MAYFLOWER THEATRE AND MAST MAYFLOWER STUDIOS ANNOUNCE A NEW PUBLIC AWARENESS CAMPAIGN FOCUSSING ON AUDIENCE BEHAVIOUR
SEE THE SHOW, DON’T BE THE SHOW – THERE’S NO EXCUSE FOR ABUSE
Southampton’s Mayflower Theatre and MAST Mayflower Studios are pleased to announce the launch of a brand-new public awareness campaign, aimed at encouraging kind and respectful audience behaviour towards theatre staff from patrons. A series of posters and digital screens around both venues will picture individual friendly and dedicated team members, with reminders of appropriate behaviour, with a personal touch.
Michael Ockwell, Chief Executive and Creative Director explains, “The idea for this new campaign came after observing reports of audience behaviour issues in other venues across the country – from customers causing show stops, assaulting Front of House staff and creating the need for police attendance. We asked for the views of our colleagues from across the organisation, including Front of House staff, artistic and executive leadership, and our marketing team, as it is important that our team feel safe in their job.
Whilst we are fortunate in Southampton to see very few of these issues on a regular basis, we decided to reinforce our dedication to our staff by reminding our customers of the friendly faces of our organisation, what they do, and most importantly, that they’re human and doing their best to ensure that everyone has the most enjoyable experience possible.”
Tasha Finch, Head of Customer Operations added, “We wanted to be proactive with this campaign knowing that customer behaviour not only within our industry, but in all walks of life is getting more and more challenging. It was important for both of our venues to involve our staff, so they are represented in this campaign – these are real people on our front line. We have had so much positivefeedback from our teams with this initiative and the messaging in the campaign is to enjoy your visit to our venues but be considerate and kind to the people who are there to help you.”
In addition to the venue signage, patrons will receive pre-visit emails with further reminders, and the campaign will also feature prominently on the theatres’ websites.
The producers of the award-winning production of SISTER ACT THE MUSICAL are pleased to announce further casting for the run at the Dominion Theatre from 15 March to 8 June 2024.
Television and stage star Lesley Joseph returns to the role of Sister Mary Lazarus, with Brit Award-winning singer Lemar as Curtis Jackson, Olivier Award winner Clive Rowe returning to his Olivier-nominated role as Eddie Souther, West End favourite Lizzie Bea returning as Sister Mary Robert, Olivier Award nominee Alison Jiear as Sister Mary Patrick, and star of Regent Park’s La Cage aux Folles Carl Mullaney as Monsignor O’Hara. They join the previously announced Beverley Knight as Deloris Van Cartier and Ruth Jones as Mother Superior.
Lesley Joseph will play the role of Mother Superior at certain performances.
Producer Jamie Wilson said, “Following the huge success of Sister Act in 2022, we are absolutely thrilled to be returning to the West End, having hand-picked an amazing company bringing together comedy legends and award-winning talent. We can’t wait to rock the pews of the Dominion Theatre in 2024 with this hilarious production and fabulous cast!”
Lesley Joseph is best known for playing ‘Dorien Green’ in the hugely successful sitcom “Birds of a Feather” alongside Pauline Quirke and Linda Robson. They recorded over 100 episodes over a period of nine years. Lesley and her co-stars returned to our screens in “Birds of a Feather” in 2013. She has been seen on screen in ITV’s “Night and Day” and appeared on BBC One’s “Strictly Come Dancing”, Channel 4’s “Celebrity Coach Trip” alongside Linda Robson, and most recently BBC One’s “Celebrity MasterChef”. Lesley’s theatre credits include Miss Hannigan in Annie at the West End’s Victoria Palace and on national tour, and her Olivier Award nominated performance as Frau Blucher in Young Frankenstein. Her other touring credits include Calendar Girls and Hot Flush!.
