Sharp Teeth Theatre and Marie Hamilton present Polly (The Heartbreak Opera) – a riotous and radical adaptation of John Gay’s banned sequel to The Beggar’s Opera Friday 12th April – Monday 27th May 2024
A collaboration between Marie Hamilton and Sharp Teeth Theatre, Polly (The Heartbreak Opera) brings a gritty and wild energy to John Gay’s scandalous follow up to The Beggar’s Opera, with original music inspired by Peaches, Britney and Nina Simone. This fierce adaptation renews Polly, Gay’s near forgotten gender-bending, anti-colonialist and proto-feminist ballad opera, originally written in 1729 but banned for the outrage it sparked.
Now in the 21st Century, Polly’s arguments about gender, colonialism and women’s rights rage on. Polly (The Heartbreak Opera) hilariously rips the text apart, re-writing Gay’s original satire to reflect the all too similar societal inequalities of the present day. Devised by the company and directed by Stephanie Kempson (Fringe First award winner, Breathless; director, The Good The Bad and The Coyote Ugly), this show brings new life to the 18th Century rom-com, with techno, tracksuits and palm trees.
In a tacky beach resort on a storm hit island we meet jilted brides, drag king politicians, a pregnant murderess, and a pirate boyband called Blazin’ Squid. Telling not just the story of Purest Polly Peachum but of the other wives of Mack the Knife as well, it is a joyous battle cry and unashamed expression of female rage, of love, loss, and revenge.
This viciously satirical, unashamedly sexy and very funny musical features 18 original songs. The score is brought together by Cameron Macintosh award-winner Ben Osborn, Madeline Shann and Ellie Showering (Breach Theatre).
Co-writer and performer Marie Hamilton comments, Our Polly is wild, riotous and empowering. It’s a dark and absolutely hilarious night out. We started making this show in Berlin 5 years ago, with a big tour that was unfortunately booked for March, April, May and June of 2020… well we all know what happened then! Post-pandemic, with the war-on-woke raging and domestic violence against women spiking the situation has only got graver. In the intervening time trying to get the play back up and running we’ve had company births, marriages, I have a one-year-old and I’ll be 7 months pregnant which will certainly add to the drama… Will there be a birth onstage… who knows!? Luckily one of my characters (Lucy Lockitt) is pregnant in the play so we’ll save some costume budget. Another character I play is Macheath: Mack the Knife- the father of Lucy’s child. Not sure this classic literary lothario has ever been played pregnant with his own child but we’ll put a snail trail up the bump and it will just make it even more punk. It’s been a long time coming, and we’re so ready to bring this brave and beautiful show back out, our joyous retaliation to all the right-wing rhetoric around: a dirty, angry, and most importantly, very funny call to arms.
Following a sold-out work-in-progress run, Polly (The Heartbreak Opera) is set to inspire and empower new audiences across the UK. The show was also finalists for both the LET and Untapped Awards.
Previous praise for Polly (The Heartbreak Opera):
Horror amid the hilarity: Marie Hamilton and Stephanie Kempson’s musical John Gay adaptation hits all the right notes… Overwhelming fun – Exeunt
A triumphant melding of satire, stagecraft, and more than a hint of the sinister… laugh- a-minute stuff of the highest order… Theatre needs ingenuity like this. – The Greenwich Visitor
Lazarus Theatre Company bring the inner workings of politics to the stage in Julius Caesar Friday 6th September – Saturday 5th October 2024 Southwark Playhouse Borough, 77-85 Newington Causeway, London SE1 6BD
Lazarus Theatre Company will return to Southwark Playhouse Borough with a glimpse into the behind the scenes of government politics in a multimedia reinterpretation of Shakespeare’s Julius Caesar. Set within a government spin room, this uncanny insight into the inner workings of politics and media engages with what we are fed and how we consume news. In what is set to be a hotly contested electoral year in the UK, US and across Europe, Julius Caesar’s investigation into what we can trust in the media and through our screens presents a crucial look at the current landscape of media, AI and public opinion.
Celebrated as a God amongst men, Caesar has returned to Rome in triumph after a bloody civil war. However, at the height of his viral victory and extraordinary rise in popularity, a festering horror grows in those who fear that too much power held by one man is a threat to the Republic and democracy itself. Through a campaign spearheaded by Cassius and Brutus, a spiralling plot to see the tyrannical politician removed escalates, and sees their bloody actions lead to all-out war
A striking reimagining, which exposes the plots and betrayal at the forefront of the classic story, this political thriller will use an innovative blend of technology and staging to present both sides of the political coin. Expect dramatic and striking theatrics as Lazarus’s ensemble present a raucous and bloody production that sees The Thick of It meets West Wing.
Director Ricky Dukes comments, Perhaps Shakespeare’s most recognised political play, Julius Caesar, presents a fantastic opportunity for us to examine leadership, politicians, and media, in the height of this pivotal time – 2024 is not just an election year. It’s perhaps the election year
Globally, in 2024, more voters than ever in history will head to the ballet box as at least 64 countries (plus the European Union), representing a combined population of about 49% of the people in the world, are due to hold national elections (Koh Ewe, Time Magazine).
