Forum Theatre, Malvern – 19th January 2024

Reviewed by Courie Amado Juneau

5*****

I have had the extreme good fortune to catch the English Symphony Orchestra’s last few concerts and they have been nothing but exceptional each and every time. Tonight was no exception as they gave us yet another evening of world class entertainment.

First on the programme was Eleanor Alberga’s concert overture “Jupiter’s Fairground” (1992). I was unfamiliar with both the work and the composer so it was a lovely surprise to discover she was from our area. An even lovelier surprise was that she was here in person! She gave us some background information about the piece and a rather amusing anecdote, all of which added to the enjoyment. The piece itself was a very interesting one, in equal measure both lively and dramatic with (to my ears) shades of a film score such as 2001 or West Side Story meets Shostakovich and was a highly entertaining opening number from a composer whose works I shall certainly explore further.

We continued with Samuel Barber’s “Knoxville: Summer of 1915” (1948), helpfully introduced by our soprano tonight; April Fredrick. She explained how the work was like returning to a place you used to know but finding it had changed, feeling both familiar and displaced. I could certainly hear this in the music with some lovely wistful strings with tutti agitation at times. Another beautiful piece of music that perfectly complimented the first and led nicely to the final piece of the first half…

…Antonin Dvorak’s “Song to the Moon from Rusalka” (1901). Ms Fredrick’s tone was haunting and tender but with an aching power that did the music full justice – you could certainly hear this was from an opera aria! A gorgeous performance. The string section, especially, were sumptuous with some ethereal quiet sections that took the breath away.

Mr Kenneth Wood’s conducting was, as always, absolutely flawless. The tempos were spot on and the clarity of execution was breathtaking with the everyone coming in crisply with such precision that the music was lovingly presented in all its glory. This is without doubt my favourite orchestra. The truly spectacular thing that always strikes me

is the balance of the orchestra, with every section being perfectly clear in itself and against every other section. Hearing this orchestra is like hearing a modern remastered CD – new details in the music are suddenly audible, the composers intentions are revealed anew. A revelatory experience!

The second half had a single masterpiece: Mozart’s “Symphony No. 41 ‘Jupiter’” (1788). Although a “classical period” work, I feel this is more like early Beethoven straddling both the classical and early “romantic period”. The ESO brought out all the passion and drama in this incredible work with playing of exceptional beauty, both muscular and tender – quite a rare feat. I was deeply impressed with the agile way the orchestra managed to switch these emotional gears with effortless conviction.

Another flawless night of the best music in the world from a world class orchestra. Sheer perfection. The only disappointment was that the music came to an end and we had to go home. Do yourself a massive favour and see this orchestra asap. I know I’m eagerly awaiting their return

Jack Studio Theatre – until 20 January 2024

Reviewed by Claire Roderick

4****

The week leading up to your wedding is stressful enough, but throw in the bride’s sister’s divorce party, the groom’s father’s funeral and strife with his estranged family, and something has to give. Aimee Walker-Reid’s intelligent and intense play follows Lois (Walker-Reid) and Matt (Finlay Vane Last) as they struggle to cope with Matt’s mental health as the big day approaches.

The chaos and upset of living with, and caring for somebody with mental health issues is represented wonderfully through Tamra Walker-Reid’s set design – with household objects suspended over the stage, their contents frozen as they spill. Matt’s diagnosis is never made clear, but as the play progresses, we find out that he cannot leave the house without Lois and some emotionally charged video, lighting and music design (by Morgan Burgess and Grace Gjertson) accompany fine physicality from Vane Last to portray the paralysis and fear he experiences.

Vane Last is charismatic and nuanced as the tormented, frustrating but sweet Matt, while Walker-Reid excels as his anchor – strong, loving and forever accommodating, but suddenly fiery when Matt’s actions become too much and she finally lets rip and releases her frustrations. This scene and its repercussions would not quite ring true without the clever flashbacks to each 31st December of their relationship, portraying their hope and the strength of their love. There are very funny moments throughout and Walker-Reid has written two utterly convincing and sympathetic characters and draws the audience into their world effortlessly, while George Rowlands’ slick direction maintains a tension that never lags in this fascinating and powerful play.

Neon 194, London – until 17 February 2024

Reviewed by Claire Roderick

4****

This uplifting and uproariously funny new musical lets you party like it’s 1999, following the fall and rise of hedonistic star Kid Pop – or Neil to his mum.

When Kid Pop (Christian Maynard) is arrested for drug use it is front page news, and when given the choice of prison or 60 days in rehab he goes to the Glade, anticipating an easy life there. His fellow residents and counsellor won’t let him ignore his addictions however, and Neil has to accept some hard truths about himself. Neil’s journey to recovery is sabotaged by his sleazy agent Malcolm Stone (Keith Allen – having a ball) who set up the drugs sting to boost Kid Pop’s image. Stone’s scheming has no limits as he continues to exploit Kid Pop’s situation for publicity and begins to contemplate even darker ways to keep Kid Pop relevant and his own bank balance soaring.

The scenes in the rehab centre could have been painful in other hands, but Grant Black and Murray Lachlan Young’s own experiences ensure that the residents and their addictions are written sympathetically and, while the characters are ridiculously funny, we are laughing with them, not at them. Whether their addiction is to alcohol, gambling, overeating or sex, these characters are written beautifully, often nonchalantly accepting and mocking their past actions, but also providing sincere heartbreaking insights into the pain and damage addiction causes to them and their loved ones in amongst the belly laughs. Elliot Davis’s book complements Black and Young’s music and lyrics brilliantly – full of irresistible warmth and joy that makes moments of barbed cruelty hit even harder. The story arc is very clear (and perhaps a little predictable – but this is a show that NEEDS a happy ending) with the musical numbers moving the storyline along seamlessly. The songs are a wonderfully eclectic mix of power ballads, pop anthems and gloriously silly nonsense like The Cheese Song. Everybody will want to join in with the chorus of Wanker!