Lemar is a double Brit Award and triple MOBO Award winning singer/songwriter, with seven Top 10 singles, and over two million album sales. He released his 7th studio album, ‘Page In My Heart’ earlier this year. Most recently, Lemar was seen as Lord Smythe-Smith in the hit Netflix prequel spin off, Queen Charlotte: A Bridgerton Story. His other screen credits include the role of Danny Kilman in the Jaqueline Wilson adaptation of Little Darlings, and Grime Kids.
Clive Rowe was nominated for an Olivier Award in 2023 for the role of Eddie Souther in Sister Act. He won the Olivier award for Best Supporting Actor in a Musical for Guys and Dolls at The National Theatre and was also nominated for Best Supporting Performance in Carousel,also at The National Theatre. At 2009’s Oliviers, he was nominated for the Outstanding Achievement in an Affiliate Theatre award for Mother Goose at Hackney Empire. His many West End and touring credits include The Prince of Egypt at the Dominion Theatre, Ladykillers at the Gielgud Theatre,Chicagoat the Adelphi Theatre, Sweet Charityat the Donmar Warehouse, the UK tour of The Wind in The Willows and Me and My Girlat Chichester Festival Theatre.
Lizzie Bea’s London theatre credits include Martha Dunnstock in Heathers The Musical at The Other Palace, Tracy Turnblad in Hairspray at the London Coliseum and A Christmas Carol at the Dominion Theatre. Her other credits include Abigail in the World Premiere of Becoming Nancy at the Alliance Theatre, Atlanta and performing in the UK Tours of Kinky Boots, Fat Friends the Musical, Chicken Little, The Shakespeare Revue and The 3 Little Pigs.
Alison Jiear was nominated for an Olivier Award for her role in Jerry Springer: The Opera at the National Theatre. Her other theatre credits include Shoes at Sadler’s Wells, On The Town at the English National Opera and Theatre du Chatelet, Paris, Xanadu at the Southwark Playhouse, as well as Smokey Joes Café, The Hot Mikado, Grease and Les Misérables. As a vocalist Alison has taken her one-woman shows all over the world, released four solo albums, and is a regular soloist with the Royal Philharmonic Orchestra and the Halle Orchestra.
Carl Mullaney most recently starred as Albin in the Regent’s Park Open Air Theatre’s acclaimed production of La Cage aux Folles. Other theatre credits include Mary Sunshine in Chicago, Bamatabois in Les Misérables, Saucy Jack and the Space Vixens, Jest End, We Raise Our Hands in The Sanctuary and Bananaman The Musical. For the last 12 years Carl has been the host for Kinky Kabaret at Freedom Bar, Soho, the West End’s most popular late-night cabaret entertainment.
From 10 June 2024, the role of Deloris Van Cartier will be played by Number One best-selling artist and musical theatre star Alexandra Burke, with Lesley Joseph as Sister Mary Lazarus and Lizzie Bea as Sister Mary Robert. Further casting to be announced soon.
Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.
SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set and Costume Design by Morgan Large, Musical Direction by Neil MacDonald, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt.
SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson, Kevin McCollum, Gavin Kalin, Front Row Productions, Evolution Productions, Tulchin Bartner Productions and Curve.
Showstopping West-End musicals, awe-inspiring dance performances, breathtaking page-to-stage adaptations, classic tales, brand-new delights, and an adult-only take on a Disney classic; there certainly are treats for all in the fun-packed, new season announced at Newcastle Theatre Royal!
Audiences will be transported back to 1960’s Baltimore, where Tracy Turnblad dreams of dancing her way onto national TV, when Hairspray visits Newcastle (Mon 11 – Sat 16 Nov 2024), but can she win equality, and Link Larkin’s heart, without denting her ‘do?
More hairspray will be needed as NOW That’s What I Call A Musical, arrives (Tue 8 – Sat 12 Oct 2024) on its first ever UK tour directed and choreographed by Craig Revel Horwood. Get ready for a fun-filled evening bursting with hits from Whitney Houston, Blondie, Tears For Fears, Spandau Ballet, Wham! and so many more.
