Nottingham Theatre Royal – Tuesday 22 April 2025 and on UK Tour

Reviewed by Amy V Gathercole

5*****

“Chaotic comedic chaos and an unpredictably delightful night at the theatre for all!”.

I’ve been reviewing theatre for many years now and have been seeing it since I was a child and having been fortunate enough to experience hundreds of productions all over the world, I can honestly say that I’ve never seen a professional theatre show like Earnest?

Earnest? starts like any other play, really, there are actors on the stage, there’s blocking being performed and a script being interpreted to an audience. However, soon into the show, it’s revealed that the lead actor is missing and a new lead, aka Earnest must be cast. Here begins the fun. From that moment on, the play unravels into a whirlwind of guided improvisation, with volunteers delivering iconic lines while professional actors, including the incredibly adaptable Josh Haberfield as director Simon and Guido Garcia Lueches as an original cast member, Terry, provide guidance, encouragement, and, at times, damage control.

Mixing live professionals with complete unknowns on the stage is genius. If you know the historic classic play The Importance of Being Earnest by Oscar Wilde, then you’ll be aware of why this script may have been chosen. All our favourite elements from the story of misconceptions and misunderstandings are still there to enjoy.

The key reason this show is different from others is that to make it work, to engage, and to pull it off, they rely on audience participation to create the magic. It’s no secret or spoiler for this show that audience members are asked to leave their comfy seats and take the stage! A prospect that’s terrifying for many, but thrilling for others and this courage and curiosity is what the show relies on. In the Nottingham performance, a talented usher, Ned even wound up on the stage.

My favourite performances from the actual cast came from Ben Mann as Josh, the bewildered stagehand and props guy – his comic timing was brilliant throughout- and Trynity Silk as Jennifer, who is also behind the clever set design. She was memorable for all the right reasons.

The show and the team behind it as Say It Again,Sorry have had quite the rollercoaster in bringing the show to life, which, after big successes and rave reviews in London, was halted due to COVID. Having weathered the storm and survived as a show and a company, they’re about to take it back to the Edinburgh Fringe this year, after this UK tour ends.

Some of the cast and creatives popped their heads out after the show and greeted theatre goers in the foyer as they left and I caught the director and co-writer of the show, Simon Paris. I politely detained him a little and asked him (on his very hurried walk to his taxi with his family!) After seeing the show so many times in so many iterations, what still kept him excited and he shared “It’s those 3 seconds, the 3 seconds where you see if someone in the audience is going to join in and if they’re prepared to embrace the unexpected”).

Every performance is a gamble, a glorious roll of the dice where the audience steps up, and anything—truly anything—can happen. Each volunteer arrives with their own mix of nerves, enthusiasm, and sheer unpredictability, turning Wilde’s sharp satire into a living, breathing spectacle. Creative chaos reigns, with professional actors guiding their impromptu co-stars through the twists and turns of Wilde’s razor-sharp dialogue. The stripped-down aesthetic prioritises spontaneity, allowing the absurdity to unfold without distraction.

Beyond its entertainment value, Earnest? is a testament to the magic of live theatre—the vulnerability, excitement, and camaraderie that make every show unique, all depend on who is convinced enough in that moment to throw in some courage and put their hand up, to join in all the fun. Would you dare?

Whether you’re a Wilde purist or new to theatre, this production delivers laughter, surprises, and an unforgettable night of comedy that you’ll leave recommending to anyone who will listen.

Earnest is visiting theatres across the UK in 2025 and you can purchase your
tickets here (https://www.earnestshow.co.uk/#tour-anchor)

Birmingham Hippodrome – until 3rd May 2025. 

Reviewed by Emma Millward 

5*****

& Juliet, a reimagining of William Shakespeare’s tragic tale of star-crossed lovers, premiered at Manchester Opera House in September 2019 before transferring to the West End in November of the same year. The show went on to win three Olivier Awards in 2020. It explores the question of what would have happened if Juliet had lived.  The jukebox musical features the music of Swedish songwriter Max Martin, music arranged by Bill Sherman, with a book by David West Read. Filled to the brim with Martin’s impressive back catalogue of hits originally performed by an array of artists, including Katy Perry, Britney Spears, and Taylor Swift.