The incredible cast all have moments that will make your jaw drop. Christian Maynard is perfect as Kid Pop – OTT and arrogant in early scenes, and softening beautifully as he spends time at The Glade. Maiya Quansah-Breed is full of heart and grit as Lucy, caught between a rock and a hard place as Stone uses her in his schemes. Keith Allen hams it up hilariously as Stone and makes a sharp double act with Jodie Steele as his assistant. Steele doesn’t sing until the second act, but it is well worth the wait. Mica Paris’s commanding and powerful vocals raise the roof while Oscar Conlon-Morrey, John Barr and Rebecca Thornhill showcase their phenomenal comic timing as fellow addicts, stealing every scene they’re in.

Director Gary Lloyd makes clever use of the small stage area with Simon Kenny’s adaptable set ensuring scene transitions are as slick as possible. It would be wonderful to see what is possible in a larger theatre – I am sure this fantastic show has a bright future. Grab a ticket while you can.

Forum Theatre, Malvern – 18th January 2024

Reviewed by Courie Amado Juneau

5*****

The incomparable Johnny Cash Roadshow rolls into town again, this time on the Sin & Redemption Tour.

This show has so many hits that it would take the entire word count just to list all the songs that blew me away! The opening medley of “Big River”, “Hey Porter” and “The Wreck Of The Old 97” leading into “Man In Black” should tell you everything you need to know.

Clive John is an exceptional Cash. Channelling his spirit without doing an impression of the great man, he effortlessly hits all the right notes (both vocally and on guitar). He also delights with his own compositions, which sit comfortably among Cash’s wondrous jewels. And in Meghan he has the perfect partner as her resemblance to June is uncanny. They have a lovely onstage chemistry too, making duets like “Jackson” shine.

Meghan gave the band a chance to shine during “Jukebox Blues” with Richard (electric guitar), Simon (keys and trumpet), Martin (bass) and Alex (drums) all regaling us with rousing solos that were both short and sweet, displaying their immense musicianship.

One of my favourite Cash songs is “One Piece At A Time”, a lesser known hit but one well worth seeking out for the uninitiated. A real pleasure to hear it tonight. This also testifies to the range of the show, taking us through all eras and genres that Cash traversed; the show is naturally blessed with a depth of quality and interest that few other artists catalogues can match!

The first half ended on a sweet note as Clive’s daughter Isla performed a solo dance to one of her father’s songs “In A Whisper”. Very confident and happy on stage in front of a pretty sizable crowd, she rapidly became a firm crowd favourite. A very proud moment I’m sure for her father.

The show is highly emotional throughout and the video wall at the back, showing footage of the original protagonists, heightened this effect. “I Still Miss Someone”, one of the most gorgeous songs ever written, shows the power of country music; encompassing the full panoply of human existence, our communal journey. A beautiful, faithful rendition of “Hurt”, the last song released in Cash’s lifetime, is always very moving and was the emotional apex of the evening – made even moreso by the fantastic “strings” added from the keyboard.

I have seen this show for the last two years and it never fails to surprise – tonight’s was during the song “Ghost Riders In The Sky” during which I found myself between two people singing “Holte Enders In the Sky”. It transpired I had Aston Villa fans to the left (Scatty) and the right (Michael); this song being one of their many terrace chants. It shows how deep Cash’s music is embedded in our lives and how it’s power can make strangers sudden friends.

A finale including (naturally) “Ring of Fire” brought the evening to a rousing end, left us wanting more and humming our favourite tune on the way out to the foyer to congratulate the band on yet another triumphant musical night from all concerned. I cannot recommend Johnny Cash Roadshow highly enough and can’t wait till their next visit.

TOHEEB JIMOH AND RICHARD COYLE

JOIN IAN MCKELLEN IN

ROBERT ICKE’S PRODUCTION OF

PLAYER KINGS

ADAPTED FROM SHAKESPEARE’S HENRY IV, PARTS 1 & 2

Ambassador Theatre Group Productions today announce the full cast for Player Kings, adapted by Robert Icke from William Shakespeare’s Henry IV, Parts 1 and 2.

Joining the previously announced Ian McKellen as Sir John Falstaff are Toheeb Jimoh (Ted Lasso & Romeo and Juliet) as Hal and Richard Coyle (Ink & Fantastic Beasts: The Secrets of Dumbledore) as King Henry IV. Raphael Akuwudike (Prince John/Second Drawer), Sara Beharrell (Hotspur’s Servant/Snare/Davy), Samuel Edward-Cook (Hotspur/Pistol), Geoffrey Freshwater (Bardolph), James Garnon (Worcester/Silence), Alice Hayes (Messenger/Carrier), Henry Jenkinson (Harcourt), Nigel Lister (Northumberland/Francis) Annette McLaughlin (Warwick), Mark Monero (Peto), Hywel Morgan (Sir Walter Blunt), Joseph Mydell (Lord Chief Justice), Clare Perkins (Mistress Quickly), Daniel Rabin (Poins), David Semark (Vernon), David Shelley (Sheriff/Surrey), Robin Soans (Shallow), Tafline Steen (Tearsheet/Lady Percy) and Perry Williams (Page/Douglas/Thomas) complete the cast.

