FULL CAST ANNOUNCED FOR

THE JAMIE LLOYD COMPANY’S

ROMEO & JULIET

STARRING TOM HOLLAND

The Jamie Lloyd Company today announces the full cast for the new West End production of William Shakespeare’s Romeo & Juliet, directed by Jamie Lloyd.

Tom Holland (Romeo) is joined by Francesca Amewudah-Rivers as Juliet. Freema Agyeman (Nurse), Michael Balogun (Friar), Tomiwa Edun (Capulet), Mia Jerome (Montague), Daniel Quinn-Toye (Paris), Ray Sesay (Tybalt), Nima Taleghani (Benvolio), Joshua-Alexander Williams (Mercutio) and Callum Heinrich and Kody Mortimer (Camera Operators) complete the cast.

Romeo & Juliet opens at the Duke of York’s Theatre, on Thursday 23 May, with previews from Saturday 11 May, and runs until Saturday 3 August 2024.

Tom Holland said today, “Beyond excited to announce our cast for Romeo and Juliet. I can’t wait to get started and I know we’ll create something really special together.”

Francesca Amewudah-Rivers said today, “I’m so grateful to be making my West End debut as Juliet with The Jamie Lloyd Company. It’s a dream to be joining this team of incredible artists with Jamie at the helm. I’m excited to bring a fresh energy to this story alongside Tom, and to welcome new audiences to the theatre.”

Jamie Lloyd also commented, “I’m very excited to introduce the amazing cast who will be joining the incredible Tom Holland in Romeo & Juliet, including Francesca Amewudah-Rivers— an exceptional young artist.”

As part of The Jamie Lloyd Company’s commitment to accessibility, there are 5000 tickets available at £25 exclusively for under 30s, key workers and those receiving government benefits, across the run and on every level of the auditorium – including the front row. These seats will be on sale from Wednesday 10 April at 10am. For full ticketing information please visit: www.romeoandjulietLDN.com.

The Jamie Lloyd Company presents

ROMEO & JULIET

By William Shakespeare

Directed by Jamie Lloyd

Text edited by Nima Taleghani; Set and Costume Design: Soutra Gilmour; Lighting Design: Jon Clark; Sound Design; Ben and Max Ringham;Video Design and Cinematography: Nathan Amzi and Joe Ransom; Composer: Michael ‘Mikey J’ Asante; Casting Director: Stuart Burt CDG;Movement Directors: Sarah Golding & Yukiko Masui (SAY); Intimacy Coordinator: Ingrid Mackinnon; Associate Director: Jonathan Glew; Associate Designer: Rachel Wingate; Associate Costume Designer: Anna Josephs

Duke of York’s Theatre

Saturday 11 May – Saturday 3 August 2024

Violent delights have violent ends.

Tom Holland is Romeo in Jamie Lloyd’s pulsating new vision of Shakespeare’s immortal tale of wordsmiths, rhymers, lovers and fighters. 

Romeo & Juliet is produced by The Jamie Lloyd Company.

www.romeoandjulietLDN.com

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Tom Holland plays Romeo. He is a global star as a result of his iconic portrayal of ‘Peter Parker’ in the box office record-breaking franchise Spider-Man in Spider-Man: Homecoming, Spider-Man: Far From Home and Spider-Man: No Way Home as well as the installments of the Marvel Cinematic Universe including Captain America: Civil War, Avengers: Infinity War and Avengers: Endgame. Other film credits include Uncharted with co-stars Mark Wahlberg and Antonio Banderas and directed by Ruben Fleischer; Cherry for directors Joe and Anthony Russo; Chaos Walking for director Doug Liman, opposite Daisy Ridley, Mads Mikkelsen, David Oyelowo and Demián Bichir; The Devil All The Time directed by Antonio Campos, also stars Robert Pattinson and Mia Wasikowska; Alfonso Gomez Rejon’s The Current War, alongside Benedict Cumberbatch and Michael Shannon; Juan Antonio Bayona’s The Impossible, for which he was awarded ‘Breakthrough Actor of the Year’ by the National Board of Review, received the ‘Spotlight Award’ from the Hollywood Film Awards and was nominated for the ‘Best Young Actor/Actress’ BFCA Critics’ Choice Award; James Gray’s Lost City Of Z with Charlie Hunnam, Robert Pattinson and Sienna Miller; Ron Howard’s In The Heart Of The Sea; Kevin MacDonald’s How I Live Now opposite Saoirse Ronan; Steven Knight’s Locke with Tom Hardy; and Rob Connolly’s Edge Of Winter opposite Joel Kinnaman.

