The Other Palace – until 14th July 2024

Reviewed by Fiona Leyman

5*****

If you’re anything like me, you’ll recall that traumatic experience in Year 11 when you were given a simulated plastic doll and told to care for it as if it were your own for the next seven days. The shocking revelation that the education system was using these plastic demons to prevent teen pregnancy (it certainly worked in my opinion!). 20+ years later, a brand-new musical debut on London’s West End, threatens to bring these previously suppressed memories to the surface. Could it have been as bad an experience as I remembered?

After seeing Babies – A New-Born Musical Concert Series at the Lyric Theatre last year, I knew this show would be a success. With its first public performance, this new musical had everything I’d ever wanted in a musical. Songs that will be stuck in your head for days, experiences that felt very similar to those I had at school, as well as a truly hilarious show. When it was announced 8 months later that a full production would be brought to audiences, I was very excited to see how this raw production had evolved into a highly polished West End show.

Babies – A New-Born Musical tells the story of nine Year 11 students who are assigned to care for a plastic doll that is crying and pooping for the next week. Each student imagined how they would handle this situation, with some thinking they would be fantastic and others thinking it was a complete waste of time. Babies manages to bring together the entire school demographic, including popular kids, geeks, and those who simply want to fit in. Each with their own set of struggles and stories, we are taken on a journey through this difficult period in their high school lives. However, this new musical is about more than just these demonic dolls, it also tells a powerful and heart-breaking story about one child’s inner struggles.

Jack Godfrey and Martha Geelan have written a musical that is hilarious, infectious, heart-breaking/warming, and appropriate for all ages. Godfrey’s musical writing abilities are extraordinary, and he consistently produces hit songs. Baby Baby Baby and Hot Dad are earworms that will stick with you for days. They’ve been in my head since I saw this in November! Geelan’s ability to write such humorous content and combine it with a truly heartfelt topic is admirable. This duo’s combination of fantastic show songs and a well-developed story is what makes new musicals so enjoyable to watch.

A musical like this cannot succeed without a talented cast to play the characters. Each member of this relatively small cast is given their own moment in the spotlight, allowing them to shine and demonstrate their immense talents. Lauren Conroy returns from the Concert Series as the hardworking, overly stressed Jasmine. Conroy is an absolute star in my opinion, with such a powerful voice. Her voice outshines everyone around her, and she handles this role with ease.

Lucy Carter, who plays Lulu, is another returning concert series star. Carter is by far my favourite performer in both the Concert and this new production, with comedic timing, facial expressions, and mannerisms that rival some of the greats. Her portrayal of Lulu is so brilliant that she never breaks character and is one of the most endearing and hilarious characters in the show. I wouldn’t be surprised if Carter and Conroy become major West End stars in the future. Each star on this stage has so much to offer that I could go on for days about how talented they all are.

It’s good to know that my experiences with these demon dolls (mine was named Damian!) were not unique. Others resented these as much as I did! Babies – A New-Born Musical is not to be missed. You will cry with laughter, have your heart broken, and have incredible musical hit songs in your head for days, weeks, or months, making you want to return again and again.

ELEMENTAL

THE WATERMILL THEATRE LAUNCHES NEW TALENT DEVELOPMENT PROGRAMME

The Watermill Theatre are thrilled to announce the launch of their new talent development programme, Elemental, which will offer four early career artists the chance to develop expertise in their chosen discipline, build industry knowledge and fuel personal development and practise at The Watermill.

Elemental is part of the Watermill Theatre’s ongoing commitment to creating long-term, meaningful investment to artists and creatives. The unique programme spans the spectrum of creative roles. Applications are particularly welcome from those who are underrepresented in the industry.

The programme will be made up of the following elements:

• Six sessions with a practising industry mentor in their relevant field, providing one-to-one support, advice, and networking opportunities.
• Each Elemental Artist will have the opportunity to work on a main house show at The Watermill during their 2024-25 season. This role would be as an assistant working directly with a creative as part of the show’s team.
• Tickets to watch all Watermill shows throughout the year to build connections and widen cultural experience.
• Support and resource to develop their practise further through ongoing CPD.

The Watermill Theatre are accepting applications from: Designers, Directors, Movement Directors, Lighting Directors, Sound Directors and Musical Directors.

