Aylesbury Waterside Wednesday – until 14th June 2025
Reviewed by Rachel Clark
5*****
A powerful musical that received a total standing ovation
Dear Evan Hansen is a musical Benj Pasek and Justin Paul (the book by Steven Levenson) and has won many awards and I am not surprised.
The story follows Evan Hansen a 17-year-old schoolboy with anxiety and depression. Evan is played by Ryan Kopel who has a great voice and does a stunning performance he draws you into the story. Evan breaks his arms and goes to a therapist who encourages him to write letters on how he is feeling, he leaves a copy of his latest letter Dear Evan Hansen on the printer in the computer room were Connor finds it he storms off with the letter. Connor is also depressed and a drug user and has a sister Zoe whom Hansen is attracted to; she was mentioned in the letter which didn’t impress Connor.
Later Connor commits suicide and the letter Hansen wrote is found in his pocket and all believe it was Connor’s letter, from reading the letter they believed Connor and Hansen were close friends and is invited to tea with the family. The family of Connor welcome in Evan and want to know more about their friendship and Evan forges emails and tells them of their time in an old Orchard. Later Evan and Alana a school friend and Jared a family friend who befriends Evan (so his parents will pay his car insurance!) set up a foundation in memory of Connor to raise the money to buy and bring the Orchard back to life. But does Evan get found out?
All the cast were amazing Heidi Hansen played by Alice Fearn – Evans mother, and Jared Kleiman is funny played by Tom Dickerson, Lauren Conroy was Zoe and Killain Thomas Lefevre played Connor, Concor’s parents were played by Richard Hurst and Helen Anker topped by a live band.
A NEW PLAY COMMISSIONED BY THE BARN & LICENSED BY THE BBC
“A new comedy to celebrate 75 Years of The Archers”
CEO and Artistic Director Iwan Lewis,Executive Director Liam McMullan, and the whole team of the Barn Theatre in Cirencester, are delighted to announce the creative team for the world premiere of Tim Stimpson’s play Haywire – A Not-So-Everyday Story Of How The Archers Was Born (Monday 1 September – Saturday 11 October, with a national press night on Thursday 4 September).
Joiningwriter Tim Stimpson and director Joseph O’Malley will be set and costume designer Alfie Heywood, with lighting design provided by Adam Foley, composer and sound designer will be Amanda Priestley and casting direction will come from Emily Jones and Anthony Houghton.
Casting will be announced in the next few weeks.
This new play, licensed by the BBC, to be performed in the 75th anniversary year of The Archers ahead of the 75th anniversary of The Archers on 1st January 2026, uses the magic of radio drama to whisk the audience back to the halcyon days when public gathered around their wirelesses to listen and lose themselves in the live, trials and tribulations of a fictional farming family.
In a cold British December in 1950, producer Godfrey Baseley assembled a group of actors in a studio above a used car showroom in Birmingham, to record the first ever episode of The Archers. Now, 75 years later, the ‘everyday story of country folk’ remains a proud staple of British pop culture and a fixture at the top of the BBC’s download charts.
Haywire is a fond and funny celebration of one of British media’s most enduring creations, paired with a deep affection for the craft of radio.
It is a love letter to The Archers and the minds that created it – an exclusive invitation to experience the tears and laughter, the triumphs and calamities, that can happen both in front of and behind the mic.
The Archers writer Tim Stimpson said, “It’s been a long-standing ambition of mine to tell the extraordinary story of how a small team of writers, actors and producers recording above a used car showroom in the centre of post-war Birmingham created what is now the world’s longest running soap – sorry, ‘continuing drama’. the Barn is certainly more salubrious than the BBC studios were back then, but I feel the spirit of creativity and ambition is very much the same. I couldn’t be more delighted to be working with them. Plus, how could a play about The Archers be performed anywhere other than a theatre called the Barn?!”
The Archers Editor Jeremy Howe said, “Last Christmas The Archers writer Tim Stimpson and I went tentatively to the Barn Theatre to pitch Haywire, a comedy that is a love song to the early years of Britain’s best loved drama on Radio 4, The Archers, a show which will be seventy-five years young in January 2026. They bit off our hands to commission it. I am delighted for The Archers to be working in partnership with the Barn Theatre, one of the most dynamic and welcoming theatres in the land, and I cannot wait to be sitting in the front row on the opening night of Tim Stimpson’s Haywire.”
Barn Theatre’s CEO and Artistic Director Iwan Lewis and Executive Director and Producer Liam McMullan said, “I’m incredibly excited for the Barn to premiere Haywire as part of the 75th anniversary celebrations of The Archers. As a lifelong listener, it’s thrilling to finally see with our eyes what we’ve listened to for decades. We’re hugely grateful to the BBC for trusting us with one of their most prized assets, and to Tim Stimpson and Jeremy Howe for their belief in the Barn. We’re also thrilled to be back in the rehearsal room with long-time Barn Director Joseph O’Malley, who brings humour and heart and to everything he does.”