Television credits include The Crowded Room (Apple TV+), for which he serves as an executive producer and received a Critics Choice Award nomination for his performance; and Wolf Hall (BBC), alongside Mark Rylance and Claire Foy.

He has appeared as a featured voice in the PIXAR animated film, Onward, opposite Chris Pratt; Disney action-adventure animated film, Spies In Disguise; and the feature adaptation of Dolittle, opposite Robert Downey Jr. and Antonio Banderas.

Holland made his stage debut as the title role in Billy Elliot The Musical (Victoria Palace Theatre).

Francesca Amewudah-Rivers plays Juliet.

Theatre credits include: School Girls; Or, The African Mean Girls Play (Lyric Hammersmith), The Kola Nut Does Not Speak English (Bush), Macbeth (Shakespeare’s Globe), Antigone (Colchester Mercury), Othello (National Youth Theatre REP Company), Animal Farm (National Youth Theatre REP Company), Ordinary Miracle (National Youth Theatre REP Company)

Television credits include: Bad Education Series 4 and 5 (BBC)

Freema Agyeman plays Nurse.

Theatre credits include: God of Carnage (Lyric Hammersmith), Apologia (Trafalgar Studios)

Film credits include: The Matrix Resurrections, Eat Locals, North v South, Rulers and Dealers, Aisha The American

Television credits include: Dreamland, New Amsterdam (Nominated for Best Actress in a Broadcast Network or Cable Series, Drama, Hollywood Critics Association), Sense8, Rubenesque, The Carrie Diaries, Old Jack’s Boat, Law and Order: UK (Nominated for Best Actress, TV Choice Awards), Survivors, Little Dorrit, Dr Who (Nominated for Outstanding Actress in a Drama Series, Monte Carlo TV Festival; Most Popular Actress, National Television Awards; and winner of Nokia Newcomer, Glamour Awards), Torchwood, Silent Witness, Crossroads

Michael Balogun plays Friar.

Theatre credits include: The Lehman Trilogy (Gillian Lynne Theatre), Blue Orange (Royal & Derngate), Henry VI Part 1 (Royal Shakespeare Company), Death of England: Delroy (National), Macbeth (Chichester Festival), Barbershop Chronicles (UK tour), The Dark (Ovalhouse), People, Places and Things (UK tour)

Television credits include: Sherwood, Top Boy, You Don’t Know Me, Vera, War of the Worlds

Tomiwa Edun plays Capulet.

Theatre credits include: Macbeth (National), The Deep Blue Sea (National), Translations (National), Romeo & Juliet (Shakespeare’s Globe), Botticelli In The Fire (Hampstead), The Mountaintop (Royal Exchange), Lionboy (Complicité) But I Cd Only Whisper (Tabula Rasa / Arcola) Often, Mud Sits On The Throne (Nabokov), Slaves (Theatre503), Proper Clever (Liverpool Playhouse Theatre), Tiata Delights ‘08 (Almeida)

Film credits include: Cinderella, Dying of The Light, What Happened to Monday, Eyimofe, Argylle
Television credits include: Trigger Point, Young Wallander, Merlin, Trying, The Chelsea Detective, A Discovery Of Witches, Bates Motel, Lucifer, Elementary, Dr Who Christmas Special, The Hour, Legends, Law And Order: UK, The Fixer II

Callum Heinrich as Camera Operator.

Theatre credits include: MAMMA MIA! (Novello), The Pirate Queen (London Coliseum)  

Television credits include: Renegade Nell, Masters of the Air, Breaking The Band: Foreigner 

Mia Jerome plays Montague.