The show begins unexpectedly, as the cast begin to take to the stage to have a dance, or a chat with each other while waving at the crowd. We meet William Shakespeare (Jay McGuiness), who is about to stage the first production of Romeo and Juliet. His wife, Anne Hathaway (Lara Denning), who is visiting from Stratford-upon-Avon, makes a few suggestions on how he can improve the play. The main one being that Juliet (Gerardine Sacdala, making a stunning professional debut) decides not to end her life, and instead sets out on an adventure with her friends. Shakespeare is less than impressed with this idea, but decides to see how this will work in the play, with both Shakespeare and Hathaway taking part in the action as additional characters.  Juliet soon discovers that Romeo (Ben Jackson Walker, who originated the role in the Broadway production) had dated many other ladies in Verona. Juliet, her Nurse/Angelique (Sandra Marvin) and her non-binary best friend May (Jordan Broatch) decide to head off to Paris in search of adventure. Anne Hathaway joins them along the way in the guise of a new friend called April.

In Paris, they gatecrash a party Lance (Ranj Singh) has thrown to try to find a wife for his shy son, Francois (Kyle Cox).  Lance and Angelique rekindle their romance in a hilarious bedroom scene as they both belt out ‘Teenage Dream/Break Free’, made even funnier by Ranj Singh’s slightly over-the-top French accent. Francois meets both Juliet and May, making an instant connection with May. A series of typically Shakespearean comedic misdirections and confusion ensues as Francois is torn between two lovers.  To complicate matters further, Romeo reappears ‘from the dead’, adding to Juliet’s confusion. 

Luke Sheppard’s direction perfectly brings together all the production elements. The set design by Soutra Gilmour is exquisite, transporting us to Paris and Verona. Jennifer Weber’s choreography is just the right side of frenetic. At times, it felt like we were watching a pop concert with group dance numbers, confetti cannons and Howard Hudson’s beautiful lighting design. The songs all complement the storyline, especially Juliet’s rendition of ‘….Baby One More Time’ and ‘Roar’, which both drew huge applause from the crowd. 

Although the show boasts an impressive ensemble cast, the trio of remarkable leading ladies, Garardine Sacdalan, Lara Denning, and Sandra Marvin, truly shine. Their exceptional vocal abilities and impeccable comedic timing are evident throughout. The show is unashamedly camp and never takes itself too seriously.  It delivers a fun-filled night of catchy tunes, laughter, female empowerment….. and lots of confetti!!

BAT OUT OF HELL ROARS INTO LEEDS WITH THUNDEROUS BIKE MOTORCADE

Before a single guitar riff echoed through The Grand Theatre last night, Leeds was rocked by the roar of classic engines as a striking motorcade of vintage bikes from Aire Valley and St Leger HOG thundered through the city streets. This high-octane spectacle marked the electrifying arrival of Bat Out of Hell The Musical, setting the tone for a night of explosive rock anthems by the legendary Jim Steinman and Meat Loaf.

Cast members Luke Street (Strat) and Katie Tonkinson (Raven) joined the riders outside the venue for photos and fan moments before hitting the stage and delivering a powerhouse opening performance.

With engines revving and the stage ablaze, Bat Out of Hell is on at The Grand until Sat 26 April. Don’t miss your chance to experience this epic rock ‘n’ roll journey: www. leedsheritagetheatres.com/whats-on/bat-out-of-hell-2025/.

FOR ONE WEEK ONLY, THEY’RE

DIVORCED. BEHEADED. LIVE

– IN JAPANESE!

OTANOSHIMINI!

SIX THE MUSICAL WEST END WELCOME THE JAPANESE QUEENS FOR A STRICTLY LIMITED RUN

Following sold out seasons in Tokyo, Osaka and Nagoya earlier this year, the producers of SIX the Musical, are thrilled to announce that members of the critically acclaimed Japanese cast will take the stage at the Vaudeville Theatre, for one week only from Tuesday 4 to Sunday 9 November 2025, performing the show in Japanese (with English captions) for the first time in the UK. Performances go on sale at 10am on Wednesday 30 April.

Original producers Kenny Wax, Wendy & Andy Barnes and George Stiles, by special arrangement with Umeda Arts Theater, the producers of the Japanese production, are delighted to invite the cast to London following their celebrated performances in Japan, all of whom will make their West End debuts. 

For 8 performances only, members of the original Japanese cast will ‘Get Down’ and thrill West End audiences, performing the show with a linguistic twist, the first time the production will be performed in the UK in a different language.