It’s an adult night-out when Unfortunate (Tue 2 – Thu 4 Jul 2024) gives Ursula a chance to give her take on what really happened all those years ago under the sea. The legendary queer queen is ready to spill, in this tell-all tale of sex, sorcery and suckers.
Starring Adam Garcia, Chitty Chitty Bang Bang is set to excite the next generation of fans as it flies into the region (Tue 4 – Sat 8 Jun 2024) featuring unforgettable songs including Toot Sweets and Truly Scrumptious, and QDance Company visit Newcastle to perform Re:Incarnation (Tue 15 & Wed 16 Oct 2024), an ode to the richness of Nigerian culture, in which dance, musical and visual art creations are bursting with pure and uncompromising joy.
Newcastle Musical Theatre Company bring smash-hit musical West Side Story (Tue 30 Jul – Sat 3 Aug 2024) to life, and CaroleW Productions take over the Studio stage with their production Limelight (Tue 9 – Sat 13 Apr 2024) based on the career of Julia St George, a real-life star of the Victorian stage born on Broad Chare in Newcastle.
Alfred Hitchcock’s classic spy thriller The 39 Steps (Tue 9 – Sat 13 Apr 2024) is brilliantly and hilariously recreated for the stage as four fearless actors play 139 roles in a performance full of fast-paced fun and thrilling action and unforgettable theatrical tour de force, The Kite Runner (Tue 25 – Sat 29 Jun 2024), opens direct from Broadway.
In another best-selling novel to stage adaptation, The Boy at the Back of the Class (Tue 30 Apr – Sat 4 May 2024) balances heart and humour in an unexpected and often hilarious adventure, highlighting the power of friendship and kindness.
In the Summer holidays, 101 Dalmatians: The Musical bounds into Newcastle for one week only (Tue 27 Aug – Sun 1 Sep 2024), when fashonista Cruella de Vil’s evil plan to swipe the town’s puppies for a new fur coat means there is trouble ahead for Pongo, Perdi and their tail-wagging young pups. Younger audiences will enjoy Peppa Pig’s Fun Day Out (Wed 21 – Thu 22 Aug 2024), packed full of songs, dances and muddy puddles, this perfect introduction to theatre guarantees giggles and snorts for all.
The 2024/25 pantomime The Little Mermaid will see Newcastle Theatre Royal favourites Danny Adams and Clive Webb return for their 19th year, along with celebrated singer songwriter Joe McElderry and legendary panto dame Chris Hayward.
And finally, following sold out runs in London’s West End at the Shaftesbury Theatre and the Theatre Royal Haymarket respectively, & Juliet (Mon 2 – Sat 7 Jun), as well as Only Fools and Horses The Musical (Mon 10 – Sat 22 Feb), are set to visit Newcastle Theatre Royal in 2025! Get whisked away on a fabulous journey as Juliet ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Or join us as we take a trip back in time, where it’s all kicking off in Peckham with classic characters; Del Boy, Rodney, Grandad, Cassandra, Raquel, Boycie, Marlene, Trigger, Denzil and Mickey Pearce.
Tickets for all performances can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010. Can’t decide? Opt for Newcastle Theatre Royal gift vouchers and your friends and family can decide for themselves!
Lyric Theatre, Shaftesbury – until the 14th January 2024
Reviewed by Fiona Leyman
I know it’s the Christmas season and all, but I want to make something very clear.
This play is not a Pantomime in any way whatsoever!
“OH YES IT IS!” “OH NO IT ISNT!” “OH YES IT IS!” OH NO IT BLOODY ISNT!”
“It’ll be alright on the night” they said. What possibly could go wrong? EVERYTHING, in fact!!
The audience is filing into their seats, and chaos has ensued. Trevor (Chris Leask), the Stage Manager, has misplaced his hammer and is having everybody search for it. With a bottle of beer in his hand, he is growing increasingly irritated by everyone ignoring him. AD Robert (Matthew Howell) is attempting to repair the flickering lights around the theatre, when he discovers that the only way to do so is to run an extension lead through the audience to the back of the theatre. They haven’t even begun the show, and things are not going according to plan. If you think something is likely to go wrong, it probably will, but everyone must continue with the show, no matter what.