Theatre credits include: Treasure island (Hall for Cornwall), Lost Lending Library (Punchdrunk Enrichment), A Christmas Carol (Goblin), Tales from The Thames (Queen’s), Bloodrites (Vault Fest), Legend of the Jazz Penguin (Goblin), Small Wonders (Punchdrunk Enrichment), Bing Live (Minor Entertainment)

Film credits include: The Third Day: Autumn

Kody Mortimer as Camera Operator. 

For The Jamie Lloyd Company:Sunset Blvd. (Savoy) 

Theatre credits include: Assassins (Chichester Festival), Hex (National), 101 Dalmatians (Regent’s Park Open Air), Hairspray (London Coliseum), Gypsy (Royal Exchange) 

Daniel Quinn-Toye plays Paris.

This marks Daniel’s professional stage debut.

Training: LAMDA

Ray Sesay plays Tybalt.

Theatre credits include: Anna Karenina (Bristol Old Vic & Royal Lyceum Edinburgh), Romeo & Juliet (Lyric Belfast), Seeds (Pleasance), The Merchant of Venice (Royal Shakespeare Company), Book of Actions (Nouveau Riche), 13 (Tobacco Factory), Chicken Palace (Theatre Royal Stratford East), Sons Without Fathers (Arcola), Red Helicopter (Arcola)

Television credits include: Doctor Who, Endeavour, Cheaters, Holby City, Doctors

Nima Taleghani plays Benvolio.

For The Jamie Lloyd Company: Cyrano de Bergerac (Brooklyn Academy of Music/Playhouse/Harold Pinter)

Theatre credits include: Hope Has A Happy Meal (Royal Court), Macbeth (Royal Exchange), Armadillo (Yard), Romeo and Juliet (Royal Shakespeare Company), The Merry Wives of Windsor (Royal Shakespeare Company), The Plough and the Stars (Abbey), The White Whale (Slung Low)

Film credits include: Femme, 90 Minutes, Dublin Oldschool

Television credits include: Heartstopper, Danny Boy, Hatton Garden, Casualty

Joshua-Alexander Williams plays Mercutio.

This marks Joshua-Alexander’s professional stage debut.

Training: Arts Ed

Jamie Lloyd directs. His credits for the company include Sunset Blvd. (Savoy Theatre – Evening Standard Theatre Award for Best Director; nominated for 11 Olivier Awards including Best Director and Best Musical Revival), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

LISTINGS

ROMEO & JULIET

Duke of York’s Theatre

Saturday 11 May – Saturday 3 August 2024

Box Office: www.romeoandjulietLDN.com

Everyman Theatre, Cheltenham – until 30th March 2024

Reviewed by Jacqui Radford

5*****

This production of a timeless comedy brings Shakespeare to an accessible level, regardless of any previous experience or persuasion. As an Everyman Theatre Company production incorporating Tweedy, a celebrated local clown, Cheltenham is a perfect start for a tour that will move on to Malvern, York, Southampton and Coventry.

Most people attending this production will either be there because they love the play or because they’re hoping to see it portrayed in a format that leaves them with a sense of at least an understanding the play. For me, it was apparent that the classic Shakespeare text and modernised rhyme exceeded expectation. Tweedy’s clowning around and the effect it had on the production reminded me how much Shakespeare’s clowns contributed to the enjoyment factor in so many of his plays.

The plot unfolds from a setting in Athens and is delivered by a cast of just ten people: each of them playing a role either as a lover, member of the court, fairy, or artisan performer. Tweedy, cast as Bottom enhances the comedy value of the performance and as the most recognisable is the thread between scenes.

The brilliance of this performance lies in the cast’s ability to flex between roles, interpreting the multiple expressions of them and delivering perfect comedy and slapstick. Mention should be given to Laura Noble (Helena/Flute/Mustardseed), Jeremy Stockwell (Egius/Puck/Snug), Oliver Brooks (Lysander/Starveling/Moth) and Nadia Shash (Hermia/Quince/Peaseblossom).