At the heart of this play is a tension between the public and political leaders. In this new contemporary, multimedia production (a Lazarus first!) we will examine that tension and delve into the ways in which we, the public, receive, engage with, and understand news and the world around us via mainstream media, social media and AI created content. Can we really trust what we see on our screens?
The cast of Julius Caesar will be announced soon.
Previous praise for Lazarus Theatre Company:
Lazarus Theatre’s track record in reimagining classic plays is second to none, ★★★★ – Fairy Powered Production, The Changeling
Packs a punch…Vibrant and exciting, ★★★★★– North West End UK, Hamlet
Visceral, brutal and horrifically messy… An exceptional, must-see production, ★★★★★ – Views from the Gods, Edward II
The whole work is a shocking, beautifully visual feast…Dark, brooding work of art, ★★★★★ – Theatre Reviews Hub, Salomé
New Wimbledon Theatre- until Saturday 16th March 2024
Reviewed by Brooke Burlinge
5*****
Wimbledon Theatre brings you the classic and most definitely loved The Wizard of Oz. What can I say except that it started off with a bang- quite literally!
The show began with setting the scene with a screen, showing us all rural Kansas and introducing us to Dorothy (Aviva Tulley) and her delightful dog Toto (Abigail Matthews), which was just the start of a truly spectacular performance.
Throughout the whole production, I was captivated and engrossed in the fantastical atmosphere, which I’m sure was the case for the rest of the audience. You could clearly tell that the whole of the cast had worked extremely hard to make this performance as memorable and remarkable as it was.
Aviva Tulley portrayed Dorothy beautifully, her vocals sounded light and soft yet powerful at the same time, the perfect combination for an alluring voice. I found ‘over the rainbow’ especially beguiling, even getting goose bumps when I heard her singing the song. Alongside Dorothy, Toto was a delight to watch due to Abigail Matthews’ brilliant puppeteering. Now what I can I say about The Wicked Witch of The West (The Vivienne) apart from the fact that she was unprecedented and positively enticing to watch. Her acting skills allowed the audience to be fully immersed throughout, always having a commanding and compelling presence on stage. Onto the terrific trio, The Scarecrow (Benjamin Yates), The Tin Man (Marley Fenton) and The Cowardly Lion (Nic Greenshields) who were all amazingly entertaining from the get-go. With the Scarecrow’s vivacious, energetic personality keeping up with the pace and the atmosphere of the production the entire time, having everyone engaged and excited from the moment we met him. I think it’s safe to say that the Tin Man won our hearts while trying to find his own. He was a caring and compassionate character, always showing his loyalty by sticking beside Dorothy. The Cowardly Lion brought comedic relief in some of the more tense scenes, making us all laugh and keeping us amused with his demeanour and characteristics. Both Glinda (Emily Bull) and The Wizard (Gary Wilmot) added onto the magical aspect of the show, the pair of them giving us a fabulous performance. Everyone in the ensemble stood out in their own phenomenal way, bringing a certain wondrous charm to the stage, you could really tell how dedicated they all were.
I think that the stage and set design was both intriguing and fit perfectly for the slightly wacky and outlandish ambience of the show. Not to mention the wonderful costume design, capturing the essence of each character perfectly. Every single one of the songs brought a giant smile to my face further proving how prodigious, enthralling, and unparalleled the entirety of the performance legitimately was.
This, without a doubt, is a show to watch. So much so that I could watch it multiple times and still not be bored. What an enchanting, spell-binding production!
Life of Pi is a feast for the eyes and soul. A sumptuous smorgasbord of sound, sights, and immersive delights, it’s a theatrical triumph which must be seen to be believed. An epic storm destroys a Japanese cargo ship on its way to Canada. Among its passengers were Pi, his family, and the animals Pi’s zookeeper father tended to. Their journey began in Pondicherry, India. The move was due to economic instability. Almost everyone drowned during the storm, except Pi, who is left stranded in the Pacific Ocean, on a lifeboat with four other survivors: a hyena, a zebra, an orangutan, and a Royal Bengal tiger, named Richard Parker. The tale opens in Mexico in 1978, in a hospital room. Pi was washed up in a fishing village after 227 days lost at sea. Confused and traumatised, he recounts his experiences in a way the authorities find hard to comprehend, but is everything as it seems?
Lolita Chakrabarti transports Martel’s story to the stage with the intention of it being playful and theatrically rich, and she achieves this with aplomb. While the dialogue lacks some of Martel’s sublime and stirring language, the production more than makes up for it with its dazzling visuals. Director Max Webster’s magnificence, Tim Hatley’s versatile set, Tim Lutkin’s atmospheric lighting, Andrzej Goulding’s stunning video and Nick Barnes and Finn Caldwell’s incredible puppets, blend imagination and artistic genius to give Life of Pi an ethereal and otherworldly quality. Every element combines to create seamlessly interchangeable moments in time, as well as countries, land, ocean, and ultimately merges reality with fantasy as we journey with Pi through his life changing experience. We are plunged into moments of joy, harrowing loss, terror, and utter strength. Within moments a hospital room has transformed into a zoo, blink, and it’s an Indian bazaar, seconds later it’s a vast ship and then you would swear blind it’s raining as you witness a storm. A boat appears from nowhere but it’s now a hospital bed…and there is a tiger, a mysterious, magnificent, majestic tiger… or is there?