The Cornley Drama Society are back with their brand-new production of Peter Pan. Director Chris (Harry Kershaw) and Co Director (“Assistant Director” according to Chris) Robert are attempting to redeem themselves after the disaster that unfolded at their premiere of Oliver Twist the Musical. Mr Bumble, played by Robert, sadly fell on one of the children who perished due to his Tesla blocking the ambulance bay. Determined to make up for prior mishaps in previous shows, their production of J.M. Barrie’s Peter Pan was sure to go off without a hitch. A substantial cash injection from Max’s (Matthew Cavendish) uncle allowed for new elaborate sets, lighting, and special effects that this ensemble of “talented” performers, minus Robert’s niece Lucy, who suffers from terrible stage fright, can’t possibly mess up.
This hilariously funny, slapstick comedy from the writers of A Play That Goes Wrong (Henry Lewis, Jonathan Sayer, and Henry Shields), promises to entertain audiences far and wide.
Matthew Cavendish (Max) is a charming actor who delights the audience with his cheeky little smiles and quirks. Nancy Zamit (The Play That Goes Wrong, Mischief Co-Founder) is a hilariously funny Tinkerbell, with her tutu hooked up to a power cable and her lightning-fast costume changes (beware of partial nudity).
I had no idea what to expect from this Faulty Towers-esque show, but after being assured by my guest that I was going to love it, I took my seat and settled in for an unexpected treat. At one point, I was laughing so hard that I needed tissues to prevent my mascara from running down my face. Trust me, that isn’t a good look! The audience participation was fantastic, with everyone roaring with laughter, especially when things went off script!
If you want to laugh from beginning to end, this is the show to see, you won’t be disappointed. It’s so Wrong it’s Right and deserves 5 Stars.
Crucible Theatre, Sheffield – until Saturday 2nd December
Reviewed by Carol Crann
Noises Off was written in 1982 by Michael Frayne, who realised – after watching a farce from the wings – that it was actually funnier from backstage. It’s named after a stage direction that refers to the sounds heard offstage, and is performed in three parts.
The first joins the technical rehearsal of a farce called Nothing On, following the tribulations of a dysfunctional cast just before opening night. It takes place in a house that is supposedly empty, empty except for housekeeper, Mrs Clackett. She’s played by Dotty (Liza Goddard), and her role develops as characters appear for numerous dubious reasons.
You’ve then got estate agent, Roger Tramplemain, who is portrayed by Garry (Dan Fredenburgh), and is an accomplished, but insecure actor that’s actually in a relationship with Dotty. Tramplemain arrives with a young lady (Lisa Ambalanar) that he’s trying to seduce, and who – in the true tradition of farce – ends up in her underwear.
When the owners of the property arrive home from Spain, doing so under wraps as to not alert the taxman, you meet Philip and Flavia – played by Freddie (Simon Coates) and Belinda (Lucy Robinson). Both have their own idiosyncrasies which the audience see gradually deteriorate throughout the run.
There is also an appearance towards the end of an aging and tired burglar, played by Selsdon (Matthew Kelly), who happens to be partially deaf with a serious drinking problem. And who is the one trying to pull the whole performance together? That would be the director, Lloyd Dallas (Simon Shepherd), whose relationships with a couple of the younger team members later leads to chaos.
Part two shows the performance. It’s a midweek matinee, but the audience sees it from the backstage perspective, showing how the relationships between the cast members has deteriorated and how that has impacted on the performance. It is full of slapstick comedy as the actors turn on each other with the stage manager, Tim (Daniel Rainford), and his assistant, Poppy (Nikhita Leslar), desperately trying to keep the show on track amidst the mayhem – as well as being understudies.