If you love this Shakespeare classic or want to understand the influence of Shakespeare or understand his plays in a modern context, book your seats now

Festival Theatre, Malvern – until 30th March 2024

Reviewed by Courie Amado Juneau

5*****

Tennessee Williams’s The Glass Menagerie, written in 1944, was the play that turned him into a major force to be reckoned with. It’s an interesting work which tells the story of the Wingfield’s, a family who live within financial constraints that the matriarch is not used to or reconciled with. Her constant interfering in her children’s lives (to avoid the situation perpetuating) causes more than a little friction and heartache.

Amanda Wingfield, a former southern belle whose star has faded after a misjudged union (we’ve all been there – love is, after all, blind), was wrought in sparkling form by Geraldine Somerville. I loved the way she pivoted from old school charm and reverie to explosions of anger, disappointment and frustration – in an intense performance that was at once both quiet and yet turned up to full blast.

Kasper Hilton-Hille played Tom (Amanda’s son). A poetic soul who is suffocated by his home life (specifically living under his mother’s tyrannical thumb) but also an uninspiring job in a factory. Kasper squeezed every ounce of emotion off the page, giving us a character who we totally empathised with and ended up liking enormously in a richly nuanced portrayal.

Laura (Amanda’s daughter) is socially awkward and she increasingly takes comfort in the private refuge of her own crystaline world – the glass menagerie of the title. Like the small glass unicorn that features prominently, she is unique and fragile. Natalie Kimmerling gave us a beautiful reading, showing great range from incredible vulnerability to wonderfully joyous. The superb use of music to symbolise various states like retreating into a cocoon (headphones on) and dance to symbolise finally cracking open her protective shell was particularly effective throughout. Natalie was simply sensational in a performance that was full of motion and emotion.

Zacchaeus Kayode played former star of the high school Jim O’Connor whose athleticism and great voice had caught Laura’s attention years before. A charming, charismatic portrayal that was creditably subtle showed a real understanding of character that does this young actor much justice and rounds out a fine cast.

With wonderful use of light (including candles) allowing a palette of shifting emotions, an interesting circular stage evoking (to me) the cyclic drudgery of life or perhaps the protagonists endless spiral downward emotionally and music like a movie soundtrack setting the mood perfectly the production team should feel justifiably proud of the world they created.

The “One Moment In Time” dance (between Laura and Jim) was the absolute highlight for me. It was the romance I’d been longing for. Just how I remember it is supposed to feel in real life. If only! If this had been on TV I’d have rewound it numerous times.

This play is richly nuanced with many universal echoes that resonate loudly within us. I found myself sitting in my seat at the conclusion wondering just what I had seen. It seemed that I had added as many layers to the play from my own experience as there were already on stage. I could quite happily see this masterpiece again and again and I urge you all to catch it while you can.

The Lyceum Theatre, Sheffield – runs until 30th March 2024

Reviewed by Sophie Dodworth

5*****

The majority of parents will know about Bluey, it’s a huge hit TV show, made in Australia with some fantastic characters. In fact, most parents will probably tell you that they would watch Bluey, even if the kids were not awake! It’s a common joke that this show is aimed more at the parents, than the little ones. It has a reputation for having some real deep and meaningful undercurrents, in each episode (including this stage version), teamed with a lot of laughter.

In this show we find Dad drawn towards sitting on the bean bag, looking at his phone, and not really wanting to play with the kids. He is trying everything he can to stay there, even concealing his phone behind a book he is pretending to read! The kids just want him to play with them. Eventually Bingo hides her dads phone, under instruction from Bluey, and we follow the search for it.

The whole cast work extremely hard on the stage and it’s admirable to watch, as they are working with pre-recorded vocals for all the puppets. Usually the vocal aspect would be live from the actors, but not one made a sound. Staying engaged and looking engaged must be a little laborious maybe at times, so hats off to them all. Maybe, being in the audience you may be a little disappointed at the fact that things are recorded but actually, it added to the authenticity.

The set was really well thought out, for small eyes to be able to see from the auditorium. The lighting was super effective and really enhanced some moments, like the funny dance section where everything was very loud, including the lights. Well done to head of lighting Liam Search.