The production, directed by Icke, runs at the Noël Coward Theatre, 1 April – 22 June 2024, with previews at New Wimbledon Theatre, 1 March – 9 March 2024, and Manchester Opera House, 14 – 23 March 2024.

Ambassador Theatre Group Productions, Gavin Kalin Productions, No Guarantees and David & Hannah Mirvish present

PLAYER KINGS

Based on William Shakespeare’s Henry IV, Parts 1 and 2

Adapted and Directed by Robert Icke

Set and Costume Designer: Hildegard Bechtler; Lighting Designer: Lee Curran; Sound Designer: Gareth Fry; Casting Director: Julia Horan CDG; Fight Director: Kev McCurdy; Associate Costume Designer; Johanna Coe; Hair and Make-up Designer: Susanna Peretz; Associate Directors: Jack Bradfield and Lizzie Manwaring

Ian McKellen – ‘one of the world’s greatest actors’ (Times) – plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke. 

A divided country, leadership crumbling, corruption in the air. Welcome to England. 

Hal wasn’t born to be king. Only now, it seems, he will be. His father longs for him to leave behind his friends in the taverns of Eastcheap, most notably the infamous John Falstaff. War is on the horizon. But will Hal ever come good?

Bringing together Shakespeare’s two great history plays (Henry IV, parts 1 and 2), Player Kings will reign over London’s West End for twelve weeks only, playing at the Noël Coward Theatre from April 2024, with previews in Wimbledon and Manchester from 1 March.

Raphael Akuwudike plays Prince John/Second Drawer

THEATRE CREDITS INCLUDE: Beautiful Thing (Theatre Royal Stratford East); Romeo & Juliet  (Almeida); Sons of the Prophet (Hampstead); First Touch (Nottingham Playhouse); The Seagull, Rage, Enron, The Last Ones, Twelfth Night and Yerma (Drama Centre London); The Jumper Factory (Young Vic).

TELEVISION CREDITS INCLUDE: Doctors.

TRAINING: Drama Centre London

Sara Beharrell playsHotspur’s Servant/Snare/Davy

THEATRE CREDITS INCLUDE: Ladies Unleashed (Hull Truck); Honeymoon Suite (Royal Court); The Crucible (Birmingham Rep/UK Tour); Hay Fever (Theatre Clwyd); Goodnight Mr Tom, Little Women, Frost Hollow Hall (all for East Riding).

TELEVISION CREDITS INCLUDE: Better; He Knew He Was Right (BBC); London’s Burning (ITV).

TRAINING: Guildhall School of Music and Drama

Richard Coyle plays King Henry IV.

THEATRE CREDITS INCLUDE: To Kill A Mockingbird (Gielgud); Ink (Almeida/Duke of York’s); Macbeth (Park Avenue Armory NYC); The Lover & The Collection (Harold Pinter); Don Carlos (Sheffield Theatres/Gielgud); After Miss Julie, Proof, Polar Bears (Donmar Warehouse); Look Back in Anger (Theatre Royal Bath); The York Realist (Royal Court/Novello).

FILM CREDITS INCLUDE: Heads of State; Fantastic Beasts: The Secrets of Dumbledore; The Food Guide to Love; Pusher; Grabbers; W.E; 5 Days of War; Prince of Persia: The Sands of Time; Franklyn; A Good Year; The Libertine; Happy Now; Topsy Turvy; Human Traffic. 

TELEVISION CREDITS INCLUDE: The Gathering; Then You Run; Six Four; Chilling Adventures of Sabrina; Hard Sun; Born To Kill; The Fall; The Collection; A.D. The Bible Continues; Crossbones; Life of Crime; Covert Affairs; Going Postal; Whistleblowers; The History of Mr. Polly; Cracker; The Best Man; Gunpowder Treason and Plot; Strange; Coupling; Othello; Sword of Honour; Lorna Doone; Up Rising; Wives and Daughters; Macbeth.

Samuel Edward-Cook plays Hotspur/Pistol

THEATRE CREDITS INCLUDE: Queen Margaret, Persuasion (Manchester Royal Exchange); Antigone (Barbican/International Tour); Pitcairn (Chichester Festival/ Shakespeare’s Globe); Titus Andronicus (Shakespeare’s Globe); Our Big Land (Ovalhouse/UK Tour); King Lear (Theatre Royal Bath); Glory Dazed (Soho/Edinburgh Fringe/Adelaide Fringe); Boys (High Tide/Headlong/Soho).

FILM CREDITS INCLUDE: William Tell (Dir Nick Hamm); Between the Lights (Dir Michael Groom); Switch (Dir Aneil Karia).

TELEVISION CREDITS INCLUDE: The Listeners, The Gallows Pole, Silent Witness, Casualty, Better, Land Girls (all for BBC); Pure, Full Moon (Channel 4); Emmerdale, Innocent, Beowulf (ITV); Brief Encounters (ITV/CPL); Peaky Blinders (BBC/Tiger Aspects).