Applicants should have begun to make their own work or have gained experience in the industry as an assistant. They are expected to be at a stage where sharing practice with peers as well as receiving mentorship would be of great benefit.

Elemental Artists will be paid a fee. Funding may be available to support travel and access costs, to help remove barriers for artists. 

Artistic Director Paul Hart said, “Talent Development has always been a fundamental to what we do here at The Watermill.  For so many artists, this has been a theatre that has created opportunities and ways of accessing the industry, providing routes into the sector. And this opportunity will allow us to throw open the doors even wider; to meet a greater range of burgeoning creatives who might benefit from developing their practise with us. 

The theatre is a very special environment to continue your creative path with an incredibly supportive in-house staff and many creatives, backstage teams and actors coming and living onsite for every show we make in this beautiful setting. We really can’t wait to meet people from a variety of disciplines to start building a number of new collaborative partners.”

The closing date for applications is Monday 8 July 2024. Applicants are asked to write a short two-page cover letter or record a short video/audio recording (max. 5-minutes), explaining why they want to apply for the programme and how it will benefit them at this stage of their career. Applications should be emailed to Emily Beck (Theatre Administrator) via [email protected] with their CV and a completed Equal Opportunities monitoring form (this information will not be made available to anyone in any form other than anonymous data). Full application pack can be found here.

The Watermill Theatre is a Disability Confident Committed employer and will guarantee an interview to any applicant who self-identifies as deaf or disabled, and meets the application criteria. If an applicant wants to make use of this guarantee, they are asked to clearly state so on their cover letter.

The Watermill Theatre is an independent charity and this initiative has been made possible thanks to core funding from Backstage Trust.

https://www.watermill.org.uk/jobs

Birmingham Hippodrome – until 16th June 2024

Reviewed by Emma Millward 

5***** 

The Wizard of Oz is probably one of the best known and loved stories of all time. Based on L Frank Baum’s novel and the 1939 film. This adaptation started life as part of BBC reality show ‘Over The Rainbow’ in 2010.  The show’s aim was to cast the role of Dorothy Gale. The show premiered in March 2011, with a book adapted by Andrew Lloyd Webber and Jeremy Sams. It features many songs from the 1939 film, as well as featuring new songs and lyrics by Andrew Lloyd Webber and Tim Rice. This current revival of the show first premiered at The Curve Leicester in November 2022.

From the very loud opening notes from the orchestra, we are swept away by ever-changing projection backdrops (Douglas O’Connell), gloriously atmospheric lighting (Ben Cracknell) and clever set designs (Colin Richmond). We start, of course, in Kansas, with its farmland and buildings projected onto the backdrop. We meet our heroine, Dorothy Gale played beautifully by Aviva Tulley.  Her rendition of the classic ‘Somewhere Over The Rainbow’ was spine tingling and met with rapturous applause. Tulley leads an amazing ensemble, all bringing their own unique take on such well-known characters. As in the movie, most of the performers play dual characters within the show. 

Dorothy has her famous companions on her trip along the famous yellow brick road. They provide many comedic moments. Benjamin Yates brings a sweet, goofy nature to the Scarecrow as he tumbles about the stage. Aston Merrygold shows off his acting talents as well as the singing and dancing we are used to. Nic Greenshields captures the Cowardly Lion’s timid, shy nature perfectly, while towering over the other cast members. Abigail Matthews is outstanding as the puppeteer for Toto. Dressed in grey, she soon blends into the background and really brings Toto to life. After a while, you really believe there is an actual dog onstage. Every head tilt, whimper and movement of Toto is perfectly timed. 

Of course, it wouldn’t be Oz without the witches! We are treated to two very different, but equally outstanding Witchy performances. Emily Bull as Glinda (also Aunt Em) brings a sickly sweet, but funny edge to the Good Witch. She forgoes the usual bubble as transportation, and instead arrives on a beautiful pink scooter that drew huge laughs from the audience. As for the infamous Wicked Witch of the West, Craig Revel Horwood was absolutely born to play this role (plus the mean Ms Gulch). Throughout, you can see how much fun he is having and how he’s clearly relishing playing such an iconic role. His song ‘Red Shoes Blues’ at the start of the second act showcased a powerful singing voice. 