I am sure that many parents who are theatre lovers will agree, that when your little one comes to see a show with you, you are getting just as much enjoyment from the smiles on their faces as you are the performance, if not more. Well, this show will give you that; Bluey’s Big Play is potentially the best kids show that has been on at the Sheffield Lyceum in a long while, go see it if you can, 50 minutes of heart-warming fun and giggles

Theatre Royal, Windsor- until 30th March 2024

Reviewed by Liberty Noke

5*****

12 Angry Men is a popular play and also movie first performed in 1954 audiences have been enjoying it for 60 years now and this performance made it clear why modern audiences still resonate with the messages of humanity within the play.

The play opens with the 12 men of the jury and a voiceover explains that it is their job to determine whether a man is guilty or not. It is explained that they must be certain he is guilty beyond reasonable doubt as if he is sentenced he will be put to death. The 12 jurors then walk to a room to discuss. The set is simple- a large table, 12 chairs, a watercooler. All very basic. The jurors are all dressed smartly in a muted colour palette but there are differences between their outfits showing that we have men here from all walks of life.

The foreman, played by Owen Oldroyd, conducts a vote and eleven men vote guilty but one votes not guilty. To the eleven it seems easy to vote guilty, they explain that the man stabbed his father to death, but Juror 8 (Jason Merrells) explains that sending someone to their death is an incredibly serious matter and that he thinks it should be discussed. The eleven then begin to lay out the evidence and the audience can start to decide for themselves if they think the accused is guilty or not. Some minds are changed as the play progresses but some of the men are stubborn Juror 3 (Tristan Gemmill) in particular seems certain of the accused’s guilt and seems to take every not guilty vote as a personal loss.

As the men discuss their verdict the table rotates very slowly on the stage. So slowly that you don’t notice at first this enables you to see different angles but I believe it draws a parallel in how your mind is being changed without you even realising it.

Watching this play in 2024 brings different context the accused man is said to be from the slums and it is heavily inferred that he is not white. Juror 5 (Samarge Hamilton) is the only member of the jury who also grew up in the slums. When other members of the jury mention that being from this background is a reason for committing violent crime, suggesting that ‘they’ are all the same Juror number 5 stands up for himself. The fight that ensues is a poignant moment in the play as Juror 5 leaves the room and stands in the corner of the stage simply looking down. Juror 11 (Kenneth Jay) follows him in a protective manner. It’s such a small part of the play but it really stayed with me. The audience is reminded that these generalisations and racism are still around today. It is also evident that in 1954 a jury of only men was not unusual, showing that times have changed.

Reginald Rose’s incredible writing makes this play wonderful. It is rare that a play set in one room featuring a only one long discussion on one topic can engross audiences but I found myself thoroughly invested in the drama. All of the actors gave incredible and believable performances. With themes like morality and humanity as well as the obvious question of “is he guilty?” this play makes for an interesting journey home discussing your thoughts and your own morality. I would recommend to everyone as it is gripping and thought-provoking with themes that resonate.

STORYHOUSE, CHESTER – UNTIL SATURDAY 30TH MARCH 2024

REVIEWED BY MIA BOWEN

5*****

After receiving acclaim in the West End and on Broadway, the stage adaptation of Khaled Hosseini’s novel “The Kite Runner” is now on tour in the UK and Ireland until early July 2024. Set in 1970’s Afghanistan, this production written by Matthew Spangler and directed by Giles Croft, narrates a tale of a friendship, guilt and redemption that significantly influences a lifetime. The play and novel both start with the statement, “I became what I am today at the age of 12” setting the stage for a fictional memoir that delves into childhood mistakes and their lasting impact.

The play begins with a conversation in Dari, one of Afghanistan’s official languages, between a young Amir, a wealthy Pashtun boy and his servant and loyal friend Hassan, a Hazara boy. I didn’t understand the initial dialogue but as I watched the two boys playing innocently, with their playful gestures and expressions, I was reminded that ‘play’ is the universal language of children.