The Barn Theatre is an award-winning producing-house in the heart of the Cotswolds, on a mission to inspire communities and champion the power of storytelling.
· Hailed as ‘Glastonbury for theatre lovers’, Europe’s largest free musical theatre festival returns on Saturday 21 & Sunday 22 June
· New performances announced to join the line-up of over 50 top London shows include Jamie Lloyd’s Evita, with Rachel Zegler set to perform
· The Sunday afternoon will also see an array of theatre stars perform as part of a concert to celebrate 20 years of West End LIVE, including Madalena Alberto, Aimie Atkinson, Cassidy Janson, Jenna Lee-James, Kayleigh McKnight, Lee Mead, Johndeep More, Natalie Paris, Tobias Turley and Marisha Wallace
· Presenting this year’s event are Divina De Campo and Hannah Lowther on Saturday, and Zoe Birkett and Oliver Tompsett on Sunday
Celebrating its 20th year, West End LIVE returns on Saturday 21 & Sunday 22 June, with a packed line-up of top London shows. Hailed as ‘Glastonbury for theatre lovers’, West End LIVE is Europe’s largest free musical theatre festival and showcases outstanding performances from top West End musicals, live and free in Trafalgar Square.
Tens of thousands of theatre fans are expected to flock to the capital for this unique event, presented by Westminster City Council and the Society of London Theatre with support from the Mayor of London, partners and sponsors. West End LIVE attracts people of all ages into central London to experience the best of the West End – from the city’s unparalleled theatre and culture scene to food, drink, fashion, nightlife, retail and more, providing a major boost to Westminster’s local economy and supporting the creative industries.
An impressive line-up of over 50 top West End shows are set to perform at the event, as previously announced on social media, including Back To The Future, Cabaret, The Curious Case Of Benjamin Button, Disney’s Hercules, Disney’s The Lion King, Fiddler On The Roof, Hamilton, Les Misérables, Mamma Mia!, Matilda The Musical and Wicked.
Today, new shows have been revealed to join the line-up, including Jamie Lloyd’s upcoming production of Andrew Lloyd Webber’s Evita, with Hollywood star Rachel Zegler set to perform at West End LIVE for the first time. Other new additions include 101 Dalmatians, Janie Dee’s Beautiful World Cabaret, National Youth Music Theatre and This Is My Family.
Additionally, a special concert will take place at the event on Sunday afternoon to celebrate West End LIVE’s 20th anniversary, featuring a host of theatre stars curated by Westway Music, including Madalena Alberto, Aimie Atkinson, Cassidy Janson, Jenna Lee-James, Kayleigh McKnight, Lee Mead, Johndeep More, Natalie Paris, Tobias Turley and Marisha Wallace. The concert will take a look back at shows that have featured across West End LIVE’s 20-year history, including Beautiful, Carousel, Dreamgirls, Frozen, Heathers, Joseph And The Amazing Technicolor Dreamcoat, & Juliet, Once, Rent and We Will Rock You.
West End LIVE would not be possible without the ongoing commitment shown by Westminster City Council and the Society of London Theatre, with the support of the Mayor of London, London Heritage Quarter, New West End Company, Nimbus, Art of London, The Crown Estate, Edwardian Hotels, FM Conway, Heart of London Business Alliance, Regent St & St James’s, Shaftesbury Capital, Veolia, The Portman Estate and Thames Technology. Theatre owners and groups continue their support this year including Disney On Stage, ATG Entertainment, Delfont Mackintosh Theatres, LW Theatres, Nimax Theatres, Nederlander Theatres, Shaftesbury Theatre, Theatre Royal Haymarket, Criterion Theatres, Trafalgar Entertainment, Concord Theatricals and Theatrical Rights Worldwide.
Cllr Ryan Jude, Westminster City Council Cabinet Member for Climate, Ecology and Culture, said:
“West End LIVE made its debut in Leicester Square two decades ago and has since grown into Europe’s largest free celebration of open-air theatre. Through our partnership with the Society of London Theatre, the impact of West End LIVE reaches far beyond a single weekend.
“Working together, we’re proud to be increasing access to cultural opportunities for residents and young people in Westminster. We want to ensure everyone has the chance to experience the amazing cultural opportunities we have on offer in our city and we are looking forward to seeing people celebrating an incredible 20 years of West End LIVE this summer.”
West End LIVE is free to attend. Throughout the weekend, performances and exclusive backstage content are streamed on Official London Theatre’s YouTube and social media channels.