The cast will be Sonim as ‘Aragon’, Meimi Tamura and Maho Minamoto alternating the role of ‘Boleyn’, Harumi as ‘Seymour’,  Eliana and Marie Sugaya alternating the role of ‘Cleves’, Airi Suzuki and Erika Toyohara alternating the role of ‘Howard’, Sora Kazuki  and Ruki Saito alternating the role of ‘Parr’. They will be joined by Aoi Tanaka as Musical Director. Due to existing scheduling commitments, original Japanese cast members Emiko Suzuki and Mahya Harada will not be appearing.

Producer Kenny Wax said: “It’s incredible to see how SIX has resonated with audiences around the world, and we are thrilled to welcome our wonderful Japanese cast members to London so they can reprise the roles they played so brilliantly in Japan. We, and the incredible current London cast, can’t wait for audiences to experience the Queens in a whole new way.”

Umeda Arts Theater Team said: “We are incredibly honoured that Japan has been chosen for the very first foreign-language production of SIX the Musical in London.
We cannot wait for London audiences to feel the power of our unstoppable Japan Original Queens — through a `one of a kind, no category` experience – delivered entirely in Japanese! Otanoshimini!

Performed in Japanese, with English captions, audiences can experience the global phenomenon like never before.

Tickets will go on sale on Wednesday 30 April at 10am via sixthemusical.com  

Yvonne Arnaud, Guildford – until 26^th April 2025

Reviewed by Heather Chalkley

4****

Writer April De Angelis captures a unique period in time, giving the audience a dynamic history lesson in the role of women in theatre. Director Michael Oakley has managed to pluck an image from theatre in the 1600’s and present it before you. A clever combination to both entertain and challenge.

We see the precarious position of women in the 1600’s during the Restoration, with few rights and a reinstated philanderer for a king. Theatres had been closed for over a decade. There were no rules as such and so for the first time women were employed as actresses.

Actress and prostitute are synonymous terms, making a living hard. You see a band of pioneering women, carving the way for the actresses of today. 

The intrepid Mrs Betterton (Anna Chancellor) teaches her craft to her girls and balances marriage with the thespian theatre manager with love and patience until it finally breaks her. Chancellor is so serious it’s funny. I will never look at a clock face in the same way again!

Zoe Brough captures the nature of Nell Gwyn perfectly, with wide eyes, foul mouth and quick wit that sees her character rise to the top and become one of the kings ‘favourites’. She encapsulates the survival of the fittest. 

Katherine Kingsley (Mrs Marshall) gives a full-blooded performance, showing the passion and anger that came with being a voluptuous beauty of the time. 

Nicole Sawyerr (Mrs Farley) portrays her character through her physicality, going from hunched puritan daughter, flailing ham actress, strutting kings favourite to prostrated beggar on the street. Sawyerr digs deep to deliver her soliloquy, a bereft mother that had given up her baby. 

The narrator character that holds it all together is Doll Common (Tracy Collier). Collier is relatable, believable, giving context to the production and earthiness to her performance. Her description of the theatre in its previous state as a bear pit, is analogous to the life for women on stage in that era. 

Together they portray a band of women carving a new pathway into a new profession, discovering all the pitfalls and blind alleys as they go. They explore every avenue, including sexuality, witchery and women’s independence. A stark and sometimes cruel humour emerges that can only be born of people with a love of their art and nothing to lose. 

Barney Norris’ Blood Wedding opens next week at Clapham’s Omnibus Theatre

Blood Wedding by Barney Norris opens next week, receiving its London Premiere at Clapham’s Omnibus Theatre from Wednesday 30 April – Saturday 24 May, presented by Two’s Company and Karl Sydow in association with Tilly Films.

The dark comedy brings Lorca’s passionate Spanish classic blazing into today’s England. Tension runs high in a village on the edge of Salisbury Plain as the happy anticipation of a wedding suddenly turns ominous. Georgie, 22 and the bride-to-be, is torn between her fiancé Rob and her ex, Lee. The seeds of disaster are sown.

Inspired by Frederico Garcia Lorca’s play, Barney Norris brings us bang up-to-date with the dreams and fears of any young couple today. Do we ever dare to do what is in our hearts, do ‘one pure thing’? 

Norris’ adaptation expertly combines comedy and tragedy. Norris said: “I think comedy makes us feel things more deeply. Comedy activates us. And comedy is the English ‘duende’. Lorca wrote extensively about this – the word loosely means ‘soul’ or ‘spirit’, and it’s what he’s writing about in Blood Wedding, the ‘duende’ that comes up from the soil of Spain through the soles of the feet into the hearts of people. We have duende, too. It’s not very like the Spanish duende, though. I think it’s made of laughter.”