Staying faithful to the book, this production tackles the tough realities of life in Afghanistan. It highlights the stark divides in social classes and delves into the country’s history marked by coups, invasions, insurgencies, and civil wars. This play delivers a powerful and impactful message with its portrayals of death, rape and violence.

The content can be tough to watch at times, but the actors’ warmth and the writing combine, to deliver an incredibly touching and thought-provoking performance. Stuart Vincent shines in his role as Amir, captivating the audience with his passion and complexity, even in moments when his character may be unlikeable. Despite this, you still find yourself empathising with him. Hearing his description of a kite tournament far above the treetops, while pretending to hold a string, is so compelling! Yazdan Qafouri delivers a powerful performance as Hassan, portraying him as brave and resilient, which intensifies the emotional impact of his hardships.

Indeed, the entire cast delivered a remarkable performance, narrating the story with great passion and energy, brimming with emotions and humanity. The percussionist, Hanif Khan, played a crucial role in captivating the audience and transporting them on a profound journey through Afghanistan to experience the story once again.

The Kite Runner‘s tremendous success as a novel, film, and stage adaptation can be attributed to its ability to evoke a wide range of human emotions and explore complex relationships in a captivating manner. It takes you on a heartbreaking journey that is touching and intensely powerful!

Hull New Theatre – until 30th March 2024

Reviewed by Dawn Bennett

5*****

Up to last night I hadn’t seen the Life of Pi on stage which was adapted by Lolita Chakrabarti, watched the film or read the novel by Yann Martel. I knew roughly what the story was about and had seen how many Olivier Awards the stage production had won (five, including one for the seven performers who puppeteer the Tiger “Richard Parker”). But really nothing could have prepared me for how good a production it actually was, the actors, set, puppets and the storyline were outstanding.

The story takes us to the hospital room of Pi (Divesh Subaskaran) and in flashbacks we see how he ended up in the hospital the only survivor of a boat taking him, his family and the animals from their zoo from India to Canada. The special effects are amazing from the rain storms on the boat, the changing sets to the different puppets on the stage including an orangutan, hyena and a zebra to name a few. The story is harrowing at times, showing how animals and people can behave in nature and when the odds are against them but the story was beautifully portrayed. You really need to go and watch this story unfold and see how the story is told.

Divesh Subaskaran, who according to the programme playing Pi is his professional debut, is a fabulous actor. He played the part with such ability and maturity you would think he was many years into his career. The sets and costumes (designed by Tim Hatley) helped set the scenes brilliantly. All the puppeteers (Antony Antunes, Sebastian Goffin, Akash Heer, Romina Hytten, Katie Kennedy-Rose, Aizah Khan, Kate Roswell, Tom Stacy and Peter Twose) were magnificent. They really made me believe that I was watching real animals on stage. Until the final curtain call, I hadn’t realised how small the cast was and how they played multiple parts in the show so well.

If you want to see an award-winning show, with an amazing cast and a fabulous and interesting storyline you won’t want to miss this show.

The Theatrical Guild to launch star-studded ‘An Audience With’ series 

as part of the charity’s 2024 fundraising initiatives

Brian Cox, James Norton, Golda Rosheuvel, Marianne Elliot OBE and Hugh Sachs are amongst the stars confirmed to headline a series of intimate theatre industry conversations, taking place throughout 2024 

The newly coined series will join The Theatrical Guild’s long-standing roster of fundraising initiatives in support of Backstage and Front of House staff

London, 29 February, 2024: The Theatrical Guild, the UK industry charity dedicated to supporting Backstage and Front of House staff, has announced the launch of a new fundraising series for 2024 entitled, ‘An Audience With’. Headlined by a roster of beloved stage and screen actors, the exclusive ticketed series will see all funds go towards the charity’s ongoing support of beneficiaries experiencing hardship at any stage of their career – including short term financial support, counselling, mid-career training schemes and more.