TRAINING: RADA

Geoffrey Freshwater plays Bardolph

THEATRE CREDITS INCLUDE: Albion, Filumena (Almeida); Paradise (Hampstead); The Importance of Being Earnest (Classic Spring/Vaudeville); Ink (Almeida/Duke of York’s); Love’s Sacrifice, Volpone, Jew of Malta, The Witch of Edmonton, Arden of Faversham, The Roaring Girl, As You Like It, American Trade, Antony and Cleopatra, King Lear, The Grain Store, As You Like It, Henry IV Part II, Henry IV Part I, Henry V, Henry VI Part II, Henry VI Part I, Richard III, A New Way to Please You, Sejanus: His Fall, Speaking Like Magpies, Thomas More, Eastward Ho!, The Malcontent, Jubilee, King John, The Slight Witch, The Winter’s Tale, The Real Inspector Hound, Cyrano de Bergerac, and The Lion, The Witch and The Wardrobe (all for the RSC); Noises Off (Old Vic UK Tour); Old Money (Hampstead); The Tempest (Theatre Royal Bath); Crackers (Belgrave Coventry); Alchemy in the UK (Nuffield Southampton); The Taming of the Shrew (Plymouth Theatre Royal/Thelma Holt); The Alchemist (National Theatre); Toad of Toad Hall (Birmingham Repertory).

TELEVISION CREDITS INCLUDE: EastEnders; Will; Doctors; Law & Order; The Bill; The Government Inspector; David Kelly; Foyle’s War II and III; Midsomer Murders; The Commander; Trial and Retribution VII; Poirot.

FILM CREDITS INCLUDE: The Program; Invisible Woman; Sabotage; The Leading Man; A Bridge Too Far.

RADIO CREDITS INCLUDE: Ambridge Extra; The Archers; Top Story; Friends of Oscar and Patricia’s Progress.

James Garnon plays Worcester/Silence

WEST END CREDITS INCLUDE: Queen Anne (RSC); Twelfth Night and Richard III (Shakespeare’s Globe).

OTHER THEATRE CREDITS INCLUDE: The 47th, The American Clock, Much Ado About Nothing (Old Vic); As You Like It, Hamlet, The Winter’s Tale, Pericles, ‘Tis Pity She’s A Whore, Dr Scroggy’s War, The Duchess of Malfi, The Tempest, Gabriel, All’s Well That Ends Well, Anne Boleyn, Macbeth, A New World: The Life of Tom Paine, The Storm, Romeo and Juliet, Dido Queen of Carthage (Shakespeare’s Globe); The Tragedy of Thomas Hobbes, Merchant of Venice, A Midsummer Night’s Dream, Taming of the Shrew, The Tempest, The Winter’s Tale, Pericles (RSC); Richard III (Almeida); The White Feather, Dmitry (Marylebone); King Lear (West Yorkshire Playhouse); A Midsummer Night’s Dream (Royal Festival Hall/USA); Hamlet, The Barber of Seville (Bristol Old Vic).

FILM AND TELEVISION CREDITS INCLUDE: Lethal White; Les Misérables; The Crown; Genius: Picasso; The Real American; Anonymous; Foyle’s War.

TRAINING: RADA; Edinburgh University

James is an Associate Artist at Shakespeare’s Globe and a member of their Higher Education faculty. He also teaches opera singers as a Masterclass Leader for Samling Institute for Young Artists and the Verbier Festival Academy.

Alice Hayes plays Messenger/Carrier

THEATRE CREDITS INCLUDE: The Pop Star (The Lowry).
CREDITS WHILST TRAINING: Twelfth Night (also Musical Director); Godspell; Once In A Lifetime; The 25th Annual Putnam County Spelling Bee.

WORKSHOPS INCLUDE: The Curious Case of Benjamin Button.
TRAINING: Guildford School of Acting

Alice is absolutely thrilled to be making her West End debut in Player Kings.

Henry Jenkinson playsHarcourt

THEATRE CREDITS INCLUDE: Into the Woods (Theatre Royal Bath); Last Days (Royal Opera House); Measure for Measure, Native Son (Duke on 42nd Street); Bad News (Skirball).

TRAINING: Juilliard

Toheeb Jimoh plays Hal

THEATRE CREDITS INCLUDE: Romeo and Juliet, Nine Lessons and Carols (Almeida); A Midsummer Night’s Dream (Sheffield Crucible). 

TELEVISION CREDITS INCLUDE: Ted Lasso; The Power; Anthony; The Feed; London Kills. 

FILM CREDITS INCLUDE: The French Dispatch.

TRAINING: Guildhall School of Music & Drama 

Nigel Lister plays Northumberland/Francis

THEATRE CREDITS INCLUDE: To Kill A Mockingbird (Gielgud); Our Man in Havana (The Watermill); The Wizard of Oz (Pitlochry Festival); Partners in Crime (Queen’s, Hornchurch); Footloose the Musical (UK Tour); Dick Whittington (Theatre Royal, Bury St. Edmunds); The Secret Adversary (The Watermill); Much Ado About Nothing (Hague International Shakespeare Festival); The Comedy of Errors (Stafford Shakespeare Festival); Sex and Docks and Rock ‘n’ Roll (Red Ladder); The Taming of the Shrew, Macbeth, The Merry Wives of Windsor, The Importance of Being Earnest (all Oxford Shakespeare Company).

TELEVISION CREDITS INCLUDE: Coronation Street; It’s A Sin; The Crown; EastEnders; WPC 56; Doctors; The Bill; Steel River Blues; Murder Investigation Team; Dream Team; Footballers Wives.

FILM CREDITS INCLUDE: The King’s Man.

TRAINING: Bristol Old Vic Theatre School

Ian McKellen plays SirJohn Falstaff

He first acted at Bolton School (as Prince Hal) and with amateur groups in the north of England, where he was born and brought up. He studied English at Cambridge University, playing Justice Shallow in John Barton’s undergraduate production of Henry 4^th part 2 (1961).