The yellow brick road is cleverly created with rotating platforms that the performers walk and dance across. The Oz set is more futuristic than the green-hued city we are accustomed to. The backdrop projection is an important part of the show and features many Oz-based ‘in jokes’ throughout. I spotted a picture of Judy Garland among other nods to the cast from the movie. Definitely keep an eye out for this!

Some hardcore fans may struggle with some of the updated aspects of the show, for example, the Wizards’s balloon being replaced by a spaceship and the Cowardly Lion being clad in Adidas trainers. But in my opinion, this just added more charm to a very familiar story. I really enjoyed spotting these little changes. 

The show has big red glittery shoes to fill, and it definitely succeeds in this goal! 

Curve Theatre Leicester – until 15th June 2024

Reviewed by Amarjeet Singh

5*****

Here You Come Again is a beautifully crafted and highly entertaining show, centered around Kevin (Steven Webb), a 40-year-old, wannabe/failed comedian whose life is crumbling around him. Having split from his boyfriend, he has moved back to Halifax from London, with his parents and has been forced to self-isolate in his old bedroom in the attic due to the pandemic. Lonely, anxious, self-doubting, and depressed, he turns to his Dolly Parton memorabilia to get him through these dark times, and that’s when she appears. We are taken on a hilarious and emotional journey with Kevin as Dolly’s, musings, magic, and music lifts him out of his funk. Her beautiful lyrics and storytelling songs offers him some real perspective and gives him the new-found confidence to put himself first and to dare to try.

Originally written by two-time Emmy award winner, Bruce Vilanch, Gabriel Barre (who also directs) and Tricia Paoluccio (who also plays Dolly), the show has now been adapted for the UK by acclaimed British playwright Jonathan Harvey (Gimme, Gimme, Gimme and Coronation Street). Here You Come Again is a stand-alone piece of original theatre, and a rather fabulous one at that. Its not to be mistaken for a Dolly Biopic. However, it’s chock full of her hits including ‘Islands in the Stream’ ‘Little Sparrow’, ‘Love is Like a Butterfly’, ‘9 to 5’, ‘Two Doors Down’, ‘Islands in the Stream’, ‘Jolene’ and the rather glorious ‘I Will Always Love You’. The proof that this production is not just your basic jukebox musical, is the inclusion of some of Dolly’s lesser-known hits such as ‘Me and Little Andy’ and the way that all the songs are cleverly woven into the production, paying the utmost respect to Parton’s storytelling prowess.

Paoluccio is the absolute embodiment of Parton in both look and vocals. Paul Wills’ iconic wigs and costume design nails the appearance, but its Paoluccio who encapsulates Dolly’s mannerisms. Practical, no-nonsense, can-do, wise, grounded, and real human beyond the star. Amidst the showstopping performance pieces we witness down to Earth Dolly, laughing, humble, helpful and being a true friend to Kevin. Webb portrays Kevin’s vulnerability and vivacity with aplomb. He endears with his self-deprecation, humour and is fully relatable, as we have all struggled with similar situations and are most definitely united by our covid emotions. Webb’s performances are hugely entertaining, his rendition of ‘Jolene’ alongside Dolly will haunt me forever, for all the right reasons.

Webb and Paoluccio blended so naturally together, with great audience interaction and playing off one another with a completely believable and authentic friendship. The performances as a whole are effortless, stunning and sublime. The main cast were supported by Aidan Cutler and Charlotte Elisabeth Yorke, who played multiple additional roles and were accompanied by a live band, Alex Akira Crawford, Ben Scott and Kevin Oliver Jones who all brought the attic to life. Choreography by Lizzi Gee, Paul Wills’ Design, Richard Pinners baffling illusions, Tim Deiling’s lighting and Tom Marshall’s sound combined to make this a sensational show.

Here You Come Again is full of humanity, humour and heart. You don’t need to be an ardent Dolly Parton fan to grasp the essence, although you might be after you see it. Uplifting, joyous and glorious. What would Dolly Do? She would urge you to see this show.

Festival Theatre, Malvern – until 15th June 2024

Reviewed by Courie Amado Juneau

5*****

Moby Dick was first published as a novel in 1851. A cautionary tale about the self destruction that inevitably comes from being blinded by revenge – perhaps it should be essential reading for all country leaders upon election (or re-election). Adapted by Sebastian Armesto, I’ve not read the original so cannot say how faithful it was but this is a corker that fizzes along at a fair old lick.