Amongst stars confirmed for the 2024 series are Brian Cox (‘Succession’ & ‘Long Day’s Journey Into Night’) moderated by Alan Cox; James Norton (‘A Little Life’) moderated by Claire Cartwright; and Golda Rosheuvel (‘Queen Charlotte’), Hugh Sachs (‘Bridgerton’) and Marianne Elliot OBE in conversation together – with further names to be announced. Taking place in venues across the West End, audiences will be given an intimate account into the actors’ career and latest projects, alongside a moderated audience Q&A.  

Amanda Parker, General Manager of The Theatrical Guild, commented: “After months of planning, we are incredibly excited to raise the curtain on TTG’s “An Audience With” series of events. With the generous involvement of our celebrity guests, we hope to engage a broad pool of supporters, and bring a wider awareness to the work of the charity in 2024.

The first event in the series, ‘An Audience with Brian Cox’, is confirmed to take place on 

Sunday 2nd June at 3pm

at the Leicester Square Theatre, 6 Leicester Place, London WC2H 7BX

Tickets range from £35 – £100 (booking fees apply) and can be purchased via 

The Leicester Square Theatre Box Office on 020 7734 2222 

or via www.leicestersquaretheatre.com

Brian Cox : “As an Actor I am aware that without our Backstage and Front of House staff my job would be impossible – and these unsung heroes are the backbone of all theatrical experiences across the UK. But when life is challenging The Theatrical Guild is always ready to listen and to help with financial support, counselling or mid-career training. So, I am delighted to support this wonderful charity with their “An Audience With” series.”  

Royal & Derngate Theatre, Northampton – until Saturday 30th March then touring the UK

Review by Amanda Allen

4****

I purposely didn’t research this production before going to see it as I wanted the surprise of the unexpected that the advertising promised, and I wasn’t disappointed. Time Machine written by Steven Canny and John Nicholson was certainly funny, more due to the excellent comedic talents of the 3 main characters than anything else. The performance tonight featured Noah Marullo playing the part normally taken by Amy Revelle and he was simply hilarious. The fact that he was understudying at the last minute and had to hold a script throughout the performance, and they had had limited rehearsal time simply added to the comedic madness of the show.

This adaptation starts off as three actors, George Kemp, Michael Dylan and Noah Marullo, switch from performing The Importance of Being Earnest and attempt to recreate HG Wells Time Machine after being cajoled by Dave, who is the great-great grandson of HG Wells. Directed by Orla O’Loughlin, this show is marketed to be an adaptation like no other, when the world of science fiction and science fact collide, and it certainly lives up to the hype. George Kemp tried so hard to influence the rest of the cast into doing things his way but everything just kept going wrong! The first half was a little slow but set the scene for the madness of the second half by explaining the time traveling paradox’, introducing the characters and outlining the story. Things very soon start to go awry with technical problems, lines outs of sync, sounds of props falling off stage, all very much in the style of “The Play That Goes Wrong” type of theatre. The ringing of a phone in the audience was so perfectly timed, that I am still not sure if it was a prop call or an someone in the audience had failed to put their phone on silent!

The plot, rescuing a character from mortal danger almost completely consumes act two, that said there is not much plot to unfold but more pantomime style shenanigans including quite a few members of the audience, with live portraiture, using an audience member’s phone and an audience member being invited to be Michael’s last ever date on stage. The chemistry and comedic timing between the 3 actors was exceptional but for me the outstanding performance was from Michael, he is certainly dramatic, very funny and not only manages to do an Irish jig and hip hop mash up but also delivers a soliloquy with great pathos. They all really owned the stage with their melodramatic performances .

If you struggle with the idea of audience interaction, I suggest sitting in the circle as the entire stalls, including myself, who ended up on stage as Michael’s “date” get equally picked on. If you are a fan of comedic mishaps, outrageous innuendo, badly sung Cher tribute songs and hip-hop mashups, I’d suggest that time waits for no one and you’d better go to see this show whilst you can.