For over 60 years, he has worked non-stop in the British theatre. He has been leading man and produced plays, modern and classic, for the Royal Shakespeare Company, the National Theatre of Great Britain and in the West End of London, winning six Olivier Awards, amongst 60 other international accolades.

He was in the first production of Martin Sherman’s sensational Bent (1979) and in world premières by Alexei Arbuzov, John Arden, Alan Ayckbourn, Michael Frayn,  Sean Mathias, Iris Murdoch, Mark Ravenhill, James Saunders, Peter Shaffer, Tom Stoppard, Peter Ustinov, Arnold Wesker and recently Ben Wetherill (Frank and Percy). Of late, he has also starred in Waiting for Godot and No Man’s Land (with Patrick Stewart) and as Mother Goose in Jonathan Harvey’s pantomime in London and throughout the UK. As Salieri in Amadeus (1981), he won every available award on Broadway.

In Shakespeare he has triumphed  as Richard II, Romeo (with Francesca Annis), Macbeth (with Judi Dench), Toby Belch, Coriolanus, Iago, Prospero, Richard III (also on film) and most recently as King Lear (twice) and as an 80-year old Hamlet in Sean Mathias’ 2024 film. For over a decade, he toured his one-man show, Acting Shakespeare, at home and abroad, still available on video.

McKellen is recognised worldwide as Magneto in the X-Men movies and as Gandalf in The Lord of the Rings and The Hobbit trilogies. He received his first Academy Award® nomination, for Best Actor, in 1998, as the gay film director James Whale, in Bill Condon’s classic Gods and Monsters. He has also starred in The Keep, Priest of Love, Apt Pupil, And the Band Played On, Jack and Sarah, Six Degrees of Separation, The Da Vinci Code, Mr Holmes, Beauty and the Beast, All is True, The Good Liar and this year, in Patrick Marber’s The Critic.

McKellen’s varied television work stretches from Scarlet Pimpernel to The Simpsons; from Rasputin (Golden Globe Award)  to Coronation Street; from Edward 11 to Saturday  Night Live; from Extras with Ricky Gervais to Vicious with Derek Jacobi and The Dresser with Anthony Hopkins. On the first-ever Film On Four, he was Stephen Frears’ Walter (Royal Television Society Award).

In 2019 McKellen became the first actor to top The Stage 100 list of most influential people in British theatre, following his triumphant solo UK Tour and West End run of Ian McKellen on Stage which raised over £5 million to support over 80 regional theatres.

Sir Ian was knighted in 1991. He was a co-founder of Stonewall UK, which lobbies for legal and social equality for gay people. In 2008,  he was appointed Companion of Honour, “for services to drama and to equality’.

Annette McLaughlin plays Warwick

THEATRE CREDITS INCLUDE: The Box of Delights, Volpone, Love’s Sacrifice, The Jew of Malta, Measure for Measure, Written on the Heart, Heresy of Love, Matilda (all for RSC); 42nd Street (Théâtre du Châtelet, Paris); Scandaltown (Lyric Hammersmith); Harry Potter and the Cursed Child (Palace); Pinocchio, Love’s Labour’s Lost (National); Twelfth Night (Shakespeare’s Globe); Billy Elliot (UK Tour); Our Town, The Odyssey, Lysistrata (Almeida); Apocalypse Meow: Crisis is Born (Southbank Centre); Dick Whittington (Hackney Empire); Brief Encounter (UK, US and Australian Tour/St Ann’s Warehouse Brooklyn/Studio 54 on Broadway); She Loves Me, How to Succeed in Business Without Really Trying, 5/11 (Chichester Festival); Chicago The Musical (Adelphi/Cambridge); Anything Goes (National/Drury Lane); Noises Off (Birmingham Rep); Lenny (Queens); Damn Yankees (Adelphi); Beauty and the Beast (Dominion); Crazy for You (Prince Edward); Romeo and Juliet, A Midsummer Night’s Dream, Henry IV Part 1, High Society (Regent’s Park Open Air); Singin’ in the Rain (National/West Yorkshire Playhouse); The Women (Old Vic); The Vagina Monologues (UK Tour); Tomorrow Morning (New End, Hampstead ); Imagine This (Theatre Royal Plymouth); Into the Woods (Derby Playhouse); Handmaidens of Death, What the Women Did (Southwark Playhouse); Dreams From a Summerhouse (Newbury Watermill Theatre); Horse and Carriage, and Stepping Out (West Yorkshire Playhouse); Godspell (Haymarket Theatre Basingstoke); BBC Proms – Sondheim at 80, Trevor Nunn – A Celebration (Royal Albert Hall), and the Opening of the Welsh Millenium Centre in Cardiff.
TELEVISION CREDITS INCLUDE: Silent Witness; Holby City; Grantchester; Heartbeat; The Frank Skinner Show; Law & Order UK.

TRAINING: London Studio Centre and Meisner Technique with Scott Williams at Impulse Theatre Company

Mark Monero plays Peto

THEATRE CREDITS INCLUDE: Is God Is (Royal Court); The Healing (Omnibus); Antigone (Pilot/Theatre Royal, Stratford East); Idomeneus (Gate); One Man, Two Guvnors (National); The Wheel (NTS); Angelhouse (Eclipse/UK Tour); Measure for Measure (Almeida); Pure Gold, Animal (UK Tour), The Christ of Cold Harbour Lane (Soho); Sing Yer Heart Out for the Lads (Pilot/UK Tour); The Country Wife (Watford Palace); A Taste of Honey (Liverpool Playhouse); Abyssinia (Southwark Playhouse); Adrenalin Heart (Bush); Local Boy (Hampstead); Talking About Men (Green Room, Manchester/Ovalhouse); Pepper Soup (Lyric, Hammersmith); Cinderella (Oxford Playhouse).