The puppets are the heart and soul of the show. Wonderous beasts whose every breath and movements are so meticulously choreographed, you would testify you are watching an orangutan with its baby, a shoal of fish swimming in the ocean, a flutter of butterflies, a rumbunctious goat and again, that stunning, beautiful, ferocious tiger. The show’s cast and crew conjured a dynamic and powerful tale, taking on multiple roles they brought Life of Pi to life. Its mind blowing to think this is Divesh Subaskaran’s professional debut. Immensely talented, he takes on the role of the philosophically inclined Pi with ease. He is arresting, delightful, athletic, and charmingly funny. He balanced the many stages of Pi perfectly, enabling us to believe the character has endured a whole gambit of emotions and experiences over the course of the performance. Hypnotic, I was engaged by him, and his love hate relationship with Richard Parker.
Lolita Chakrabarti included more female characters to the production which was not a part of the original novel. This added a wonderful dimension and depth to the production. Bhawna Bhawsar was fabulous and entertaining as Lulu Chen/Mrs Biology Kumar, Goldy Notay was wonderful as Amma. Keshini Misha was a great balance to Pi as his sister Rani. Lilian Tsang was brilliant as Mrs Okamoto/Ships Captain, navigating the stage with ease. Ralph Birtwell as Father, Antony Antunes as Cook/Father Martin, Chand Martinez as Mama-Ji/Admiral Balbir Singh and Vinesh Veerasami as the Russian Sailor all gave incredible performances which added energy and spirit to the production. Sebastian Goffin, Akash Heer, Romina Hytten, Katie Kennedy-Rose and Kate Rosewell deserved the thunderous applause as the head, heart, and hind of Richard Parker the Tiger. Undulating, his meticulous movements, from a flick of the tail to a lick of the paw were mesmerising. Without this incredible skill and effort, I’m not sure what the play Life of Pi would be? For Richard Parker, along with Pi, is the head, heart and hind of the tale. I was spellbound from the moment he stalked on stage.
Life of Pi is bewitching in every sense, from its sounds, colours and its dance like movement. A thought provoking and touching production there is always something to ponder and consider. You are presented with the most fascinating detail, how you choose to interpret it is up to you. From the moment the show begins, it’s all there for you. Allow yourself to be captivated and transported through this voyage in all its meaning. Life of Pi is a spectacular work of living, breathing theatre, a blend of magical realism that will leave you speechless for all the right reasons, and I will once again say, it really does need to be seen to be believed.
TV comedy royalty Vicki Pepperdine (Poor Things, Getting On, Dear Joan and Jericha) will star alongside Kiell Smith-Bynoe (Ghosts, Stath Lets Flats, Taskmaster, Man Like Mobeen) and Dan Skinner (Shooting Stars, This Time with Alan Partridge, The Kennedys) in a brand-new production of Nikolai Gogol’s satirical masterpiece, THE GOVERNMENT INSPECTOR, premiering at the Marylebone Theatre from 3 May – 15 June 2024, with a press night on Wednesday 8 May.
“There’s no money in honesty!” A comedy about hypocrites, hysterics and hustlers.
This hilarious new adaptation sets the action in a small parochial town in late 19th century Britain, where the corrupt local officials mistake an over-privileged, vainglorious liar, who just happens to be passing through the town, for a high-ranking government inspector. Desperate to cover up their crimes and escape censure, the town’s Governor and his cronies pull out all the stops to try and bribe this dishonest buffoon with money, wine and women.
The Government Inspector has cemented its reputation as one of the greatest comedies in world literature and ensured that wherever a corrupt and hypocritical government is in power, this play finds its way to a stage.
Vicki Pepperdine (‘Mrs Swashprattle’) is an accomplished comedy actress and writer, most recently seen in the Bafta and Oscar winning film Poor Things, directed by Yorgos Lanthimos, in which she plays ‘Mrs Prim’. She also appeared in Magic Mike’s Last Dance directed by Steven Soderbergh and has just completed filming on a new feature, Savage House, alongside Richard E Grant and Claire Foy.
Pepperdine has made an indelible mark in British comedy with three series of her multi award winning series ‘Getting On’, which she wrote and co-starred in as Dr Pippa Moore – and then went on to exec produce for the successful US adaptation, reprising her UK role in one episode ‘Am I Still Me?’. She has appeared in numerous hit TV comedy shows – Mid Morning Matters with Alan Partridge, Doc Martin, Miranda, Still Open All Hours, Rev, Cuckoo, Twenty Twelve, Camping, The Windsors and Bad Education, to name but a few.