The stage was shrouded in enough smoke to justify a 1970’s Hammer Horror, the lighting also adding to the atmosphere, piquing the interest. And then – “Call me Ishmael” – unfamiliar as I was with the work, I knew the opening line. That’s the thing with this work – you know it, you know lines from it, without knowing that you know it. It’s embedded in our culture (“there she blows” is another one you’ll recognise).

The entire cast were fabulous, bringing an impressive energy with tons of physicality as you would expect from the tale of life on board a whaling ship. There was dancing, deck swabbing and merriment aplenty but the drama really took off when hunting the whales, with a visceral realism that was breathtaking.

I will specially mention some actors who (for their time on stage together) produced intense performances… Ishmael (Mark Arends) and Queequeg (Tom Swale) made a very likable couple of unlikely friends who were, nonetheless, thoroughly convincing and rather touching. Starbuck (Hannah Emanuel) and Capt. Aheb (Guy Rhys) gave us a very different dynamic; more distant as befitting their status and more confrontational too as Starbuck tries to pull Ahab back from the brink of his destructive course. All of this was handled with commendable empathy thanks to Director Jesse Jones.

The whole production was thoroughly enhanced by the live music on stage. The sea-shanty’s sounded authentic (I’m not sure if they were, which shows how convincing the music was). Jonathan Charles is billed in the programme as Composer, Musical Director and onstage musician so I’m giving a rousing three cheers for his work! Hazel Monaghan and William Pennington were the other multi-instrumentalist musicians, producing an enormous range of emotions and effects (wind, filmic atmospherics to tingle the spine, storms etc). Wonderful.

The set was an ingenious, stark construction in wood and scaffolding. With the addition of some well placed (and timed) ropes, barrels and planks it all added to the storytelling and fleshing out the scenes.

In many ways it’s an apocalyptic work but it’s never depressing or downbeat. Sadness and loss are handled with great sensitivity, as is the killing of a whale – the actual point of the Pequod’s voyage, it was inevitable that this would be a feature. The journey (no pun intended) of the crew under Ahab’s leadership is something that could easily be overblown and become pantomimic but this production was crafted with a realism, sensitivity and a charm that does the fabulous Simple8 theatre group immense credit.

Powerful (at times shocking) stuff that packed a punch without being gratuitous, this was a stunning production that was thought provoking and entertaining in equal measure. I very much look forward to Simple8’s next production and encourage you all to catch this one while you can. Highly recommended.

Lyceum Theatre, Sheffield – until 15 June 2024

Reviewed by Alison Beaumont

4****

Kay Mellor’s The Syndicate brings the first series of the hit tv show to the stage. Directed by Gaynor Faye (Kay’s daughter), in honour of her mum who sadly passed away in 2022 after she had adapted the tv show for the stage. I am a great fan of all Kay Mellor’s work and was interested to see how this brilliant series was brought from TV to a play.

The Syndicate is set in Leeds and tells the story of five supermarket workers who win £24 million on the lottery just as their jobs are under threat. It shows the dilemma faced when one of the syndicates members was behind on their payments to the death of one of the members and how money can not buy happiness.

The play starred a few well-known actors which I think was needed.

Gaynor Faye who many may know from Coronation Street and Fat Friends to name a couple of the credits to her name not only directed the play but also played the role of Kay.

Samantha Giles (Bernice from Emmerdale) portrayed the role of Denise the downtrodden dog loving employee. She very much had the Yorkshire accent to a tee.

Brooke Vincent (Sophie Webster from Coronation Street) played the part of Amy who is Stuart’s money grabbing girlfriend who spends money on the finer things in life. She has some good one liners and made people laugh, definitely a good choice for this role.

Jamie played by Oliver Anthony was in one of the series of the tv show of the syndicate. For me he was the best and funniest member of the cast. His character was a loveable rogue who always seems to get into trouble.

Leanne (Rosa Coduri-Fulford) is quite secretive about her past and portrays the part well.

William Ilkley plays Bob who is the boss of the supermarket is a kind, caring and honest man and was a good solid performer.

Benedict Shaw who has also appeared in Emmerdale and Hollyoaks plays Stuart who takes everything to heart and is Amy’s partner.

To me it brought back memories of the TV show and was entertaining with some funny jokes and easy to watch.