List of announced performances at West End LIVE 2025
101 Dalmatians
The Addams Family
Back To The Future The Musical
Bat Out Of Hell
The Book Of Mormon
Brigadoon
Burlesque The Musical
Cabaret
Calamity Jane
The Choir Of Man
Clueless The Musical
Coven
The Curious Case Of Benjamin Button
The Devil Wears Prada
The Diana Mixtape
Disney’s Hercules
Disney’s The Lion King
Evita
Fiddler On The Roof
The Frogs
G4
The Great Gatsby
Hadestown
Hamilton
Janie Dee’s Beautiful World Cabaret
Just For One Day
Lovestuck
Magic Mike Live
Mamma Mia!
Westway Presents: Marisha Wallace
Matilda The Musical
Les Misérables
MJ The Musical
Moulin Rouge! The Musical
My Neighbour Totoro
National Youth Music Theatre
Oliver!
Operation Mincemeat
Oscar At The Crown
Peaky Blinders: The Redemption Of Thomas Shelby
The Phantom Of The Opera
Pop Off, Michaelangelo!
The Producers
Ride The Cyclone
Roles We’ll Never Play
Sabrage
Showstopper! The Improvised Musical
Sing Street
Six
Starlight Express
This Is My Family
Tina – The Tina Turner Musical
Titanique
Westway Presents: West End LIVE 20th Anniversary Concert
Pride and Prejudice (*sort of), written by Isobel MacArthur, is a bold, brilliant, and blisteringly funny adaptation of Jane Austen’s classic that smashes every expectation and rebuilds them with glitter, karaoke, and buckets of charm. This is Austen as you’ve never seen her before—irreverent, loud, fiercely feminist, and gloriously entertaining from start to finish.
Set against the backdrop of Regency England the play is told from the perspective of the servants—the women who usually remain invisible in period dramas. Here, they step into the spotlight, becoming Lizzy, Darcy, and the rest of the iconic cast. The result is a wickedly sharp retelling that doesn’t just poke fun at the stiff conventions of its source material—it gleefully blows them to pieces.
The ensemble cast is nothing short of phenomenal. Each actor takes on multiple roles with effortless skill, creating a dazzling array of characters with just a quick change of costume, accent, or posture. The comic timing is impeccable, the transitions are seamless, and the energy never flags. Every single performer deserves praise for their wit, warmth, and extraordinary talent.
The script is razor-sharp, mixing Austen’s prose with modern slang, fourth-wall breaking, and moments of hilariously unexpected karaoke and it works brilliantly. Songs like “Young Hearts Run Free” and “You’re So Vain” become emotional and comedic high points that add an extra layer of meaning while keeping the audience in fits of laughter.
What makes this adaptation truly special is how it balances parody with genuine heart. Beneath the clever jokes and smart commentary lies a deep respect for Austen’s themes: love, class and societal pressure. This is storytelling with a point, delivered with style and soul.
Directed with flair and choreographed for maximum chaos and charm, Pride and Prejudice (*sort of) feels like a riotous night out with your sharpest, most rebellious friends. It’s theatre that feels inclusive, joyous, and thrillingly alive.
Whether you’re a die-hard Austen fan or someone who’s never made it past the dust cover, this play is an absolute must-see. clever, chaotic, cathartic—and completely unforgettable. An unmissable triumph, one I’m sure Miss Austen herself would chortle profusely at!
The producers of the hit West End production TINA – THE TINA TURNER MUSICAL,which is based on the life of legendary artist Tina Turner and was produced in association with Tina Turner herself, are delighted to announce that joining the previously announced Karis Anderson,who enters her fourth year in the musical, and recording artist and TV and radio presenter Fleur East, who makes her West End debut in the musical, will be Rolan Bell who continues in the role of Ike Turner for a second year. Karis and Fleur will share the role of Tina.
The musical, which has been running in the West End for over 7 years, making it the longest running show ever to play at the Aldwych Theatre, will close on Saturday 13 September 2025.
From Tuesday 24 June 2025, Natasha J Barnes joins as the manager of Ike and Tina, Rhonda Graam, Chrissie Bhima joins to playTina’s sister Alline Bullock, James Chisholm joins as Tina’s father Richard Bullock, Matt Dempsey will play record producer Phil Spector and lyricist Terry Britten, Irene Myrtle Forrester continues as Tina’s grandmother, GG, Christian James joins as Tina’s manager Roger Davies,current company member Dan O’Brien will take over the role of record company marketing manager Erwin Bach, Samuel Sarpong-Broni joins the castas Tina’s first love Raymond Hill, Charlotte St. Croix will continue as Standby Tina Turner and Carole Stennett continues as Tina’s mother Zelma.