Vicki has also appeared in television dramas, playing ‘Mrs Michelson’ in the BBC series of The Woman In White, ‘Gerdi Lange’ in A Small Light for Disney Plus and ‘DSI Susan Smart’ in two series of We Hunt Together for Showtime.
On stage she played ‘Mrs. Candour’ in School for Scandal at the Barbican Theatre, is a regular panellist on Radio 4’s I’m Sorry I Haven’t A Clue and co-hosts the award-winning cult podcast Dear Joan and Jericha.
Actor and writer Kiell Smith-Bynoe (‘Percy Fopdoodle’) is best known for his role as Mike – Alison’s non-spirit-seeing husband – in the BAFTA-nominated sitcom Ghosts (BBC). And for playing no-nonsense estate agent Dean in BAFTA-winning comedy Stath Lets Flats (Ch4). His further acting credits include drama Death in Paradise (BBC) and the comedies Dreamland (Sky), A Whole Lifetime with Jamie Demetriou (Netflix), Man Like Mobeen (BBC), The Curse and The Horne Section (Ch4).
At last year’s Edinburgh Fringe, he co-wrote and co-starred in the musical comedy String V SPITTA and had his own late-night improv show Kool Story Bro which has since gone on to sell out multiple London runs. A contestant in last year’s 15th series of Taskmaster, he also co-hosted the prestigious British Independent Film Awards last December. After competing in the 2021 Christmas special of The Great British Sewing Bee, he steps in for Sara Pascoe as the new host for Series 10.
Actor-comedian Dan Skinner (‘Governor Swashprattle’) is best known for his alias Angelos Epithemiou, whom he first debuted as a permanent member Shooting Stars (BBC), before taking him on a series of British comedy panel shows and his own TV special that earned Dan a Comedy Award for Best Newcomer.
Recent TV credits include the lead in the critically acclaimed Notes On Blindness, nominated for three BAFTAs including Best British Film, The Kennedys (BBC) opposite Katherine Parkinson and House of Fools with Vic Reeves and Bob Mortimer, The Hunt For Raoul Moat (ITV). Future credits include Series 2 of Beyond Paradise (BBC). Further TV credits include Live At The Moth Club (Dave), The Witchfinder, This Time With Alan Partridge and Eastenders (BBC), Sex Education and The Crown S3 (Netflix). He has also earned starring roles in independent and cult-classics feature films including Prevenge, Swallows And Amazons and High-Rise. Dan’s recent stage credits include the lead role of ‘Dinny’ in The Walworth Farce by Enda Walsh at the Southwark Playhouse Elephant.
Nikolai Gogol’s The Government Inspector premiered in 1836, in the presence of Tsar Nicholas I, whose enjoyment of the play undoubtedly saved it from the appalled censors, furious at this brazen satire of the country’s corrupt bureaucracy at all levels of government. The Tsar is said to have remarked, “We’ve all taken a bop on the nose from this writer. Me most of all!”
Apparently inspired by a real encounter when the writer Alexander Pushkin was mistaken for a government official in a provincial town and then told his friend Gogol all about it, the play is a landmark in theatrical history for its lack of ethical characters, fearless attack on the ruling classes and groundbreaking cocktail of farce and realism.
The Government Inspector is adapted and directed by Patrick Myles, with set and costume design by Melanie Jane Brookes, lighting design by Ric Mountjoy, sound design by Jamie Lu, production management by Alex Firth and casting consultancy by Matilda James.
Further casting and creative team will be announced shortly.
Cambridge Arts Theatre, Cambridge – until Saturday 16th March 2024
Reviewed by Steph Lott
5*****
The goals of O’s Refugee Aid Team (ORAT) in the UK are simple. To raise awareness, funds, and goods for supported frontline teams, to lobby the UK government to safeguard every human being’s right to safe passage and sanctuary, and to mobilise communities of all backgrounds to help refugees however they can. Founded by Ojali Q Rauf, following the tragic death by drowning at sea of two-year-old Alan Kurdi, along with his brother and mother, ORAT surpassed itself in achieving those goals last night, judging by the impact of the performance of “The Boy at the Back of the Class” on the young audience. I have no doubt that this performance will have since been discussed at length and with passion by all those who witnessed it.
Onjali Q. Rauf’s acclaimed novel has been transformed into a captivating and thought-provoking stage production by the Children’s Touring Partnership. Nick Ahad’s adaptation and Monique Touko’s direction have brought to life a poignant story that tackles complex themes of displacement, prejudice, and the power of empathy and friendship.
The play revolves around the arrival of a new student, Ahmet (played with remarkable depth by Farshid Rokey), a refugee from Syria, in a London classroom. His silence and mysterious demeanour initially leave his classmates puzzled and wary. However, the inquisitive and compassionate Alexa (portrayed with infectious energy by Sasha Desouza-Willcock) takes it upon herself to unravel Ahmet’s story and help him assimilate into his new environment.