Blood Wedding is directed by Tricia Thorns, with set design by Alex Marker, costume design by Carla Joy Evans, lighting design by Neill Brinkworth and sound design by Dominic Bilkey.

The cast includes Alix Dunmore (Sister Boniface TV, The 39 Steps, West End), David Fielder (The Cleaner TV, As You Like It RSC, Small Island National Theatre, Esme Lonsdale (Arthur’s Whisky Feature film), Kiefer Moriarty (Around the world in 80 days-ish, The Velveteen Rabbit feature film, Magic goes Wrong UK tour), Christopher Neenan in his professional debutand Nell Williams (Game of Thrones, Young Sherlock TV, Huntington feature film).

Blood Wedding is generously supported by the Boris Karloff Charitable Foundation, the John S Cohen Foundation and the Unity Theatre Trust.

Announcing the cast of 80 professional actors who will premiere 10 funny and bawdy new comedy plays by Mark Ravenhill

The titles of the plays are also revealed with three featuring all-female casts!

Rehearsed readings will take place over a marathon 48 hours

at Wilton’s Music Hall on 9 & 10 May

The 10 plays are revealed today:

Friday 9 May
Play 1: 12noon – 13.30 – Run At It Horny
Play 2: 14.00 – 15.30 – Run At It Babies
Play 3: 16.00 -17.30 – Run At It Backstage (all female company)
Play 4: 18.00 – 19.30 – Run At It Toothless (all female company)
Play 5: 20.00 – 21.30 – Run At It With A Plan (all female company)

Saturday 10 May
Play 6: 12noon – 13.30 –  Run At It Twins
Play 7: 14.00 – 15.30-  Run At It In Disguise
Play 8: 16.00 -17.30 – Run At It Feuding
Play 9: 18.00 – 19.30 – Run At It In The Countryside
Play 10: 20.00 – 21.30 – Run At It With A Vengeance

A world where everyone is a fool. Identities are mistaken and swapped. Misunderstandings abound. Sex and money are on everyone’s mind. And somehow everything works out for the best .

Bawdy, farcical and humane, Run At It Laughing is an epic celebration of comedy and our shared humanity.

Based on scenarios first published in Italy in 1611, Run At It Laughing is a cycle of 10 90-minute new comedies presented as rehearsed readings over two days. Each play can be enjoyed by itself or as part of the sequence.

Playwright Mark Ravenhill  – Shopping and F-ing and The Cane (Royal Court), Mother Clap’s Molly House and Citizenship (National Theatre), Ben and Imo (Royal Shakespeare Company) – wrote a new play every month in 2024, working alongside professional actors at Run At It SHOUTING workshops. He also directs the readings.

He said: “During the workshops, one of the actors said: ‘It’s a bit like a Carry On film written by Shakespeare’. That’s the sweet spot I’m aiming for, Matron!”
The casts for each play are:

Play 1
Run At It Horny
Omar Aga, Olsen Elezi, Michelle Charvez Grant, Gary Lammin, Chris Gallagher, Fiona Spreadborough, Mariella Dickhoff, Rebecca Snook, Ting Fung, Kay Boggett, Anna Tammela, Kasper Faulkner.

Play 2
Run At It Babies
Kathryn Pridgeon, Duncan Hess, Matthew Dunlop, Pascal Orzabal, Sasha Brooks, Sophie MacDonald, Charlie Ryall, Ron Shah, Josie Dee, Alistair Rowley, Claire Monique Martin.

Play 3
Run At It Backstage (all female company)
Sedona Rose, Nasia Ntalia, Lisa Blackwell, Sophie Marlowe, Jodyanne Richardson, Eleonora Andronaco, Katie Carlton, Krista Larsen, Phoebe-Ray Levene, Sascha Latoya, Dorthea Darby.

Play 4
Run At It Toothless (all female company)
Amanda Waggott, Claire Monique Martin, Cheryl Storer, Philippa Casares, Hannah Van Der Westhuysen, Lesley Lemon, Victoria Turnbridge, Georgina Hart, Alex Kristoffy, Rebecca Harland.

Play 5
Run At It With A Plan (all female company)
Lottie Graham, Cheryl Stapleton, Emma Wilkinson Wright, Marta Carvalho, India Thain, Lucrezia Galeone, Scout Black, Bridget Fry, Anna Farthing, Tess O’ Shea, Laura Craus.