Ensemble members are Craig Armstrong as Carpenter, Sarah Freer as Lorraine, Angelis Hunt as Tina’s son Ronnie, Keanu Adolphus Johnson as Tina’s son Craig and Ria Turner as Toni. The Ikettes are played by Vanessa Dumatey, Marion Fagbemi and Equiana Givans and swingsare Tré Copeland-Williams, Raiaz Fisher, Peter Houston, Joey James, Tamsin January, Jordan Louis-Fernand, Marisha Morgan, Annell Odartey, Clio Tamai and Samuel J Weir.
Children’s casting includes new cast members Rhianne King, Keilah Kofi and current cast member Lola McCourtie as Young Anna Mae Bullock and new cast members Diuneusa Miguel, Brielle Owusu Ansah and Ariella Warburton as Young Alline Bullock and Young Craig.
Developed by Stage Entertainment in London together with Tina Turner, the critically acclaimed production received its world premiere in the West End in April 2018 and has subsequently broken all Box Office records at the Aldwych Theatre. Since its opening, 10 first-class productions have opened worldwide on Broadway, across North America, in Germany, Spain, the Netherlands and Australia. The first UK and Ireland Tour opened in March 2025, the Brazilian production is opening in February 2026, and further European and world-wide productions are forthcoming.
From her humble beginnings in Nutbush Tennessee to becoming the Queen of Rock ‘n’ Roll, Tina Turner’s journey is nothing short of legendary. TINA – The Tina Turner Musical brings her inspiring story to life through electrifying, world-class performances set to the pulse-pounding soundtrack of her iconic hits. Featuring unforgettable anthems such as River Deep, Mountain High, We Don’t Need Another Hero (Thunderdome), Proud Mary, The Best, What’s Love Got To Do With It and the timeless Proud Mary,
this show is an exhilarating celebration of the artist we all know and love.
TINA – THE TINA TURNER MUSICAL opened at the Aldwych Theatre in London’s West End in 2018 before a global roll-out that brought the show to sold-out audiences across the world. The musical has been seen by over 8 million people worldwide.
In North America, the Broadway production opened in November 2019 and was nominated for 12 Tony Awards including Best Musical. The North American tour continues to run in its third year and can currently be seen across North American cities. TINA – THE TINA TURNER MUSICAL recently finished touring across Australia, where it broke historic box office records at the Princess Theatre in Melbourne and enjoyed sell out seasons at Theatre Royal, Sydney; Astor Theatre, Perth; and Lyric Theatre, Brisbane. In Europe, TINA – THE TINA TURNER MUSICAL has had productions at Stage Operettenhaus in Hamburg, Germany; the Apollo Theater in Stuttgart, Germany; the Beatrix Theater in Utrecht, Netherlands, and at the Teatro Coliseum in Madrid, Spain. In February 2026, the musical will open in Sao Paulo in Brazil marking its 11th worldwide first-class production.
Directed by Phyllida Lloyd and written by Pulitzer Prize-winner Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg, orchestrations by Ethan Popp, wigs, hair and make up design by Campbell Young Associates, casting by Richard Johnston for Pippa Ailion and Natalie Gallacher Casting and fight direction by Kate Waters.
TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
Produced by Stage Entertainment and Ghostlight Records and featuring the original London cast, TINA – THE TINA TURNER MUSICAL: Original Cast Recording is available worldwide on CD, both online and in stores. The CD features a 20-page booklet, which includes liner notes, synopsis, and production and studio photography. The album was recorded in February 2019 at Angel Studios and RAK Studios, produced by the show’s Music Supervisor Nicholas Skilbeck and Kurt Deutsch, and co-produced by Tom Kelly. To download or stream the album, or order the CD please visit www.ghostlightrecords.lnk.to/riverdeep-tinaturnermusical
TINA – THE TINA TURNER MUSICAL is dedicated to the memory of Tina Turner, who sadly passed away in May 2023.
Bat Out of Hell is not a good show. The book is nonsensical, the narrative is completely non-existent and at no point did I have any idea what was happening. I was deeply disappointed to discover that Jim Steinman had written the book. His songs deserve a much better vehicle than this badly written and produced production to showcase his immense musical talent.