Rokey’s understated yet emotionally charged performance is a standout, conveying the trauma and resilience of a child forced to flee his homeland. His interactions with Desouza-Willcock’s Alexa are both heart-warming and heart-breaking, as they navigate the complexities of cultural differences and the weight of Ahmet’s experiences.
The ensemble cast, comprising young actors playing Alexa’s classmates, delivers impressive performances that capture the nuances of childhood curiosity, prejudice, and eventual understanding. Their individual arcs are well-defined, and their collective transformation from indifference to empathy is both organic and inspiring.
The minimalist yet ingenious set design, complemented by effective lighting and sound effects, allows the narrative to take centre stage. The use of multimedia elements, including projected animations and evocative soundscapes, enhances the immersive experience, transporting the audience between the classroom and Ahmet’s haunting memories of war-torn Syria.
While the subject matter is undoubtedly heavy, the production strikes a delicate balance between seriousness and moments of levity, ensuring that the message is accessible to its young audience without compromising its emotional depth.
“The Boy at the Back of the Class” is a poignant and timely reminder of the power of compassion and understanding in a world where displacement and prejudice are all too prevalent. It is a must-see production that not only entertains but also challenges its audience to confront their biases and embrace the richness of diversity.
Full companies confirmed for the opening shows of Chichester’s Festival 2024
The full casts have been announced for the opening productions of Chichester’s Festival 2024, The Other Boleyn Girl and The House Party.
The Other Boleyn Girl by Mike Poulton, based on Philippa Gregory’s internationally best-selling novel, has its world premiere in the Festival Theatre, running from 19 April – 11 May (press night: 26 April).This racy and riveting drama of events at the Tudor court, seen though the eyes of women at the heart of changing history, is directed by Lucy Bailey.
The full company is: James Atherton (Sanditon, Hollyoaks) as Henry VIII, Osa Audu (recent RADA graduate) as Harry Percy, Oscar Batterham (Noises Off, Richard III) as William Stafford, James Corrigan (Jack Absolute Flies Again NT, This England) as George Boleyn, Jacob Ifan (Cuffs, A Discovery of Witches) as William Carey, Kemi-Bo Jacobs (The Ocean at the End of the Lane NT/West End, The Winter’s Tale RSC) as Queen Katherine, Ben Jones (Doctors, Murder in Provence) as Thomas Boleyn, Alex Kingston (Doctor Who, The Tempest RSC) as Lady Elizabeth, Rosalind Lailey (Twelfth Night, The Railway Children) as Jane Seymour, Nitai Levi (Rent, The Band’s Visit) as Mark Smeaton, Peter Losasso (Mrs Warren’s Profession, Twelfth Night) as Francis Weston, Freya Mavor (Industry, Skins) as Anne Boleyn, Lily Nichol (Imperium RSC, Maternal) as Jane Parker, Lucy Phelps (Much Ado About Nothing Shakespeare’s Globe, Measure for Measure RSC) as Mary Boleyn, Roger Ringrose (Witness for the Prosecution, Stan & Ollie) as Wolsey/Cromwell and Andrew Woodall (South Downs/The Browning Version, Fracked! CFT) as the Duke of Norfolk; with Chris Green (musician and musical director) and Sarah Harrison (musician).
In Laura Lomas’s The House Party, which spins Strindberg’s Miss Julie into intense, fizzing life for today’s generation, Josh Finan will play Jon. BAFTA nominated as Best Supporting Actor for his role in the BBC’s The Responder, he previously appeared in The Southbury Child at CFT and The Bridge and is currently appearing in Netflix’s The Gentlemen.
He joins the previously announced Rachelle Diedericks, whose work includes Our Generation at the National Theatre and Chichester, The Crucible at the NT and A View from the Bridge (Headlong/CFT) as Christine; and Nadia Parkes whose many TV appearances include the forthcoming Kidnapped, The Bastard Son & The Devil Himself and The Spanish Princess as Julie. Running in the Minerva Theatre from 3 May – 1 June (press night: 10 May), this co-production with Headlong in association with Frantic Assembly is directed by Holly Race Roughan.
The company also includes an ensemble of young actors: Amaia Naima Aguinaga, Oliver Baines, Cal Connor, Micah Corbin-Powell, Lyla Garner-Gibbons, Jaheem Pinder, Jamie Randall, Charlotte Stubbs, Priya Uddin, Grace Watkins; and two child actors, Nicole Arthur and Layla Owens.
Tickets from £10
cft.org.uk Box Office 01243 781312
Prologue: £5 tickets for 16 – 30s
9,000 £5 tickets are available for 16 to 30 year-olds across all Festival 2024 productions; sign up for free at cft.org.uk/prologue.
Mayflower Theatre, Southampton – until 16th March 2024
Reviewed by Sally Lumley
5*****
Edward Scissorhands, bought to the stage by Sir Matthew Bourne’s New Adventures, is the story of Edward (Liam Mower), a man created Frankenstein-style by a grieving father to replace a lost son. When his father dies before he has added proper hands, Edward finds himself an outcast in a confusing world. He is taken in by kind local mother Peg Boggs (Sophia Hurdley) and experiences the best, and worst, of humanity as he learns what it means to be human.