Culture and creativity take centre stage as The Fleet Street Quarter unveils the City’s first new amphitheatre in 2,000 years

In partnership with The London Festival of Architecture, the Fleet Street Quarter has launched ‘Assembly’, a remarkable open-air amphitheatre created by Urban Radicals, AKT II and Millimetre set against the historic backdrop of Kings College London’s Maughan Library Courtyard in the heart of the City of London

The new outdoor theatre will host a series of incredible free alfresco performances, talks, public debates and workshops throughout the summer from 11 June – 31 July in partnership with Sadler’s Wells, Kings College London, London Metropolitan University, and Troubadour Stageworks

Kicking off the programme are the world-renowned YAMATO: The Drummers of Japan with their new performance ‘Hinotori’ – The Wings of Phoenix, brought to the amphitheatre by Sadler’s Wells 

Today Tuesday 11 June, the Fleet Street Quarter celebrated the opening of ‘Assembly’, a spectacular new open-air amphitheatre in the heart of London, with a captivating performance from the world-renowned YAMATO: The Drummers of Japan, brought to the amphitheatre by Sadler’s Wells. Kicking off an exhilarating summer arts and culture programme, the dynamic Japanese Taiko drumming group dazzled visitors and local workers with a midday performance of their new show ‘Hinotori’ – The Wings of Phoenix.

Created by Urban Radicals, AKT II and Millimetre for the London Festival of Architecture 2024, ‘Assembly’, the amphitheatre by Fleet Street Quarter, is located in King’s College London’s historic Maughan Library courtyard and offers a unique space for the community to come together and celebrate diversity and artistry. The amphitheatre is designed with inclusivity in mind, freely open to the public. It seats 50 guests and is fully wheelchair accessible.

Throughout the summer until 31 July, visitors can expect a jam-packed line-up of free performances, talks, public debates, and art workshops, with the full programme to be released in the coming days. 

Highlights include:

Fix the Folio by Troubadour Stageworks (11, 25 June; 18, 25 July), a dynamic and interactive play set on 8 November 1623, where Isaac Jaggard must recover the scattered pages of Shakespeare’s First Folio after an unfortunate mishap. The audience is taken on a 45-minute adventure to help reorder 36 plays, making it a race against time to ensure Shakespeare’s works make it to print. 

Art Workshops by Bella Gomez (26 June; 3, 10 July), interactive workshops from bold and expressive surface pattern designer and muralist, Bella Gomez.

Climate panel discussion and talks during the Fleet Street Quarter’s two-day Climate Festival(25, 26 June) as part of Climate Action Week 2024, featuring senior leaders in the sustainability, property, finance, media and legal sectors.

Lectures from Dr Johnson’s House (27 June), informative talks about the life and works of Samuel Johnson, famous lexicographer who once lived in the Fleet Street Quarter.

A Midsummer Night’s Dream by Troubadour Stageworks (3, 9, 31 July), Troubadour’s rendition of “Midsummer Night’s Dream” promises an immersive experience that will transport the audience into a magical realm for 90 minutes. This epic yet intimate production is brimming with original songs and a sense of wonder that captures the essence of Shakespeare’s beloved comedy.

Lucy French, CEO of the Fleet Street Quarter, said: “We are very excited to unveil ‘Assembly’, the City’s first modern day amphitheatre which celebrates the Fleet Street Quarter’s vibrant cultural heritage and diversity. The inaugural performance by the YAMATO Drummers marks the beginning of an exciting summer season filled with artistic expression and community experiences. We’re delighted to partner with the London Festival of Architecture, to introduce this contemporary amphitheatre, the first in the City in 2000 years, set against the incredible backdrop of the Quarter’s rich cultural history, celebrating two millennia of the Quarter’s innovation and inclusivity.” 

To view the full programme of events, please visit www.fleetstreetquarter.co.uk

FURTHER CASTING ANNOUNCED FOR

UK PREMIERE

OF BROADWAY MUSICAL

SOMETHING ROTTEN!

IN CONCERT AT THEATRE ROYAL DRURY LANE

Further casting has been announced for the UK premiere of the hit Broadway musical comedy SOMETHING ROTTEN!, which plays Theatre Royal Drury Lane on Monday 5 August and Tuesday 6 August.