ADDITIONAL CASTING ANNOUNCED FOR

COOL RIDER: 10^TH ANNIVERSARY CONCERT
STARRING

AARON SIDWELL AS MICHAEL CARRINGTON

ASHLEIGH GRAY AS STEPHANIE ZINONE

KITTY SCOTT-CLAUS AS THE FRENCH ONE

AND

GREASE 2 STAR MAXWELL CAULFIELD JOINS THE FACULTY AS MR STUART

TuckShop, in association with Christopher D. Clegg and James DP Drury, has today announced additional casting of their reunion concert of Cool Rider at The London Palladium on Sunday 14 April at 7pm, which marks the tenth anniversary of the cult-concert.

The cult musical sequel, which is a loving, unofficial parody and tribute to everyone’s favourite follow-up movie, played at the Lyric Theatre for two sold out shows, followed by a smash hit run at Duchess Theatre in April 2014 and was immortalised in May 2015 with the Original Studio Cast Recording, which was funded by fans through a Kickstarter.

West End stars Aaron Sidwell (Lord of the Rings, Wicked) and Ashleigh Gray (Wicked, Only Fools and Horses The Musical) will reunite and reprise their roles of ‘Michael Carrington’ and ‘Stephanie Zinone’ respectively with RuPaul’s Drag Race UK star Kitty Scott-Claus (Death Drop) taking on the role of ‘The French One’ and Grease 2 star Maxwell Caulfield (Chicago, Guys & Dolls), aka the original Michael Carrington, joining the faculty as Mr. Stuart. 

Joining them will be Tom Senior (Disney’s Beauty and the Beast, School of Rock)as ‘Johnny’, Hannah Levane (We Will Rock You, Flashdance)as ‘Paulette’, Jacob Fowler (Heathers, Before After)as ‘Louis’, Courtney Bowman (Legally Blonde, SIX)as ‘Sharon’, Kyle Cox (Ain’t Too Proud, Crazy For You) as ‘Goose’, Harry Francis (Mary Poppins, Cats) as ‘Davey’ and Lucinda Lawrence (9 to 5, Charlie and the Chocolate Factory)as ‘Rhonda’. The ensemble will be formed of Selena Barron (Grease), Pamela Blair (Curtains, 42^nd Street), Angus Good (Mamma Mia!), David McIntosh (Disney’s Beauty and the Beast, We Will Rock You), Ashley-Jordon Packer (Disney’s Beauty and the Beast, Cats) and Emily Ann Potter (Joseph and the Technicolor Dreamcoat, The Wizard of Oz).

Hannah Levane, Harry Francis and Lucinda Lawrence will be reprising their roles from the original runs of Cool Rider, with Levane having appeared in both the Lyric Theatre & Duchess Theatre runs and Francis and Lawrence both appearing in the Duchess Theatre run. Levane and Lawrence are also featured in the musical’s crowd-funded Original Studio Cast Recording.

The cult film told the heady and daring love story of two unlikely lovers and their road to romance from bowling alley to burger joint, sing-along-a-sex education class to talent show, and long (beautifully lit) romantic motorcycle rides to a slightly incongruous luau ending. Much like its musical prequel, the story follows the ancient High School motto: if you want the guy/girl, change your personality beyond recognition and wear overly tight leather in the finale.

This concert is a loving, unofficial parody, tribute, celebration of the music from the greasiest sequel ever made and (arguably) the best musical score ever committed to cinema… Featuring the songs: BACK TO SCHOOL SCORE TONIGHT COOL RIDER WHO’S THAT GUY? REPRODUCTION DO IT FOR OUR COUNTRY CHARADES PROWLIN’ GIRL FOR ALL SEASONS (LOVE WILL) TURN BACK THE HANDS OF TIME ROCK-A-HULA-LUAU (SUMMER IS COMING) WE’LL BE TOGETHER and more!

From the company who brought you Death Drop, Miz Cracker in Who’s Holiday, GALS ALOUD and sell out drag pantos at the Harold Pinter, Trafalgar, and Phoenix theatres, the concert will be directed by Christopher D. Clegg, musical direction and orchestrations by Lee Freeman, choreography by Matt Krzan, original direction by Guy Unsworth, lighting design by Toby Darvill, costumes by Ryan Webster, and sound design by Will Thompson. Cool Rider was originally conceived and co-produced by Christopher D. Clegg and James DP Drury.