Whilst this is not a carbon copy of the 1990 Tim Burton movie, it captures all the essential elements and classic scenes. It is infused throughout with Burton’s trademark gothic style and childlike wonder. The different components that have contributed to this show, including design (Lez Brotherston), lighting (Howard Harrison) and sound (Paul Groothius), have created a magical, fantastical world which is the perfect setting for this fairytale to be played out.
The setting is Hope Springs USA, a 1950’s-style picture perfect American town. The uniformity of the setting and the residents gives a sharp contrast to Edward when he arrives and cements his status as outsider. The townspeople are wonderfully observed, with each family bringing a different dynamic to the stage: the very religious, the promiscuous housewife, the teen jocks. There is always something happening on stage to draw the audience’s eye to the small details that bring this to life.
The dancing, of course, is impeccable throughout. This really is the best of modern dance. Liam Mower is perfection as Edward, brilliantly characterising his quirky movements as he discovers the world around him. As Edward finds love, in the form of Kim Boggs (Ashley Shaw), their dances together are full of emotion and show a new confidence to Edward’s movements. All of this is accompanied by a heartbreakingly beautiful music from Terry Davies, based on themes from the original movie score by Danny Elfman.
The surprise for me was how funny this show was. With dancing topiary, a “cheeky” surprise from an exercising neighbour, and a scene-stealing moment from a flying beanbag, the whole thing is done with a big sense of humour and provides perfect light relief from Edward’s heartbreaking story.
Edward Scissorhands is a timely story that challenges us to question our own compassion and kindness when confronted with someone different. Matthew Bourne and New Adventures have produced a magical fairytale, which questions what it means to be human. It is full of beauty, darkness, laughs and love, which left me feeling a whirlwind of emotions. Highly recommend seeing this while it is at the Mayflower.
CASTING ANNOUNCED FOR THE EUROPEAN PREMIERE OF THE TONY AWARD-WINNING MUSICAL PASSING STRANGE
Olivier Award-winner Giles Terera (Hamilton), Rachel Adedeji (Dreaming Whilst Black) and Keenan Munn-Francis (Black Dog) lead the cast with David Albury, Nadia Violet Johnson, Renée Lamb and Caleb Roberts.
Directed by Liesl Tommy (Aretha Franklin biopic Respect, Tony nominated Eclipsed)with book and lyrics by Stew, and music by Stew Stewart and Heidi Rodewald.
Passing Strange is at the Young Vic Theatre from 14 May to 6 July, with opening night for press on 21 May. Tickets available now at www.youngvic.org
The Young Vic Theatre today announces casting for the European premiere of the electrifying Tony, Drama Desk and Critics Circle Award-winning rock musical Passing Strange.Directed by Liesl Tommy (Aretha Franklin biopic Respect, Tony nominated Eclipsed), this new production of the hit Broadway show follows a young musician as he sets out on a musical odyssey, through 80s L.A, Amsterdam and Berlin. It features book and lyrics by Stew, music by Stew Stewart and Heidi Rodewald. Previews begin at the Young Vic from 14 May with opening night for press on 21 May and it runs until 6 July.
Giles Terera,best known for his Olivier Award winning role as Aaron Burr in the original London cast of Hamilton plays Narrator; Rachel Adedeji, seen in the leading role ofFunmi in the BAFTA winning series Dreaming Whilst Black plays Mother and Keenan Munn-Francis,recently recognised in 2023 British Independent Film Awards Breakthrough Performance longlist for Black Dog, plays Youth. The cast is completed by Renée Lamb (Six the Musical) as Desi/Sherry/Renata, David Albury (Get Up Stand Up! The Bob Marley Musical) asRev Jones/Terry/Christophe/Hugo, Caleb Roberts (Tina: The Tina Turner Musical) as Mr Franklin/Joop/Mr Venus,and Nadia Violet Johnson (School of Rock) as Edwina/Marianna/Sudabey.
The band is Ikechukwu Onwuagbu (Bass), Nick Pinchbeck (Keyboards/Guitar), James Taylor (Drums) and Art Terry (Keyboards/Guitar).
You know, it’s weird when you wake up in the morning and realize that your entire adult life was based on a decision made by a teenager. A stoned teenager.
A young, Black musician sets out on an electrifying musical odyssey to find himself and his place in the world, swapping his middle-class L.A. upbringing for punk rock and protest in 1980s Amsterdam and Berlin.
“A thrilling score in which rock, punk, funk and gospel conduct a revival meeting that blows the roof off.”
(Rolling Stone – Broadway, 2008)
“Its big heart throbs to the sound of electric guitars… Richer in wit, feeling and sheer personality than most of what is classified as musical theater.”