FILM CREDITS INCLUDE: Good Boy (short); Members Club; Pretty Red Dress; In the Earth; Villain; Happy New Year; Colin Burstead; Free Fire; Wild Bill; Somers Town; Sid & Nancy.

TELEVISION CREDITS INCLUDE: Generation Z; The Tower; Better; King Gary; Coronation Street; Suspects; Coming Up; Dark Matters; Casualty; Doctor Who; The Bill; Skins; Trial & Retribution; Doctors; Murphy’s Law; Waking the Dead; Gimme, Gimme, Gimme; The Bill; EastEnders; The Firm; Young; Gifted & Broke; King & Castle.

Hywel Morgan plays Sir Walter Blunt

THEATRE CREDITS INCLUDE: Home, I’m Darling (National); Imperium, Queen Anne, The Alchemist, Love For Love (RSC); This May Hurt a Bit (Out of Joint); A Walk on Part: The Fall of New Labour (Live Theatre); War & Peace, Mill on the Floss (Shared Experience); The Importance Of Being Earnest, To Reach the Clouds, Feelgood, Because It’s There, A Midsummer Night’s Dream (Nottingham Playhouse).

TELEVISION CREDITS INCLUDE: 3 Body Problem; Somewhere Boy; Wolf; Gentleman Jack; Meet The Richardsons; Slow Horses; Pennyworth; Hinterland; Skins; The End of The F*cking World.

FILM CREDITS INCLUDE: Borderland; Page Eight; W.E.; Making a Killing.

Joseph Mydell plays Lord Chief Justice

THEATRE CREDITS INCLUDE: The Visit, Evening At The Talkhouse, The Comedy Of Errors, Edmond, Alice’s Adventures Underground, Lyrics Of The Hearthside, Angels In America – Olivier Award for Best Supporting Actor (all for the National); Death of a Salesman (Piccadilly/Young Vic); The Tragedy of King Richard the Second, Richard III (Almeida), Hamlet, Pericles, The Winter’s Tale, Twelfth Night/Prisoner’s Dilemma, Everyman, The Mysteries, They Shoot Horses, Don’t They?, The Two Noble Kinsman, Flight, Worlds Apart, Macbeth (all for RSC); Mother Christmas, Anna In The Tropics, Tobacco Land (Hampstead); The Tempest (RSC/Barbican); The Crucible (West Yorkshire Playhouse); A Season In The Congo and Elektra (Young Vic); Julius Caesar (RSC-Stratford/Noël Coward, BAM-New York/Moscow); Hamlet, As You Like It, The Seagull, The Government Inspector (Sheffield Crucible); Cat On A Hot Tin Roof (Novello); The Tempest (Regents Park); The Resistible Rise Of Arturo Ui (Lyric Hammersmith); King Lear (Shakespeare’s Globe); Breakfast With Mugabe (RSC/Duchess); The Last Confession (Chichester Festival/Haymarket); The Treatment and Four (Royal Court).
TELEVISION CREDITS INCLUDE: Varsity; The Castaways; Dinner With Parents; The Reckoning; Brassic; Jack Ryan; Alex Rider; Mrs Wilson; Midsomer Murders; Homeland; The Missing; Julius Caesar; Death In Paradise; Born With Two Mothers; Trial And Retribution; The Care Of Time; Miss Marple; Bergerac; Scarlett; Space Precinct; Chancer; The Gravy Train; A Quiet Conspiracy; Boon.
FILM CREDITS INCLUDE: Conclave; The Unlikely Pilgrimage of Harold Fry; The Son; The Eternal Daughter; Seven And Me; Woman In Gold; Tonight You’re Mine; You Instead; Mammoth; Maderlay; The March On Europe; Columbite Tantalite; Perfect.
TRAINING: New York University, School of the Arts (MFA)

Clare Perkins plays Mistress Quickly

THEATRE CREDITS INCLUDE: The Wife Of Wilsden (Kiln/BAM); Sweat (Donmar Warehouse); Emilia (Shakespeare’s Globe/Vaudeville); Mrs Dalloway (Arcola); The Immigrant (Hoxton Hall), Genesis Inc (Hampstead); Daisy Pulls It Off (Park); Three Mothers (Waterloo East); Mules, Primetime (Royal Court); Little Revolution; The Curious Incident Of The Dog In The Night Time (National/UK Tour); The House That Will Not Stand (Tricycle); Welcome To Thebes (National).

FILM CREDITS INCLUDE: Embers; Love Without Walls; Medusa Deluxe; Censor; Kaleidoscope; Deadmeat; Bullet Boy; The Football Factory; Secrets and Lies; Ladybird, Ladybird.

TELEVISION CREDITS INCLUDE: Bodies; Silo; The Outlaws (1,2 & 3); The Wheel Of Time; The Crown; Young Wallwender; Flack; Professor T; Damned; Run; EastEnders.