The vague story is as follows: In some futuristic dystopia, a dictator called Falco (Joshua Dever) lives in a high-rise tower with his wife, Sloane (Sharon Sexton) and their teenage daughter, Raven (Sophie-Rose Emery.) He drugs his daughter to stop her from dreaming, for some unknown reason, and Slone has some alcohol issues due to being deeply unhappy about her life. Meanwhile, deep in the sewers, Strat (Glenn Adamson) is the leader of ‘The Lost’, a gang very much like Peter Pan’s lost boys, who will forever be 18. Tink (Carla Bertran) appears slightly younger than the others and has a crush on Strat. However, Strat is in love with Raven, a girl he has never met but whom he has a poster of, despite her leading a very sheltered life due to her strict parenting. How she appears on posters is never explained. Raven is also in love with Strat. Strat breaks into Raven’s bedroom, with the help of her maid, Zahara (Georgia Bradshaw) who is also one of the Lost. Raven runs away with Strat, then goes back home again, then runs away again, a plot echoed by her mum, who leaves her dad, then goes back, then leaves again, but we are unsure why, except that it fits in with the songs. Major plot points such as injuries are never explained or properly acknowledged, as at one point Strat is mortally wounded but in the next song he proceeds to prance around without a care about his wound. Tink betrays ‘The Lost’, almost getting throttled to death by Falco. Character arcs and development are missing entirely as Falco spends the entire show fighting violently against ‘The Lost’, but once he decides to dress the same as ‘The Lost’ at the end, all is forgiven. The songs are shoehorned into this mess, which further detracts from any structure or sense. We lose all emotional connection to the characters because we are unable to follow their journey so we don’t care what happens to them.
Using handheld microphones is an odd choice. It would make sense for them to be used during the songs but having them for the spoken parts adds to the fakeness of the show, along with the camera projections. The beauty of theatre is watching live performances, but the relentless use of screens strips a production of its authentic action.
Bat out of Hell does have some positives. The cast are sensational performers with outstanding vocals. I was blown away by Ryan Carter and Georgia Bradshaw’s rendition of ‘Dead Ringer for Love’. Glenn Adamson is a wired and energetic Strat, his unique voice makes each song his own. Closing Act 1, his version of the titular ‘Bat Out of Hell’ absolutely smashes it. The tightness of the ensemble means that the execution of choreography is flawless and really enhances the talent and professionalism of the cast. Unfortunately, the phenomenal cast are the only positives for the show, but they can’t save it from the low star rating. Bat out of Hell is a non-show. I wish it were a reimagining of the songs from Meatloaf and Jim Steinman and did away with any trace of the deplorable excuse of a plot.
Mark Cortale, Dale Franzen, Jonathan Murray and Harvey Reese in association with Shared Experience,today announce full casting for the world première of Maiden Voyage at Southwark Playhouse, Elephant. Tara Overfield Wilkinson directs Chelsea Halfpenny (Tracy Edwards), Naomi Alade (Jo), Laura Tyrer (Pat), Shahaf Ifhar (King Hussein), Juliette Artigala (Michele/Tanja), Alex Bowen (Dawn Riley), Molly Cleere (Nancy), Sam DeFeo (Mandi), Olivia Hewitt-Jones (Marie Claude), Rowan Macpherson (Sally), Olivia Mitchell (Claire), Billy Roberts (Walter/Reporter/Navigator) and Daniel Robinson (Howard Reporter).
This new musical, with book and lyrics by Mindi Dickstein and music by Carmel Dean, tells the story of how Tracy Edwards skippered the first all female crew aboard a ship called Maiden and made history competing in the 1989/90 Whitbread Round the World Yacht Race.
Mark Cortale, Dale Franzen, Jonathan Murray & Harvey Reese
in association with Shared Experience present
MAIDEN VOYAGE
Book and Lyrics by Mindi Dickstein
Music by Carmel Dean
Director: Tara Overfield Wilkinson; Orchestrator: Michael Starobin Musical Director: Simona Budd; Set and Costume Designer: Abby Clarke; Lighting Designer: Megan Lucas; Casting Director: Harry Blumenau; Associate Director: Kirsty Malpass
19 July – 23 August
It’s 1990, and Tracy Edwards makes history by leading the first all-female sailing crew around the globe in the Whitbread Round the World Race.
But how did a 20-something high-school dropout and galley cook end up being the skipper and navigator on such a ground-breaking race?
Was it a chance meeting with King Hussein of Jordan, who encouraged her to dare to try? Was it something that she needed to prove to herself or to her mother?
Or is there something else that makes a person do the unexpected and extraordinary?
Charting a thrilling and unforgettable journey across oceans and horizons, Tracy and her crew’s epic true story comes to life in a sweeping, extraordinary new musical.
Chelsea Halfpenny plays Tracy Edwards. Her theatre credits include 9 to 5: The Musical (Savoy Theatre), Waitress (UK and Ireland tour) and Beryl (West Yorkshire Playhouse). Her television credits include Emmerdale (as series regular Amy Wyatt), Casualty (as series regular Dr. Alicia Munroe), Byker Grove, The Good Ship Murder and Grantchester.
Naomi Alade plays Jo. Her theatre credits include SIX (Vaudeville Theatre), Eugenius! The Musical (Turbine Theatre), Beautiful: The Carole King Musical (Curve Leicester, UK tour), Robin Hood and His Merry Band (Oxford Playhouse) and Once on this Island (Southwark Playhouse).