(New York Times – Broadway, 2008)
The creative team brings together Set and Costume Designer Ben Stones, Lighting Designer Richard Howell, Sound Designer Tom Gibbons, Video Designer Will Duke, Musical Supervisor Brandon Michael Nase, Musical Director Art Terry, Choreographer Dickson Mbi, Voice and Dialect Coach Hazel Holder and Casting Director Heather Basten CDG.
This marks the European premiere of Passing Strange which took Broadway by storm in 2008, receiving seven Tony Award nominations, winning for Best Book of a Musical; seven Drama Desk Award nominations, winning for Outstanding Musical, Outstanding Lyrics and Outstanding Music; and it was named winner of the Drama Critics Circle Award for Best Musical.
Giles Terera (Narrator) won the Olivier Award for Best Actor in a Musical as Aaron Burr in the original London cast of Hamilton and is now nominated for the 2024 Olivier Award for Best Actor in a Supporting Role for Clyde’s (Donmar Warehouse). Other recent performances include Blues for an Alabama Sky for which he received Olivier and Evening Standard Best Actor Award nominations, in the title role of Othello (National Theatre), and The Meaning of Zong, also his playwriting debut (Barbican & Bristol Old Vic). Previous West End credits include: Rosmersholm, The Book Of Mormon, Avenue Q, The Rat Pack, Jailhouse Rock, 125th Street and Rent. Film and TV includes: Scrooge, Death of England: Delroy, Maxx, Flack, The Current War.
Rachel Adedeji (Mother) played Funmi in the BAFTA winning series Dreaming Whilst Black. She can currently be seen in PBS/Channel 4’s Alice & Jack and BBC/Netflix’s Champion. She recently completed filming for the Paramount+ feature film Hard Home and will soon be seen in The Almond and the Seahorse. Other screen credits include RIPD 2: Rise of the Damned and Whitstable Pearl. Rachel was an X Factor finalist in 2009 before starring in Thriller Live! (West End & UK tour) and Jesus Christ Superstar (UK Tour). She went on to play series regular Lisa Loveday in Hollyoaks until 2020.
Keenan Munn-Francis (Youth) was longlisted for Breakthrough Performance in the 2023 British Independent Film Awards (BIFA) for his leading role as Sam in Black Dog. He recently completed filming for the BBC One adaptation of Bernardine Evaristo’s novel Mr Loverman in the role of Young Barry. Previous television credits include BBC’s Call the Midwife and Disney’s Penny on MARS. Theatre includes: The Lion King, Thriller Live (West End), Our Lady of Kibeho (Royal & Derngate), Five Guys Named Moe (Underbelly), Filthy Business (Hampstead), Soul (Royal and Derngate / Hackney Empire), Lord of the Flies (Regent’s Park), The Scottsboro Boys (Garrick Theatre).
Renée Lamb (Desi / Sherry / Renata) originated the roles of Catherine of Aragon in Six the Musical and, most recently, the leading role of Jeanne in Cake (West End). Previous stage credits include: Little Shop of Horrors (Regent’s Park), Fantastically Great Women Who Changed The World (UK tour), Be More Chill (The Other Palace / West End), Malory Towers (Wise Children), Ain’t Misbehavin’ (Mercury Colchester & Southwark Playhouse). Film includes: This is the Night Mail. Renée will also be seen in This Town, the upcoming six-part series for BBC One penned by Steven Knight.
David Albury (Rev Jones / Terry / Christophe / Hugo) played the title role in Get Up Stand Up! The Bob Marley Musical and Smokey Robinson in Motown the Musical, both in the West End. Other stage roles include: Committee… (A New Musical) (Donmar Warehouse), The Life (Southwark Playhouse), Exposure – Life Through A Lens (St. James Theatre), Only the Brave (Wales Millennium Centre), The Lion, The Witch and The Wardrobe (Birmingham Rep), Love Story (Union Theatre), Porgy and Bess (Open Air Theatre), Bare (Greenwich Theatre), The Lion King (National Tour). Television includes: Doctors.
Caleb Roberts (Mr Franklin / Joop / Mr Venus) played Ike Turner in Tina: The Tina Turner Musical (West End) and won a Black British Theatre Award as Charming in Cinderella (West End). He returns to the Young Vic having previously performed in the Taking Part community show She Ventures He Wins. Other theatre credits include: I Think We Are Alone (Frantic Assembly), Richard III (Headlong), King Lear (West End / Chichester Festival Theatre). Television credits include A Very English Scandal.
Nadia Violet Johnson (Edwina / Marianna / Sudabey) graduated from ArtsEd. She has appeared as Patti in School of Rock (UK tour), as Young Myrna in The Outlaws Season 3 and performed in concert at the BBC Proms in Bernstein: On The Town.
Liesl Tommy (Director) is an award-winning international theatre and film director. She received the Tony Award nomination for Best Direction for the Broadway hit Eclipsed starring Lupita Nyong’o,and made her feature film directorial debut with the Aretha Franklin biopic Respect starring Jennifer Hudson. Her television credits include Walking Dead, Insecure and Jessica Jones.