RADIO CREDITS INCLUDE: Currently plays Denise in The Archers; Small Island; The Unwelcome; Tommies; Carnival; Westway; The Zone.
TRAINING: Rose Bruford College

Daniel Rabin plays Poins

THEATRE CREDITS INCLUDE: The Doctor (Almeida/Duke of York’s/New York/UK Tour); King Lear (Duke of York’s); Mary Stuart (Almeida/Duke of York’s); Hamlet (Almeida); 1984 (Playhouse); Pericles, The Winter’s Tale, King John, Tis Pity She’s a Whore, Anthony and Cleopatra, Holy Warriors (all Shakespeare’s Globe); Oedipus (Nottingham Playhouse/Spoleto Festival); Ignorance (Hampstead); Blue Remembered Hills (Chichester); The Bomb (Tricycle); The Great Game (Tricycle/US Tour/Pentagon performances), Sixty Six Books (Bush); The Fever Chart (Trafalgar Studios/Theatre Royal York); Enemy of the People (Arcola); All Quiet on the Western Front, Chicken Soup with Barley (Nottingham Playhouse); Shoreditch Madonna, Diamond, Jerusalem Syndrome (Soho); The Last Sortie (New End/Hampstead), Seven Sonnets of Michelangelo (Lyric Hammersmith).

FILM CREDITS INCLUDE: Lilac’s Laughter; Mind The Gap; Two’s Company; The Penalty King; Bury It; Susie Gold.

TELEVISION CREDITS INCLUDE: The Royals; Game of Thrones; Doctors; Ambassadors; Our Men; Holby City; Murder On the Homefront; Spooks; Henry – Mind of a Tyrant; The Bill; Casualty; The Roman Mysteries; EastEnders; Money Can’t Buy You Love.

David Semark plays Vernon

THEATRE CREDITS INCLUDE: The Mousetrap (St. Martin’s); An Ideal Husband (Theatre Clwyd); The Real Inspector Hound, Black Comedy (The Northcott, Exeter); Richard III (RSC Tour/Savoy); Bouncers (Hull Truck at the Whitehall); Woyzeck (Gate); Unearthed, The Gift, Larksong, Beowulf (New Victoria); Crossing the Line (Tour for Operating Theatre).

FILM & TELEVISION CREDITS INCLUDE: Hustle; Law and Order UK; Doctors; The War On Drugs; Guiltology; The Bill; Talk (for Winkle Films); Soldier Soldier; Armadillo; EastEnders; Emmerdale; Whatever You Want; London’s Burning; Down To Earth; Casualty; Holby City; The Booze Cruise II: The Treasure Hunt.

TRAINING: RADA

David Shelley plays Sheriff/Shelley

Theatre includes: Witness For The Prosecution (County Hall); Love On The Links (Salisbury Playhouse); Mother Courage (Southwark Playhouse); King John (Rose, Kingston); Noises Off (Mercury, Colchester); Variation On A Theme, Windows (Finborough); Betrayal (Gala, Durham); Happiness (King’s Head); Cider With Rosie (New Vic Staffs/Stephen Joseph, Scarborough); Hobson’s Choice (York Theatre Royal); Three Steps To Heaven (Palace, Watford); As You Like It, Anthony and Cleopatra (English Shakespeare Company); Romeo and Juliet, Julius Caesar (RSC). 
TV CREDITS INCLUDE:  Before We Die; Code 404; Dark Heart; Arthur and George; The White Queen; The Politicians Husband; EastEnders; Hollyoaks; Doctors; Holby City; Casualty; Ultraviolet; Red Cap; Rough Treatment; Bramwell.
FILM CREDITS INCLUDE: Fast Girls. 

TRAINING: LAMDA

Robin Soans plays Shallow

THEATRE CREDITS INCLUDE: As You Like It (2023), As You Like It (2012), Hamlet (RSC); We Started To Sing, Palace of The End, Pieces of Vincent (Arcola); Uncle Vanya, The Stock Da’wa, The Positive Hour, Volpone (Hampstead); Echo’s End (Salisbury Playhouse); Visitors (Bush/National Tour); Someone Who’ll Watch Over Me, The Belle’s Stratagem, The Rivals (Southwark Playhouse); 66 Books – Capernaum, Contingency Plan (Bush); Coriolanus, Under The Black Flag (The Globe); On Ego, Jump Mr Malinoff Jump (Soho); The Holy Terror (Duke of York’s); Anything Goes, Love’s Labour’s Lost, A Prayer for Owen Meany, The Invention of Love, The London Cuckolds (National); Push Up (Royal Court); Another Country (Arts); Ghosts (The Comedy); Hamlet (Theatre Royal Plymouth/Young Vic/Tokyo); Moonshine (Theatre Royal Plymouth/Hampstead); Dead Funny (Watford Palace).

FILM CREDITS INCLUDE: Napoleon; The Princess Switch, The Princess Switch: Switched Again; The Princess Switch 3; Red Joan; Victoria and Abdul; Viceroy’s House; Pierrepoint: The Last Hangman; The Queen; AKA; Sabotage!; Blue Juice; Clockwork Mice; Hidden City; Comrades; Absolution.

TELEVISION CREDITS INCLUDE: Dalgliesh; Victoria (Series 1&2); Doctor Who; Doctors; Endeavour; Silk; Casualty; Midsomer Murders; Miss Marple; Not Only But Always; Dalziell and Pascoe; The Russian Bride; Dangerfield; Kavanagh QC.

Tafline Steen plays Tearsheet/Lady Percy

THEATRE CREDITS INCLUDE: Egyptians (Gulbenkian, Canterbury); Appropriate (Donmar); Pride and Prejudice (Regent’s Park Open Air/UK Tour); King Charles III (Almeida/Wyndham’s/Music Box-Broadway); Play On (Almeida); The Possibilities (Tron); King Lear (Citizens); Men (The Arches); Tartuffe, Twelfth Night, A Midsummer Night’s Dream, A Lie Of The Mind, Three Sisters (Whilst Training at RCS).