Joining the previously announced Jason Manford as Nick Bottom are Gary Wilmot (Anything Goes, Wicked) as Nostradamus, Richard Fleeshman (Company, Urinetown) as Shakespeare, Marisha Wallace (Guys & Dolls, Oklahoma!) as Bea, Evelyn Hoskins (Waitress, Spring Awakening) as Portia, Cassius Hackforth (For Tonight, From Here to Eternity)as Nigel Bottom, Steve Furst (Oliver!, Matilda, Little Britain) as Shylock, Ashley Samuels (Hairspray, The Book Of Mormon) as Troubadour, Cameron Blakely (Disney’s Newsies, Mrs Doubtfire) as Brother Jeremiah and Jenna Boyd (Come From Away, The Wind in the Willows) as Lady Croydon.

Further casting to be announced.

SOMETHING ROTTEN! in concert is directed by Tim Jackson, with the full Broadway score performed by the London Musical Theatre Orchestra and conducted by Freddie Tapner. Choreography is by Tim Jackson and Claira Vaughan, sound by Tom Marshall and Sebastian Frost, lighting by Jamie Platt, set and costume by Rebecca Brower, production management by Pete Kramer, company and stage management by Peter Barnett and casting consultancy by Sarah Jane Price.

Tickets are on sale now at www.somethingrottenconcert.com.

SOMETHING ROTTEN! was created by Hollywood screenwriters Karey Kirkpatrick (Chicken Run, James and the Giant Peach), John O’Farrell (Best-selling novels include The Best a Man Can Get, May Contain Nuts, The Man Who Forgot His Wife) and Grammy Award-winning songwriter Wayne Kirkpatrick (Change the World by Eric Clapton), who together went on to adapt Mrs Doubtfire into the West End and Broadway Musical.  The show follows the story of Renaissance writers Nick and Nigel Bottom as they seek to outshine Shakespeare by writing the world’s first musical.

SOMETHING ROTTEN! originallyopened on Broadway at the St. James Theatre in 2015 and received several Best Musical nominations, 10 Tony Award nominations and was hailed by Time Out New York as “the funniest musical comedy in at least 400 years”.

SOMETHING ROTTEN! in Concert is produced by Fourth Wall Live, JAS Theatricals, and the London Musical Theatre Orchestra in association with Alchemation.  Fourth Wall Live and the London Musical Theatre Orchestra produced the WhatsOnStage Award-winning concert of Love Never Dies and were producers/co-producers for the concerts of Bonnie & Clyde, Evita and Chess, all at Theatre Royal Drury Lane.

Originally produced on Broadway by Kevin McCollum, Broadway Global Ventures CMC Mastro/Goodman Jerry & Ronald Frankel Morris Berchard, Kyodo Tokyo, Inc. Wendy Federman Barbara Freitag LAMS Productions Winkler/DeSimone, Timothy Laczynski Dan Markley Harris/Karmazin Jam Theatricals Robert Greenblatt, and Jujamcyn Theaters. Developed in association with the 5th Avenue Theatre, Seattle, WA, David Armstrong, Executive Producer and Artistic Director, Bernadine Griffin, Managing Director and Bill Berry, Producing Artistic Director.

By arrangement with Music Theatre International.

LISTINGS INFORMATION:

Facebook & Instagram: @SomethingRottenConcert
X / Twitter: @SRottenConcert

SOMETHING ROTTEN!

Dates: 5th – 6th August 2024

Theatre Royal Drury Lane
Catherine Street
London
WC2B 5JF

Performances:  7.30pm on Monday 5 August, 2.30pm & 7:30pm on Tuesday 6 August.

Box Office: 020 3925 2998

Website: somethingrottenconcert.com

Sondheim Theatre – 9 June 2024

Reviewed by Claire Roderick

5*****

It was a joy to spend Sunday in the Sondheim Theatre with Bonnie for the 16th annual competition to find the Stephen Sondheim Society Student Performer of the Year (or SSSSSPOTY – an acronym which gave host Bonnie Langford plenty of comedy moments).

This year’s 12 finalists were chosen from over 330 applicants dreaming of following in the footsteps of former winners such as Cynthia Erivo, Taron Egerton, Erin Doherty, Oscar Conlon-Morrey, and Alex Young. The celebratory afternoon began with the finalists and reserves singing Beautiful Girls which Bonnie Langford claimed as a suitable introduction, setting the tone for her warm and charming hosting role, full of encouragement for the performers and self-deprecating jokes.