The final act? That takes place towards the end of the run, just as everything starts to breakdown. Relationships between all the cast and stage crew are marred by jealousy and personal differences, the set is starting to fall apart, and props either end up in the wrong place or go missing completely. Everyone tries to keep the show on course, of course, but inevitably this leads to more slapstick, more disasters and ultimately complete ad-libbing in order to try and save the show.
Throughout the performance there is a lot of excellent comic timing shown by all the individuals with all the elements of a farce clearly demonstrated. Cast members trousers falling down, the inevitable trips and falls and the constant reference to plates of sardines which otherwise has no relevance in the play.
If you’re a lover of slapstick and farce then this is definitely a show to go and see. At times the audience were left laughing uncontrollably at the resulting chaos unfolding on stage – and what better seal of approval could you ask for?
Bill Kenwright Presents Gary Barlow and Tim Firth’s Calendar Girls The Musical
Last night at Hull New Theatre we were treated to a masterclass in how to put on a musical. Its going to be quite hard to put into words how good it was but I’ll give it a go!
The show based on the true story of a group of women from a Women’s Institute in a small Yorkshire Village who set out to raise some money to buy a sofa for the visitor’s room at their local hospital after tragedy hits one of the group. Annie (Tanya Franks) and her husband John (Colin R Campbell) receive the news that he has cancer and we follow his journey. This part of the production isn’t an easy one but it is played beautifully and the songs are both heartbreaking and poignant. The songs are just lovely and are sung with such feeling and we get to meet and find out about each of the characters this way.
Chris (Amy Robbins) has the idea to produce a calendar to help raise the funds but not your normal WI, with pictures of Yorkshire, knitting or jam but with…gasp…nudes and the WI ladies being the nudes as well!! The WI is led by Marie (Paula Tappenden) a stickler for the rules and she wants your normal calendar the same as previous years. The other members Ruth (Maureen Nolan), Jessie (Lyn Paul), Celia (Marti Webb) and Cora (Honeysuckle Weeks) get together and along with Chris’s husband, Rod (Graham MacDuff), who is going to photograph the pictures for the calendar and what follows is hilarious!
This is magnificent show, from the Band (led by musical director Jordan Alexander), the very talented cast to everyone else involved in putting this production on stage. The nude scenes are very tasteful and greeted by loud cheers from the audience! Just checking through the programme at what other things the cast had been in is jaw dropping enough but to see them all in action is just superb! Go and see this show you will not be disappointed…I certainly wasn’t!
Once upon a time there was a little theatre in Greenwich, deep in south London, who dreamed of staging a spectacular pantomime like the large theatre’s in the West End of London.
So she asked Anthony Spargo, who she knew very well as he had performed in her pantos for many years, if he could help. He could, hooray, and he wrote Snow White. Anthony was so helpful to the little theatre he not only wrote the panto but he stared as the wicked witch Queen Narcissus. The draggy queen delivers a rock star performance of songs and cheeky banter with the audience for both young and old, actually he says a lot about both! Like all queens of drag, Queen Narcissus has wonderful costumes and wigs that have a life of their own.
Every wicked Queen needs a nemesis, enter Snow White, Katie Tonkinson. The down trodden Snow White also has dreams of a better life and finds her prince charming in Tom Bales, Prince Charming of Charmington. When the lovers meet and sing “Love is an open door” their love affair is sealed.
Every castle needs a jester, especially one that gives cuddles. Let’s meet Muddles who cuddles. Louise Cielecki bonces on stage with a high kick, her catch phase “who needs a muddles cuddle?”and some of the best one liners.
Where would a wicked queen be without a dogs body too do her bidding? The hunts man, Martin Johnson, runs a tight ship but shows has a heart when push comes to shove. It makes the audiences heart song when he finds his “ball and chain”.
DeeArna McLean plays the magic mirror with robotic artistry which would give “Alexa” a run for her money.
With an almost visible band, Uncle Steve Markwick and Gordoan Parrish ( Greenwich answer to Brian May”) provide the music on stage with drummer Chirs Wyles in the dungeon. He must have upset the queen!