Laura Tyrer plays Pat. Her theatre credits include Chicago (European tour), Barista The Musical (Capitol Theatre, Horsham), High Society, Gypsy (The Mill at Sonning), Mother Goose (Duke of York’s Theatre), Going Ape (Union Theatre), Chicago (Phoenix Theatre), Ruthless (Arts Theatre), Matilda (Cambridge Theatre), A Damsel in Distress (Chichester Festival Theatre), Charlie and the Chocolate Factory (Theatre Royal Drury Lane), From Here to Eternity (Shaftesbury Theatre), Cabaret (Savoy Theatre), Spamalot (Palace Theatre), 9 to 5: The Musical, Thoroughly Modern Millie, White Christmas and Beauty and the Beast (UK tours). For film, her credits include Wonka (also Assistant Choreographer)
Shahaf Ifhar plays King Hussein. His theatre credits include Tom Lehrer is Teaching MathandDoesn’t Want to Talk to You (Upstairs at the Gatehouse), Indecent (JW3), The Returnings (PIT International Theatre Festival), Bad Jews (Centre Stage) and Ordinary Days (Cameri Theatre). His film credits include Highway 65 and Concerned Citizen.
Juliette Artigala plays Michele/Tanja. Her theatre credits include Les Misérables (Théâtre du Châtelet, Paris), We’ll Have Nun of It (Edinburgh Fringe Festival, The Other Palace), In and Out of Knowing (Backstage Theatre) and Roxana (Bridge House Theatre). Artigala is currently recording and producing her debut EP with her band ‘hoovs’.
Alex Bowen plays Dawn Riley. Her theatre credits include Mrs Doubtfire (Shaftesbury Theatre), Bat Out Of Hell (Peacock Theatre, international tour), Dusty The Musical (UK tour) and Sister Act (Dominion Theatre). She has also performed with Avant Garde Dance Company and UnTitled Dance Company.
Molly Cleere plays Nancy. Her theatre credits include Ghost the Musical, Charlie and the Chocolate Factory (UK tours) and Mamma Mia! The Party (O2 Arena).
Sam DeFeo she makes her professional debut as Mandi. She is a recent graduate of Mountview Academy of the Arts.
Olivia Hewitt-Jones plays Marie Claude. Her theatre credits include Rocky Horror Show (European tour), Dick Whittington (Salisbury Playhouse) and Let’s Face the Music (Royal Albert Hall).
Rowan Macpherson plays Sally. Their theatre credits include Spring Awakening (Phoenix Arts Club) and Babies (The Other Palace).
Olivia Mitchell plays Claire. Her theatre credits include Beauty and the Beast (Wolverhampton Grand Theatre), Cinderella (New Hull Theatre) and Waitress (UK tour).
Billy Roberts playsWalter/Navigator. His theatre credits include Mrs Doubtfire the Musical (Shaftesbury Theatre), I Should Be So Lucky the Musical, Titanic the Musical (UK and Ireland tours), Nativity!The Musical (Birmingham Rep, UK tour), Rock of Ages, Summer Holiday the Musical, Our House (UK tours), Cinderella (Corn Exchange, Newbury), Joseph and the Amazing Technicolor Dreamcoat (Kilworth House Theatre) and The Wizard of Oz (Sutton Theatre, Suffolk).
Daniel Robinson playsHoward Gibbons. His theatre credits include Glory Ride (Charing Cross Theatre), Heathers: The Musical (The Other Palace), Guys and Dolls, South Pacific (Kilworth House Theatre), Kiss Me Kate (Théâtre du Châtelet, Paris; Grand Theatre, Luxemburg), My Night with Reg, Piaf (Donmar Warehouse, West End), Cinderella (The Old Vic), A Colourful Noise (Royal Court Theatre), Tonight’s The Night, Jekyll and Hyde, The Pickwick Papers (UK tours), The Mystery of Edwin Drood (Arts Theatre), Girls Night In (Lincoln Theatre Royal), The Five Labours of Harvey Fish (Theatre Royal, Drury Lane), Boys in the Buff (Pleasance Edinburgh), The Ghost Downstairs, Treasure Island (Nuffield Theatre) and Aladdin (Greenwich Theatre). His television credits include Ty & Ky Comedy Sketch Show and Computer’s Don’t Byte; and for film, On The Other Hand. His comedy sketch group Sketch You Up! Has performed at Brighton Fringe, Edinburgh Festival Fringe and VAULT Festival.
Tara Overfield Wilkinson directs. Her theatre credits include Allegiance (Charing Cross Theatre), Falsettos (The Other Palace – winner of WhatsOnStage Award for Best Off West End Show), The Producers (international tour, China), Little Shop of Horrors (UK tour), CATS (international tour), and Miss Saigon, Tommy and Sister Act (Gaiety Theatre, Isle of Man). As associate or resident director, her credits include Motown, Memphis, Hair, Sunday in the Park with George; Tick, Tick… Boom!; High School Musical (West End), Motown, 9 to 5, Sister Act, High School Musical, The Full Monty, and Oh! What a Night (UK tours).