Each finalist performed a Sondheim number and a song from the New UK Musicals collective, and the standard of performance was thrillingly high. Accompanied by musical director Nigel Lilley, each gave their all and were buoyed by the enthusiastic support of the audience.

While the judging panel deliberated, we were treated to performances from NYMT ensemble, last year’s winner Milly Willows reprising her winning number Worst Pies in London in triumphant style, as well as past and future Jacks, Joaquin Pedro Valdez and Ronav Jain, singing Giants in the Sky with wide-eyed energy, Molly Osborne and Jack Quarton performing the charming Time from The Curious Case of Benjamin Button, before Bonnie Langford treated us to another barnstorming rendition of I’m Still Here (but, in those heels, without kicks and splits).

Holly Adams, Brooke Bazarian, Harrison Langham, Katie Leach, Rowen Newsome, Tumi Olufawo, Thomas Oxley, Daisy Pearson and Josh Rosewood all impressed in many different ways, with some wringing the heartstrings and others leaning into comedy moments delightfully.

The judging panel – Edward Seckerson, Fra Fee, Callum Scott Howells, Jak Malone, and Jenna Russell – had a tough task with such talented performers but came to a harmonious decision. Oliver Halford (Emil Dale Academy) was commended for his energetic comedy singing I’m Calm from A Funny Thing Happened on the Way to the Forum and his moving performance of Infinity from The Blackfriars Boys by Josh Sneesby and Sarah Middleton. The runner-up was Gavin Rasmussen (LAMDA) with his impressive delivery of Marry Me a Little from Company and an unforgettable, magnificently OTT rendition of Tartarus from The Sorrows of Satan by Luke Bateman and Michael Conley. The deserving winner, scooping £1000 was Madeleine Morgan (Royal Academy of Music) with a beautifully mature and nuanced performance of Moments in the Woods from Into the Woods and an emotional Running on Empty from Mayflies by Gus Gowland. A lovely moment after the prizegiving saw Bonnie Langford clearing the stage for Madelaine to perform and telling her she can command the stage, but Madeleine asking her quietly to stay, so Bonnie sat cross legged at the side of the stage for support, basking in Madeleine Morgan’s stunning performance, and exemplifying the celebratory and nurturing atmosphere that abounded in the theatre even though this was a competition.

A wonderful afternoon well spent celebrating the glorious music and legacy of Stephen Sondheim, new British musical writing, and the exciting futures ahead for the talented young performers.

EXTENDING AT THE TURBINE THEATRE

NOW RUNNING UNTIL
SATURDAY 27 JULY

Due to popular demand, Jonathan Harvey’s Closer to Heaven, with original music by Pet Shop Boys, will be extending its run at the Turbine Theatre this summer, now playing until Saturday 27 July.

Full cast for this new production of this adored club musical, includes the Tony award winning, 1994 Eurovision Song Contest contestant Frances Ruffelle as Billie Trix. Originating two iconic roles on the West End, Eponine in Les Misérables and Dinah in Starlight Express, Ruffelle has consistently been appearing on stage and screen throughout her career.

She is joined by Courtney Bowman, recently seen as Elle Woods in Legally Blonde at Regent Park Open Air Theatre (for which she won a WhatsOnStage Award for Best Performer in a Musical), as Shell Christian, Glenn Adamson (Bat Out Of Hell) as Dave, Connor Carson (The Phantom Of The Opera) as Lee, Kurt Kansley (RENT) as Vic Christian, David Muscat (Billy Elliot) as Bob Saunders, Lewis Brown (Queenz) as Flynn with Beth Curnock, Jamie Tait and Cian Hughes as Babes. This production is directed by Simon Hardwick with choreography by Christopher Tendai with casting by Will Burton CDG.

Audiences can step back in time as the theatre transforms into “Vic’s Club” for an evening that promises to be anything but old fashioned. With a book by one of Britain’s most celebrated writers, Jonathan Harvey, Closer to Heaven features an original club score by Pet Shop Boys and originally premiered at the Arts Theatre in 2001. The Pet Shop Boys are the UK’s most successful pop duo, having enjoyed 12 Top Ten studio albums and 40 Top Twenty singles.

Let us take you back to the Millennium for the night of your life… London’s club-land is thriving. Suddenly what was wrong seems right…