Last but no way least the adorable dwarfs. We meet a set of new dwarfs with characters including Windy, Cockney and Cheeky. These little men steal the show especially when they take to Skys to save the day.
With the use of clever song choices, rapid fire one liners, snow ball fights and audience participation the little theatre of Greenwich fulfils her dream and produces a wonderful panto to rival any of the big boys in London Town.
CHITTY CHITTY BANG BANG FLYING INTO BLACKPOOL – CHRISTMAS 2024!
A new production of the most fantasmagorical musical of all time, CHITTY CHITTY BANG BANG will fly into the Winter Gardens Blackpool for Christmas 2024! Opening on the 10th December 2024 and running until December 29th, tickets will be on sale from Friday 1st December at 10am.
Based on Ian Fleming’s timeless story for children and later made into the famous 1968 film, CHITTY CHITTY BANG BANG features the unforgettable songs by the Sherman Brothers including Toot Sweets, Hushabye Mountain, Truly Scrumptious and the Academy Award-nominated title song, Chitty Chitty Bang Bang.
This new production will be directed by Thom Southerland (Titanic, Parade), choreographed by Karen Bruce (BBC’s Strictly Come Dancing, The Bodyguard) with Set and Costume design by Morgan Large (Newsies, Joseph and the Technicolour Dreamcoat), Musical Supervision by George Dyer (The Wizard of Oz, Annie, Billy Elliot) and casting by Debbie O’Brien.
In CHITTY CHITTY BANG BANG we meet absent-minded inventor Caractacus Potts who restores a broken-down old racing car with the help of his children Jemima and Jeremy. Soon the family discover the car has magical powers, and along with the delectable Truly Scrumptious, the family end up on a hilarious fantastical adventure to far off lands.
CHITTY CHITTY BANG BANG has Music and Lyrics by Richard M. Sherman and Robert B. Sherman, Music by Special Arrangement with Sony/ATV Publishing and is Adapted for the Stage by Jeremy Sams. Based on the MGM Motion Picture the Licensed Script is adapted by Ray Roderick. It was Originally produced by Eon Productions, Dana Broccoli, Frederick Zollo, Nicholas Paleologos, Jeffrey Sine, Miriam Productions and Michael Rose at The London Palladium.
This production is presented by permission of Music Theatre International.
New Victoria Theatre, Woking – until 2 December 2023
Reviewed by Lorna Hancock
Pretty Woman the Musical features original music and lyrics by Grammy Award winner Bryan Adams and Jim Vallance, with book by Garry Marshall and the films screenwriter J.F.Lawton. It is wonderfully directed and choreographed by two-time Tony Award winner Jerry Mitchell.
When a musical is made of such an all time classic movie such as Pretty Woman, it’s hard to know what to expect, and you can’t help but compare it to it’s iconic screen version. The whole production team would have had a very tough job of making sure, it not only lives up to the original but also adding the pizzazz to ensure it becomes the spectacle we expect from a live staged musical. Being a big fan of the film, I wasn’t sure how they would manage this and if I would enjoy it as much, however they most certainly didn’t disappoint and I loved every second of watching this talented cast shine.
As soon as the music started, we were instantly transported to the bright lights of Hollywood Boulevard in the 80s. The costumes, set and the ensembles energy throughout their song, ‘Welcome to Hollywood’ immediately drew us in. The set design was fantastic, relatively simple, but it transitioned us flawlessly from the vivid Boulevard to the elegance of the Beverly Wilshire Hotel.
For anyone that doesn’t know the story, it’s an unexpected fairytale between rich businessman Edward Lewis (Oliver Savile) and ‘Hooker’ Vivian Ward (Amber Davies) and how it changes her life forever. Both played their parts brilliantly, Oliver lived up to Richard Gere’s dreamy Edward with his beautifully melodic ballads, and Amber pulled off all of Julia Roberts’ sass and her witty one-liners with as much grace and glamour as the actress herself. The dynamic between the two was heartwarming to watch from the moment they met. Amber’s voice shone throughout the show, but I especially loved her stunning rendition of ‘I can’t go back’, through listening to her powerful vocals I think everyone would have empathised with her characters’ emotions.