Play 6
Run At It Twins
Seughter Michael Lorchir, Elise Williams, Emma Stannard, Brandon Burke, Tallula White, Barbara Mariposa, Alec Watson, Vaibav Sharma, Finlay McGuigan, Eloise Sheffield, Sarah Cribdon.

Play 7
Run At In Disguise
Michael Knighton, Lucas Hopgood, Georgia Polly Taylor, Lowri Evans, Sophie Karmal, Dom Czapski, Abigail Hunt, Karl Kennedy Williams, Michael Tcherepashenets, Laura Rose Barrett.

Play 8
Run At It Feuding
Bradley Stephen Lewis, Jun Noh, Rachel Heritage, James Anthony, Meg Coslett, Jessica Cochrane, Charlotte Touboulic, Danny Schienmann, Jasmine Yeoh, Laura Davey, Amy Thorpe, Ben Willows, Thomas Whitcomb.

Play 9
Run At In The Countryside
George Bamden, India Shaw Smith, Stephen Longstaffe, Ingrid Werner, Gavin Stewart, Claire Monique Martin, Angus Roughley, Mexx Grunwald, Kim Reichsteiner, Rowland Stirling.

Play 10
Run At It With A Vengance
Dionne Neish, JT Stocks, Pete Picton, Alice Gold, Lisa Day, Bianca Tornea, Smith Love, Oliver Moriarty, Ben Watts.

Background To The Plays by Mark Ravenhill

“In 1610, the Italian actor and impresario Flaminio Scala published a huge collection of scenarios for comic plays, drawing on his experience as a performer in the Commedia dell’arte from the 1580s onwards. In 1611, after a long career in the theatre, he published a volume of 50 full-length plays. There were no written scenes or dialogues in the volume. Simply a four page outline for each of the plays. The plays had been improvised, using the scenarios, in the 1570s and 1580s by an Italian troupe. These were the first fully professional actors in Europe and the first to include women as equal members of the company. One of these female actors, Isabella Andreini, became the most famous performer of her day. The company played an annual season in Paris, where they were seen by an international audience. These 50 plays, and Scala’s published scenarios, formed the foundation of much of the theatre that followed. Elements of plot and character appear in Shakespeare, in his Spanish contemporary Lope de Vega and in Moliere. But, being improvised, the influence of these plays has mostly been forgotten. Scala’s scenario’s became the ‘pattern book’ for the next generation of playwrights. The majority of the plays outlined are comedies. They are sexually frank, with the women given as much agency as the men. They are socially acute, depicting the newly rich mixing with the urban poor and new migrants from the countryside. They are grounded in money, sex and the body. Above all they are generous: it’s a world in which we are all fools and we all need to find a way to get along.

“My aim has not been to make a historical reconstruction. I was drawn to the scenarios’ generosity of spirit and their comic energy. It seemed to me to be something which we need in these divisive times. My aim has been to write plays that allow contemporary audiences to laugh and to celebrate our shared humanity.

“Each of the plays puts the same characters in different situations. While it’s enjoyable to see one of these plays, there’s a cumulative pleasure in seeing several. Or even 10 of them. As you get to know the characters, there’s an extra level of comedy and recognition. Much as there is with contemporary sitcom. This is why I’ve decided to present a marathon rehearsed reading of the plays over the two days of May 9/10 at Wilton’s Music Hall. A total of 15 hours of new comic writing, involving dozens of actors who’ve been involved in the workshops.”

Mark Ravenhill is a playwright and theatre maker. He has been an Associate Artist of the National Theatre and Playwright in Residence for the Royal Shakespeare Company. He is currently a trustee of the Royal Court Theatre. Mark Ravenhill made his playwriting debut with Shopping and F-ing at the Royal Court Theatre in 1996. His other plays include Mother Clap’s Molly House and Citizenship (National Theatre), The Cane (Royal Court), Ben and Imo (Royal Shakespeare Company) and Pool No Water (Frantic Assembly). His plays have been widely produced internationally including the Schaubuehne and Berliner Ensemble, the Market Theatre Johannesburg and New York Theatre Workshop. Mark has been an associate artist of the National Theatre and writer in residence for the Royal Shakespeare Company. He has led workshops across the world in cities including Madrid. Istanbul, Krakow, Mexico City, Venice and Honolulu. His plays are published by Methuen.