Mindi Dickstein’s theatre credits include Little Women: The Musical (August Wilson Theatre, US tours, Seymour Centre, Hope Mill Theatre, Park Theatre and numerous premieres worldwide including recent productions in Australia, Japan, and Italy – licensed by MTI, Original Broadway Cast album released by Ghostlight/Sh-k-boom Records), Saint Ex and the Little Prince (Katowice City of Gardens Concert Hall, Poland), Witnesses (California Center for the Arts, 2022 San Diego Critics award for Best Production), Benny & Joon, based on the MGM film (The Old Globe, California, 2017 San Diego Critics nominee for Best Musical) and book for Toy Story – The Musical for Disney Creative Entertainment.
Carmel Dean is an award-winning composer/lyricist and Broadway music supervisor, musical director and arranger. As composer, her theatre credits include Renascence (Abrons Arts Centre), Well Behaved Women (New York’s Town Hall, Joe’s Pub), and On Cedar Street (Berkshire Theater Group, The Unicorn Theater). As musical director and/or arranger her credits include The Notebook, Funny Girl,If/Then, Hands on a Hardbody, American Idiot, The 25th Annual Putnam County Spelling Bee (all Broadway),and Clueless (West End).Off-Broadway credits include Really Rosie, Everyday Rapture, Vanities and Elegies. Other international credits include Fun Home (Chicago); and 2000 Sydney Olympics Opening & Closing Ceremonies.
MAIDEN VOYAGE
LISTINGS
Southwark Playhouse, Elephant
1 Dante Place, London, SE11 4RX
Box Office: 020 7407 0234
How to Get to Elephant Venue: The nearest stations are Elephant & Castle and Kennington
Southwark Playhouse is a registered charity that delivers a year-round programme of entertaining and enriching work. Southwark Playhouse operates two separate venues ‘Southwark Playhouse Borough’ and its newest theatre ‘Southwark Playhouse, Elephant’ which opened in January 2023. Southwark Playhouse has always prided itself in telling stories and inspiring the next generation of storytellers and theatre makers, where support for the community has been rooted at the core of the organisation.
Georgia Blessitt from the Royal Academy of Music is named Stephen Sondheim Society Student Performer of the Year
Rigby Edwards from the Royal Welsh College of Music and Drama is runner up
12 candidates battled it out in a hotly contested West End sing-off final at the Sondheim Theatre
Georgia Blessitt from Leeds, studying at the Royal Academy of Music, has beaten off stiff competition from 11 other talented young singers to be named the Stephen Sondheim Society Student Performer of the Year.
She was crowned last night at the end of a hotly contested West End sing-off final, fittingly in the Sondheim Theatre, collecting a prize of £1,000 and the chance to headline her own Sondheim-infused cabaret in London.
Runner Up was Rigby Edwards from Liverpool, a third year BA Musical Theatre student from the Royal Welsh College of Music and Drama. She receives £500.
Craig Glenday, Chairman of The Stephen Sondheim Society (a charitable trust founded in 1993), said: “Georgia was the first student the judges heard in the heats stages, and it was clear from the beginning that she would be the one to beat. She made a really brave choice to sing ‘Losing My Mind’ from Follies – such a well known and well loved song – but pulled it off flawlessly. The contrast with her second song – ‘Watchin’ the Door’ by Wigmore & Green – allowed Georgia to showcase her range and versatility. A well deserved winner.”
Each finalist was required to sing one song with music and lyrics by Stephen Sondheim, plus a new song chosen by them from the selection at NEW UK MUSICALS – the organisation founded by the Olivier-Award-winning Benjamin Button composer Darren Clark to showcase the UK’s best new musical-theatre writing for the stage. It was the express wish of Mr Sondheim that for every one of his songs selected by the finalists, a new song is performed, in order to encourage and support the creation of new work.
The final was hosted by Olivier Award nominee Rosalie Craig.
This year’s Chair of Judges was Jenna Russell and Musical Director Nigel Lilley chose the 12 finalists with two students held in reserve from over 300 submissions.
The 12 finalists were: Hasia Akwaboah (Royal Welsh College of Music & Drama), Sophie Anne Baker (Royal Welsh College of Music & Drama), Georgia Blessitt (RAM – Royal Academy of Music), Becky Bush (RADA – Royal Academy of Dramatic Art), Maria Collins (Arts1), Jamie Cushion (Trinity Laban), Rigby Edwards (Royal Welsh College of Music & Drama), Hudson Harden Scheel (Royal Conservatoire of Scotland), Georgie Lagden (RAM – Royal Academy of Music), Ella McLaughlin (Emil Dale), Lotte Pearl (Bristol Old Vic Theatre School), Nimi Spiff (Mountview Academy of Theatre Arts). Reserves were: Jess Pratley (Arts Educational Schools) and Dominic Wood (Laine Theatre Arts).