Stew (Book & Lyrics / Music)is a critically acclaimed singer-songwriter and Tony/Obie Award winning playwright and performer. He leads two bands: The Negro Problem and Baba Bibi. He is also Professor of the Practice of Musical Theater Writing at Harvard University.
Heidi Rodewald (Music) is a Tony Award-nominated, Obie Award-winning co-composer, collaborating and performing with Stew for over two decades, releasing 10 critically acclaimed albums and creating new theatre work. Credits include composer with librettist Donna Di Novelli, The Good Swimmer (BAM Next Wave Festival), A Lifesaving Manual (UCLA’s Center for the Art of Performance).
Passing Strangewas originally produced in Berkeley California, by the Berkely Repertory Theater, and in New York by the Public Theater in creative collaboration with Annie Dorsen.
Simon Friend Entertainment and Leeds Playhouse are delighted to announce that following the UK premiere of Here You Come Again in Leeds – where it runs from Saturday11 May to Saturday 8 June – additional dates are today confirmed for the previously announced tour, which now includes weeks in Cambridge, Malvern, Edinburgh, Cheltenham, Bath, Blackpool and Liverpool. West End star Steven Webb (Oliver!, Book of Mormon), will join the company as ‘Kevin’, a 40-year-old, has-been-who-never-was comedian in the new musical, alongside previously announced star and co-writer Tricia Paoluccio, who will reprise her celebrated role as ‘Dolly’ following US acclaim.
Steven Webb began his career 30 years ago as the titular character in Sam Mendes’ production of Oliver! (London Palladium). Since then, he has appeared in a wide range of film, television and theatre. He has just finished a long stint starring as Elder McKinley in the West End run of The Book of Mormon. Prior to that he was perhaps best known as Posner in the second casting of The History Boys. Other theatre credits include I Want My Hat Back, On the Shore of the Wide World (National Theatre), As Is (Trafalgar Studios) as well as many productions at The Lyric Hammersmith including seven shows in Sean Holmes’ creative ensemble Secret Theatre.
He also has many television credits, having previously played roles in the much beloved BBC series Miranda and E4’s The Inbetweeners.
Steven Webb says:“I’m beyond excited to be bringing Kevin to life here in the UK. I grew up listening to Dolly and other country music as my dad was a big fan. Twenty years ago, I was in a similar state to Kevin. I was down, a relationship had come clattering to a halt and I felt aimless. Then Dolly Parton played one night at the Hammersmith Apollo in London. So, I grabbed a ticket and took myself down there. Just like Kevin, I was inspired, galvanised and uplifted by Dolly and her message of love and perseverance. It was practically life-changing. And that’s why she means so much to so many people. It’s no coincidence that the hashtag WhatWouldDollyDo became a life motto for so many. Getting to sing and hear her biggest hits (and watch Tricia embody Dolly) every night is going to be the greatest gift a show could ever give.”
For the first time ever, all of Dolly Parton’s biggest hits are brought together in a rollicking and joyful new musical, fully authorised by Dolly herself. Packed with iconic songs like Jolene, 9 to 5, Islands in the Stream, I Will Always Love You, Here You Come Again and more, this lively and touching new musical tells the story of a diehard fan whose imagined version of international icon Dolly Parton gets him through trying times.
Kevin has just separated from his long-time boyfriend, Jeremy, an investment banker, and is in quarantine in the attic bedroom of his childhood home in Yorkshire. Surrounded by precious belongings from his youth, he is reunited with a much-loved old record player and his cherished Dolly albums. He remembers the hard times those songs helped him through in the past and counts on them to help him once again. With her wit, humour and charm, Dolly teaches him a whole lot about life, love and how to pull yourself up by your bootstraps… even if your bootstraps don’t have rhinestones!
After its UK premiere in Leeds, the tour then continues to: Curve Theatre,Leicester; Theatre Royal, Newcastle; Arts Theatre,Cambridge; Marlowe Theatre, Canterbury; Theatre Royal, Nottingham; Malvern Theatres, Malvern; Playhouse Theatre, Edinburgh; His Majesty’s Theatre, Aberdeen; Cliffs Pavilion, Southend; Wales Millennium Centre, Cardiff; Theatre Royal, Brighton; Alexandra Theatre, Birmingham; Lyceum Theatre, Sheffield; Richmond Theatre, Richmond; King’s Theatre, Glasgow; Theatre Royal, Norwich; Everyman Theatre, Cheltenham; New Victoria Theatre, Woking; The Lowry, Salford; Theatre Royal, Bath; Milton Keynes Theatre,Milton Keynes; Grand Theatre, Blackpool Grand before concluding at the Empire Theatre,Liverpool.
Having enjoyed several successful runs across the United States, Here You Come Again was originally written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer and actor Tricia Paoluccio (who co-writes and stars as Dolly). Acclaimed British TV and theatre writer Jonathan Harvey (Gimme, Gimme, Gimme and Coronation Street) provides additional material. Further casting to be announced.