Run At It Shouting, led by actor and producer Charlie MacGechan, is one of the UK’s leading
platforms for creating and producing affordable industry workshops, entertainment and events. Frances MacGechan named Run At It SHOUTING after the iconic cult movie ‘Withnail and I’ written and directed by Bruce Robinson. Bruce is now a Patron of the company. Featured events have included Mike Leigh, Lesley Manville, Rupert Goold, Amma Asante, Bruce Robinson, Douglas Hodge, Charlie Cox, David Bradley, David Castaneda, Stacy Martin, Eve Best, to name but a few…

Wilton’s Music Hall
Wilton’s is a Grade II* building of international significance as it is the only surviving Grand Music Hall in the world, the foremost arts venue in the East End, Wilton’s welcomes world-class artistic talent to the East End all year-round. Wilton’s programmes and produces extraordinary music and theatre, which speak to the magical space of Wilton’s and are enhanced by it. It is home to over 300 performances and over 80 productions each year. Wilton’s has been home to the first East End BBC Prom, hosted the London International Mime Festival and championed new writing including plays by James Graham, Patterson Joseph, Chris Thorpe, and Joy Wilkinson.  It has hosted international work from Hong Kong to Canada and the team of artistic associates have kept diversity at the heart of all they do. Recently named the fifth most iconic building in London by Time Out, Wilton’s has a unique spirit that has captured the imagination of generations of artists for over 160 years. Wilton’s invest in the next generation of actors, directors and musicians through its Heritage and Artistic Engagement programmes.

LISTINGS INFO
Run At It Shouting presents
Run At It Laughing

Wilton’s Music Hall
Graces Alley,
London
E1 8JB

Performance schedule:

Friday 9 May
Play 1: 12noon – 13.30 – Run At It Horny
Play 2: 14.00 – 15.30 – Run At It Babies
Play 3: 16.00 -17.30 – Run At It Backstage
(all female company)
Play 4: 18.00 – 19.30 – Run At It Toothless
(all female company)
Play 5: 20.00 – 21.30 – Run At It With A Plan
(all female company)

Saturday 10 May
Play 6: 12noon – 13.30 –  Run At It Twins
Play 7: 14.00 – 15.30-  Run At It In Disguise
Play 8: 16.00 -17.30 – Run At It Feuding
Play 9: 18.00 – 19.30 – Run At It In The Countryside
Play 10: 20.00 – 21.30 – Run At It With A Vengeance

Tickets:
£12 for first episode
£8 for subsequent episodes
£40 for Weekend Pass
(strictly limited number)

Tickets go onsale
11.00am on Thursday 13 February

Running time:
Each play is 90 minutes

Age Recommendation: TBC

Venue Website  http://www.wiltons.org.uk/
Box Office: 020 7702 2789

Social Handles: @runatitshouting

Website: www.runatitshouting.com

Profits from this event will be donated to the
Nia Project, which delivers cutting edge services
to end violence against women and children.

Hall for Cornwall, Truro – until 26 April 2025

Reviewed by Kerry Gilbert

5*****

A Sizzling, Seductive and Sensational Show!

It was an absolute joy to review such an iconic show such as Chicago at the wonderful Hall for Cornwall. Upon arrival you could feel the excitement within the Cornwall Playhouse as we were greeted with a single black chair on stage with the spotlight zooming in on it! I was familiar with some of the music from this show but have never heard it performed on stage and the anticipation of what I was about to witness was evident. I was completely bowled over from the start, it was a sizzling, seductive and sensational show from start to finish!

“Murder, greed, corruption, exploitation, adultery and treachery” … and so it begins the multi-award-winning musical. Set amongst the razzle-dazzle decadence of the 1920s, Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her lover after he threatens to walk out on her. Desperate to avoid conviction, she fools the public, the media and her rival cell mate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from the tabloids today. Chicago’s sexy, sassy score with one show-stopping song and another include ‘Razzle Dazzle’, ‘Mister Cellophane’ and ‘All That Jazz’. With jazz hands, sharp angles and hip thrust galore, it oozes sensuality while carrying of the show’s humour. Bombastic numbers like ‘We Both Reached For the Gun’ and ‘Cell Block Tango’ are particular highlights that left the audience erupting with applause. The staging for this production was minimalistic with the Jazz band prominently integrated into the action. Neil McDonald led the band with charisma, occasionally stepping into the role of compere as he introduced the cast. Costuming played a significant role in the show’s alure, immersing the audience into Chicago’s sultry world, lingerie, bowler hats and fishnet tights. The cast exuded confidence, strutting their way through the number in outfits that were undeniably sexy yet powerful.