One of my favourite scenes was ‘The Night at the Opera’, the staging was genius. It also showcased the amount of talent the ensemble shared. I couldn’t skip past this moment without mentioning the incredible voice of Lila Falce-Bass, everyone’s jaw dropped as she filled the theatre with her charming operatic tones.
I would also like to add a special mention for Curtis Patrick, he really was outstanding in his portrayal of Happy man / Mr Thompson. A chameleon, popping up in every scene making everyone laugh with his brilliant expressions and fascinating body movements. His characterisation was remarkable. This was in many scenes, complimented fabulously by Noah Harrison’s comic depiction of Giulio.
The show finished with a standing ovation, as the full ensemble performed Roy Orbison and Bill Dees’ ‘Oh, Pretty Woman’. After the orchestra teasing us with the intro earlier in the show, the audience seemed delighted and didn’t need much persuasion to join in with the party, singing and dancing along.
A thoroughly enjoyable and uplifting performance of an unconventional but charming fairytale.
RICHMOND THEATRE SCOOPS THREE AWARDS AT THE RICHMOND BUSINESS AWARDS 2023
Richmond Theatre are pleased to announce that the venue was thrice awarded at the Richmond Chamber of Commerce’s Business Awards held on Friday 24 November at Twickenham Stadium.
The theatre, which will celebrate its 125th birthday next year, was recognised in the following categories: Best Digital Marketing (WINNER, for their ‘Richmond Recreates’ social media series), Best Environmental Sustainability (HIGHLY COMMENDED, for their lighting project which saw them change all stage lighting to LED lights), and the public-voted People’s Choice Awards (COMMENDED). You can read more detail about our awards below.
Allie Long, Theatre Director, said: “We are thrilled to have received these three awards, which recognise and reflect the hard work and creativity of our team. This includes our commitment to improving our greener ways of working with our LED upgrade, and our local ‘take’ on the exceptional national touring product we receive with our Marketing team’s brainchild, ‘Richmond Recreates’. We couldn’t be prouder to have received Commended for the People’s Choice Award, the only publicly voted for category, firmly cementing our belief in the venue’s importance in the heart of the Richmond cultural landscape.”
Anne Newton, Richmond Chamber of Commerce, said: “Our congratulations go to all the Richmond Business Awards 2023 winners. The independent judging panel received excellent submissions across all the categories and these 2023 wins are all very well-deserved. It was fantastic to see directors and their teams celebrating in style last Friday and the vibe at Twickenham Stadium was truly electric!”
About the Awards
HIGHLY COMMENDED for Best Environmental Sustainability
In 2023, Richmond Theatre undertook a huge project to replace all stage lighting (which was at least 30 years old) with LED Lights. LED Lights are not only safer, sturdier, and longer lasting, but they have a much smaller carbon footprint. LED Lights emit 80% less greenhouse gases than incandescent bulbs and use 70-80% less energy than traditional lamps. Additionally, the theatre have purchased Solarpix 7’s, which means the lighting colour and position can also be controlled from the lighting desk. This provides more flexibility for the show, as well as uses less electricity per light meaning less lights are needed overall.
WINNER for Best Digital Marketing
In order to complement the high-quality touring product that comes to their venue, the Marketing team at Richmond Theatre this year began a new series across Instagram and TikTok called ‘Richmond Recreates’. The series sees team members from across the business (from Customer Experience to Technical) come together to recreate show posters or production images for upcoming shows. Examples include being the cast of Fisherman’s Friends by Richmond riverside, and helping Peter Pan ‘Go Wrong’ in an episode which gained over 23,000 views on TikTok. The fun, tongue-in-cheek series has become widely known across social media, with audience members regularly asking when the new ‘episode’ will be posted.