 2014 in Chicago, grossing $20 million dollars during its standing room only sixteen-week run, and continues to play to packed houses across America.

Motown the Musical has music supervision, orchestrations and arrangements by Ethan Popp, co-orchestrations and additional arrangements by Bryan Cook, dance arrangements by Zane Mark.  Choreography is by Patricia Wilcox and Warren Adams, scenic design by David Korins, costumes by Emilio Sosa, lighting design by Natasha Katz, sound design  by Peter Hylenski, video by Daniel Brodie and Wig design by Charles Lapointe. Motown the Musical is produced in the UK by Kevin McCollum, Doug Morris, Adam Spiegel and Berry Gordy.

Berry Gordy is the founder of Motown, the enterprise that nurtured the careers of, amongst others, Smokey Robinson and The Miracles, ​Diana Ross and The Supremes, Stevie Wonder, The Temptations, The Four Tops, ​Michael Jackson and The Jackson 5 and more​. Gordy is also a songwriter, producer, director, boxer, innovative entrepreneur, teacher and visionary.  Actively involved in the Civil Rights movement, he also released the recorded speeches of Dr. Martin Luther King, Jr.  His films include Mahogany and Lady Sings the Blues, which received five Academy Award nominations. He has been inducted ​into the Rock and Roll Hall of Fame, received ​a star on Hollywood’s Walk of Fame, the Rhythm and Blues Foundation’s Lifetime Achievement Award, the Songwriter’s Hall of Fame Pioneer Award, the Grammy Salute To Industry Icon’s President’s Merit Award and was honoured by President Barack Obama with a Salute to Motown evening at the White House. Berry Gordy’s unparalleled contribution to music and popular culture is chronicled in his autobiography, To Be Loved: The Music, The Magic, The Memories of Motown.

The original Broadway cast recording of Motown the Musical is available via Motown Records, a label of UMG Recordings – www.classicmotown.com

Tickets go on general sale on Friday 16^th March – visit atgtickets.com/Manchester   

York Grand Opera House – 14 March 2018

5*****

From an idea thought up by performer Scott Garnham, The Barricade Boys visited York on its first UK tour.  Made up of 4 male performers who have appeared in Les Miserables it is a huge pot to pick from but were treated to the amazing vocals of Garnham, Sam Edwards, Lee Honey-Jones and Simon Schofield in York.

Obviously there were a lot of songs from Les Mis, starting the show with I Dreamed A Dream and an emotionally charged version of Bring Him Home dedicated to the troops serving overseas. When my husband was in the forces that song in particular was my daily chant so the tears were already rolling from the beautiful voices without the dedication too.  We were also treated to a swing jazz version of Master of the House which seemed an audience favourite.

But the boys have appeared in other shows and we got hear Edwards version of Dancing Through Life from when he was Fiyero in Wicked and Schofield sang Close Every Door from Joseph with children from Kirkham Henry Performing Arts Centre where Garnham once attended.  One of the many highlights was Garnhams stunning version of Evermore from Beauty and the Beast and quite possibly the best version of Bohemian Rhapsody by the foursome that I have ever heard.

With dips into Motown, Jersey Boys, Michael Jackson the Beatles and a tribute to Nile Rodgers this show covers all musical genres and tastes thanks to Musical Director James Doughty and his musical arrangements.  And a solo by local girl Lauren Hood who stars in the female equivalent of Gravity Girls – three female performers who have all appeared in Wicked

The Barricade Boys is night of fun and the boys seem to be having a genuinely good time on stage with quips, adlibs and banter as well as velvet voices and choreography as sharp as their suits.  I have yet to see a show by Schofield which wasn’t fantastic, he clearly has the golden touch when it comes to producing shows and for me his name is fast becoming synonymous with high quality entertainment.  This is their first UK tour and I can only hope there will be another one as I can’t wait to see them again

Palace Theatre, Manchester – until Saturday 17 March.  Reviewed by Marcus Richardson

4****

The Sound Of Music is a musical loved by generations, with songs that everyone knows and enjoys to sing along to. The film starring Julie Andrews, is an instant classic and is a work of art. Set in Austria and just before the German invasion, the play focuses on Maria Rainer a woman planning on becoming a nun but she has trouble not being able to stop singing and being late, she is the sent to work as a governess for the seven Trapp children.

The musical had a talented cast with all of the nuns and children giving superb performances. Lucy O’Byrne who played Maria was a delight watch giving the fun and loving character that charms the audience just as much as she charms the children, her vocals are suited for the character being soft and kind but also making sure she’s heard. The male lead of the show Captain Von Trapp was played by Neil McDermott, the headstrong and stubborn character may seem hard to like at first but McDermott gave the character a realistic and lovable quality that we learned to respect his authority but love his authenticity. The Mother Abbess played by Megan Llewellyn had vocals that shocked the audience with her powerful voice that stunned the audience and made everyone talking away during the interval about how she sang. I have to bring it back to the seven Trapp children because the child acting was so good, none of them were out of place and the vocals were something to listen out for. The set was spectacular and we are given these beautiful stained glass windows and beautiful staircases, in different scenes the quick to change set, there was one point where the scene change took too long and you could see that backstage didn’t have enough time and as soon as part of the stage was revealed you could see some of the magic behind the curtain, but this wasn’t too much of an issues considering how epic the set was. The live orchestra played beautifully to the voices and made sure everything happened in time adding to the immersion of the play.

I took my friend who said The Sound Of Music was her favourite musical of all time and it was her dream to see it on stage, she said the stage production lived up to the film and she even cried at points in the show, if that doesn’t sell you I don’t know what will. I also loved the show that has got too many songs stuck in my head now. The show is at the Manchester palace until the 17th