Strictly Come Dancing star Janette Manrara makes for a pleasant surprise as Roxy Hart. Balancing the cunning manipulator and wide-eyed naivete truly believing her murder will make her a star, Manrara makes Roxie’s character engaging as she learns a hard lesson on 15 minutes of fame whilst being a huge ball of energy going all out with the choreography.

Equally as compelling is Djalenga Scott as Velma Kelly. Exuding class and refinement the moment she steps on stage, her showstopping ‘All That Jazz’ is only a taste of her abilities. Biting and razor-sharp, Scott makes Kelly easy to sympathise with her desperation to stay relevant on top of possessing powerhouse vocals and slickly carrying Bob Fosse’s original choreography.

Dan Burton plays the charismatic sleazeball Billy Flynn. Effortlessly swaying his way through his dance numbers, he carried a roguish charm to numbers such as ‘Razzle Dazzle’. Sinitta Malone plays a charming performance as prison warden Mama Morton, with her opener ‘When You’re Good To Mama’ leaving an impact. Joshua Lloyd brings honest emotion as Roxie’s bumbling husband Amos Hart, making his number ‘Mr Cellophane’ a stunning performance of a profound and poignant song. Jordan Lee Davies meanwhile carries stunning operatic vocals as journalist Mary Sunshine.

The production imagery is superb, and credit must be given to Paul Coltas for the production shots and Becky Lee Brun for the shots of Janette Manrara.

Chicago is a masterclass in musical theatre – sharp, sexy and endlessly entertaining and this UK tour lives up to its old school razzle-dazzle. With a top-class ensemble, full of exquisite dancers, you will be in for an exciting time down at the Cook County Jail!

BROADWAY’S ORIGINAL ROMEO

BEN JACKSON WALKER

TO JOIN

uk & Ireland tour OF

AWARD-WINNING MUSICAL

& JULIET

The producers of the global sensation & JULIET are delighted to announce that Ben Jackson Walker, the original Romeo in the Broadway production, will be revisiting the role in the UK and Ireland tour. He began performances on Saturday 19 April and will continue through tot the end of the tour, next performing at Birmingham Hippodrome this evening.  

The UK and Ireland tour of & JULIET opened at Manchester Opera House on 8 July 2024. 

Ben joins current tour cast members Gerardine Sacdalan as Juliet, Lara Denning as Anne, Sandra Marvin as Angelique, Kyle Cox as Francois and Jordan Broatch as May, Ranj Singh and Lee Latchford-Evans who alternate the role of Lance and Jay McGuiness who as Shakespeare. Matt Cardle will be reprising the role of Shakespeare in Southend from 5 – 10 May.

Also in the cast are Harriet Caplan-Dean as Eleanor, Alexander Kranz as Lennox, Andilé Mabhena as Augustine / Dance Team, Liam Morris as Richard, Psalms-Nissi Myers-Reid as Lucy/Alternate Juliet, Michael Nelson as Henry, Toni Paise as Violet, Katie Ramshaw as Nell / Lady C, Aaron Shales as Gregory / Dance Team, Rosie Singha as Judith, Nia Stephen as Imogen and Samuel Wilson-Freeman as Fletcher / Resident Director, Dance Captain and Joe Wolstenholme as Off Stage Swing.  

Ben Jackson Walker trained at the University of Michigan. He made his professional theatre debut playing Romeo in & Juliet (Stephen Sondheim Theatre, New York) and has appeared in Honor Society (Paramount +), Orange is the New Black, and Evil (Netflix). Instagram: @benjwalker

There is life after Romeo!

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. Created by David West Read, the Emmy-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told and asks, what would happen next if Juliet didn’t end it all over Romeo?

Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including Britney Spears’ “…Baby One More Time,” Katy Perry’s “Roar”and chart toppers “Since U Been Gone,” “It’s My Life,” “I Want It That Way,” and “Can’t Stop the Feeling!” — all from Max Martin, the genius songwriter/producer behind more #1 hits than any other artist this century, and his collaborators. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

& JULIET is a global success and has now been performed on four continents since its World Premiere in September 2019. It began at the Manchester Opera House in England, before moving to London’s West End from 2019-2023, where it won three Olivier Awards, and 6 WhatsOnStage Awards. The show had its North American premiere in July 2022 in Toronto, where it broke box office records and played to standing-room-only audiences, before heading to Broadway, where it again broke box office records and plays nightly to sold-out crowds. It can now also be seen around the globe with the North American Tour that started in September 2024 and the German premiere in October 2024. The German production marks the show’s first production with a book translated into a different language and was also the sixth country to welcome & Juliet in less than five years. More information for all productions can be found at andjulietthemusical.com