The judging panel also included Darren Clark, Clare Foster, Nigel Harman, Catherine Jayes and Laura Pitt-Pulford. The Final was directed by Hannah Chissick and featured an ensemble from the National Youth Music Theatre.
Director Cal McCrystal has done the late Nell Gifford proud with this 25 anniversary production. Laguna Bay is the perfect 1950’s theme, with a slick and fun filled performance appealing to all ages.
We are pleased to see the return of resident clown Tweedy, managing to infiltrate nearly all of the acts with his own special comedic formula! You have to admire Maxi the Magician, who makes working with Tweedy look easy. The slap stick scene with co-conspirators the Rivelinos is a highlight that has the audience roaring with laughter. There is ice cream everywhere!
Every act is completely submerged into the 50’s seaside theme, creating a heightened sense of fun and abandon; often combining for an extra level of humour, including a synchronised swimming scene!
The award winning Garcia Family bring the audience to their feet in an aerial act full of jeopardy and hilarity. I’ve never seen an aeroplane in the circus rink before – not to be missed!
Emma Tytherleigh brings the ‘argh’ factor with her beautiful ponies and cute dog Cowboy. Artistry and beauty twinned with jeopardy and danger are offered by superb, spellbinding acts like the Duo Hairhang, Aerial Straps and Duo Handstand. All with an awesome circus pedigree. High energy is the order of the day and is delivered in bucket loads by the Ethio-Salem Troupe, with their hoop diving and juggling.
The show has a great rhythm and fluidity generated by the Gifford Circus band ‘The Semitones’. Ring master and singer Mikey Fletcher has a great 50’s sound that works well with Nell O’Hara. Their acting and singing skills are perfect for the Giffords circus unique style.
You are wrapped in the village circus culture of Giffords, from the moment you walk into the ring of liveried wagons to the great finale party. I recommend you take the whole family for this unique circus experience.
Despite being a massive fan of Rik Mayall, I had never been to the Comedy Festival named in his honour. I also wasn’t aware that there was a musical comedy (largely) from the pen of John Otway! So it was with huge anticipation that I headed off to the Norbury Theatre in Droitwich to catch this highly acclaimed but oft forgotten gem.
The story (written by Otway and Paul Bradley in 1984) concerns a lovable under-achiever, Gordon, who starts his new year with two resolutions – to start a diary and to go out with one of his new flatmates (it being the day that he also moves into his new flat). Many a misadventure ensues as he attempts to impress all in his house plus his rather worrying boss…
Tom Johnson played our lead character, Gordon, giving us a lovable loser – just the kind of down on their luck nice guy that we English love. I saw echoes of Rik himself (from his Young Ones and Bottom characters), John Otway’s self depreciation and this nuanced performance was all the better for it. Not only that, but he also played guitar too, accompanying himself and his fellow actors from the stage. Impressive!
This seems like a great moment to mention the live band on stage: Scatty Lee (guitar), Charlie Skelton (violin) and Hannah Whitbourn (cello), who produced a surprisingly varied palette of colours given their meagre resources. They sounded remarkably orchestral and certainly wrought every last ounce out of emotion from the fabulous score.
Georgie Harriet-King played the object of Gordon’s affections, Cheryl with an ease that was highly endearing. With a charming singing voice and personality to match, she and Tom made a likable, yet highly believable romantic couple.
The cast was rounded out by James Day playing poet/singer Tristram (whose highlight was his gig at the knowingly named (if you know Otway’s catalogue) Bunson Burner pub. A spirited performance. Last but not least was Alex J Carter (playing Phil/Eric – two characters who Gordon is constantly trying to impress and who Carter had a total blast with. A Fabulous performance, threatening at all times to steal the show. What a cast!
This being a smaller production, there wasn’t an over abundance of sets or costumes – but what there was was cunningly deployed to maximum hilarity. I particularly loved the “backing singers” in the red sequin dresses. The set was very cleverly imagined – it being a massive diary, with the pages pulling out to become areas in the story (bedroom, bathroom, pub, office). And with all the best shows, there was some delicious fun onstage with ad-libs regarding the dodgy sets not behaving themselves. Wonderful!
The entire musical has a feel good factor which is highly infectious; with gentle humour (though hilarious) that no-one could take offence to, a heartwarming story and a cast of oddball characters who become instant friends. To cap it all off there’s some wonderful music from Otway and even a couple of songs from the equally fabulous Mr Johnson! Truly, I tell you, I left the theatre wanting more and feeling rather fine. Can there be a more perfect way to enjoy a comedy festival? I think not. Bravo!