The full creative team for the UK and Ireland tour of & JULIETincludes David West Read (Book), Max Martin & Friends (Music & Lyrics), Luke Sheppard (Direction), Jennifer Weber (Choreography), Bill Sherman (Musical Supervision, Orchestrations and Arrangements), Soutra Gilmour (Scenic Design), Paloma Young (Costume Design), Howard Hudson (Lighting Design), Gareth Owen (Sound Design), Andrzej Goulding (Video & Projection Design) and Nina Van Houten(Hair, Wig & Makeup Design) and Dominic Fallacaro (Additional Arrangements and Orchestrations). Casting is by Stuart Burt.

& JULIET is presented by Max Martin and Tim Headington and is produced by Max Martin, Tim Headington, Theresa Steele Page, Jenny Petersson, Martin Dodd and Rebecca Quigley.

Website: www.andjulietthemusical.co.uk

Instagram: @julietmusical

Facebook: @julietmusical                                                            

X: @julietmusical

YouTube: @julietmusical1925                                                              

2025 TOUR SCHEDULE

21 April – 3 May                     Birmingham Hippodrome                              0844 338 5000

                                                www.birminghamhippodrome.com

5 – 10 May                              Southend Cliffs Pavilion                                0343 310 0030                                                www.thecliffspavilion.co.uk

12 – 17 May                            Stoke Regent Theatre                                                                                                            www.atgtickets.com/stoke                             

20 May – 31 May                    Sheffield Lyceum Theatre                             0114 249 6000                                                www.sheffieldtheatres.co.uk                           

2 – 7 June                               Newcastle Theatre Royal                              0191 232 7010

                                                www.theatreroyal.co.uk

10 – 14 June                           Truro Hall for Cornwall                                   01872 262 466

                                                www.hallforcornwall.co.uk                             

16 – 28 June                           Cardiff Wales Millennium Centre                   029 2063 6464                                                www.wmc.org.uk                     

IF YOU LOOK FOR IT, I’VE GOT A SNEAKY FEELING YOU’LL FIND…ANOTHER MUSICAL PARODY AT THE OTHER PALACE THIS CHRISTMAS

Last year’s hit parody Christmas offering, Homo Alone, became The Other Palace, Studio’s best-selling show in the venue’s history, and so Jodie Prenger (Coronation Street, I’d Do Anything) is back for a third time – it’s a charm, much like Hugh Grant as our Prime Minister – along with Neil Hurst (Fat Friends The Musical, Casualty) with a new festive extravaganza, Lovers Actually.

If you want belly-laughs and to be wooed by some cardboard cue cards, then this hilarious show is one to put down on your Christmas list! Lobsters welcome!

All I want for Christmas is… filthy fun, fabulous festivities, and enough naughty cheer to make Santa blush! This Christmas, The Other Palace is serving up everything you could actually want – and then some, with this cheeky musical parody of Love Actually!

Will the Prime Minister finally get his Christmas wish? Will Mark steal his best friend’s new wife? Will we give the nation’s most beloved Christmas film a cheeky, festive kick in the mistletoe?! You’re damn right we will!

Following on from the success of last year’s Homo Alone, get ready for another hilarious and downright dirty Christmas adventure. From Downing Street to The Other Palace, this naughty musical parody will remind you that, deep down, we’re all just Lovers Actually.

Not only was Jodie’s last festive show, Homo Alone, the best-selling Christmas show at The Other Palace Studio, with All That Dazzles commenting, “..it is unashamedly silly, creating a world of joy from its irreverent take on the original story,” but her first, A Very Very Bad Cinderella, also received rave reviews, “I came out at the end with a great big grin on my face,” from WhatsOnStage.

She has said, “Come on, Christmas isn’t Christmas without watching Love Actually back-to-back at least five times. We’ve taken everything we love about the film, the music, the iconic moments, and combined them to create a festive parody that’s sure to bring you big laughs, ridiculous characters, and a few unexpected naughty surprises!”

Lovers Actually is written by Jodie Prenger and Neil Hurst. Cast and creatives to be announced.

All you need is love at Christmas! Wait! ‘Actually’ all you need is the hit musical parody….’Lovers Actually’.