TV CREDITS INCLUDE: Sandman; Miss Scarlett & The Duke; Father Brown; Casualty; The Athena; Obsession: Dark Desires.

TRAINING: Royal Conservatoire Of Scotland

Perry Williams plays Page/Douglas/Thomas

THEATRE CREDITS INCLUDE: Maud (The Vaults).

FILM CREDITS INCLUDE: Ghostbusters: Frozen Empire (Sony Pictures).

TRAINING: RADA

Robert Icke is an award-winning writer and director, working in theatre and on screen.

His recent productions include Judas, Children of Nora, and Oedipus at International Theater Amsterdam, where until 2023 he was Ibsen Artist in Residence. His adaptation of Animal Farm played an extensive national tour in 2022 and is slated for a London transfer. His monologue condensation of Enemy of the People starred Ann Dowd at Park Avenue Armory and was one of the first new pieces of theatre to play in New York post the shutdown.

In six years at the Almeida, five of his productions transferred to the West End, and four to New York. These included his adaptations of The Wild Duck, Mary Stuart (also West End and National tour), Uncle Vanya, Oresteia (also West End; Schauspiel Stuttgart; Park Avenue Armory), and 1984 (co-created with Duncan Macmillan, also Broadway; West End; national and international tours). As a director, his productions included Hamlet (also West End; Park Avenue Armory; and broadcast on BBC2); The Fever and Mr Burns. His final production at the Almeida was The Doctor, which played last summer at Park Avenue Armory, in the West End in 2022, and remains in repertoire at both the Burgtheater in Vienna and Internationaal Theater Amsterdam, as well as in numerous new productions across the globe.

His awards include two Evening Standard ‘Best Director’ Awards; the Critics’ Circle Award, the Kurt Hübner Award (for his debut production in Germany); and the Olivier Award for ‘Best Director’, of which he was the youngest ever winner. He is a Fellow of the Royal Society of Literature.

www.playerkingstheplay.co.uk

Facebook | Instagram | X: @playerkingsplay

LISTINGS

PLAYER KINGS

Box Office: www.playerkingstheplay.co.uk

New Wimbledon Theatre

1 March – 9 March 2024

Manchester Opera House

14 – 23 March 2024

Noël Coward Theatre

1 April – 22 June 2024

CAST ANNOUNCED FOR

MTFESTUK 2024

AT THE OTHER PALACE & THE TURBINE THEATRE

FROM 30 JANUARY – 11 FEBRUARY 2024

Following the success of 2023, MTFestUK returns in 2024 to provide a platform for showcasing new and exciting musical theatre from the UK and abroad. This year, the festival will shine the spotlight on eight new musicals from 30 January to 11 February workshopped and presented in ‘sharing’ sessions in both The Other Palace Studio and The Turbine Theatre. The audience is invited to support, explore, engage, and enjoy new musical theatre in its various stages of development.

Following the announcement of shows as part of MTFestUK 2024, casting for the eight new musicals is now complete. This year’s productions encompass a rich tapestry of titles and themes, with contributions from a diverse array of talented writers, composers, and performers.

MTFestUK 2024 is excited to feature Miriam-Teak Lee (& Juliet), Laura Baldwin (Andrew Lloyd Webber’s Cinderella, Waitress), Jordan Luke Gage (Bonnie & Clyde, & Juliet), Rebecca Lock (Elf The Musical, Heathers) and Declan Bennett (Jesus Christ Superstar).

MTFestUK 2024 at The Other Palace

A Jaffa Cake Musical

Writer: Sam Cochrane

Arrangements: Rob Gathercole

Director: Ali James

Musical Director: Bianca Fung

Inspired by the 1991 tribunal which determined the true identity of a Jaffa Cake, the multi-award winning Gigglemug Theatre (Timpson: The Musical, RuneSical, Scouts! The Musical) bring you a brand-new family-friendly musical comedy about the nation’s favourite cake

(I mean, biscuit…?)

Cast includes: Sam Cochrane as Kevin, Emily Kitchingham as Katherine, Harry Miller as Jake, Alex Prescot as Judge, and Katie Pritchard as Tax Man.

***

Both

Music and Lyrics: Declan Bennett and Olivia Broadfield

Book: Declan Bennett

Director: Declan Bennett

Musical Director: Livi van Warmelo

When you’ve Both done all you can and something has to give, do you fall for what you know or lose the life you live? When you’re Both up against the wall, do you give up or give it all?

Cast includes: Declan Bennet and Nimah Perry.

***

Tit Swingers

Book, Music and Lyrics: Abey Bradbury and Sam Kearney-Edwardes

Director: Conor Dye

Anne Bonney and Mary Read: polyamorous queer pirates named the Hellcats of the Seven Seas for their various vicious and notorious crimes…who fought with their tits out. The Tit Swingers are here to write their own sea shanties in a new punk gig musical.

Cast includes: Abey Bradbury as Mary Read, Sam Kearney-Edwardes as Anne Bonney, and Max Kinder as Calico Jack.

***

Plastered

Book, Music and Lyrics: Randy Rogel

Developed / Co-created: BT McNicholl

Director: Jerry Zaks

Musical Director: Michael Bradley

Presented in association with La Mirada Theatre of the Performing Arts

Presented with the support of Al Gough, Beth Corets, and Kevin Ryan

Another little shop, another big problem.  At a ‘50s San Francisco coffee house, a struggling beatnik sculptor accidentally creates a new style of art that thrusts him into fame and fortune as trouble mounts…. in this twisted killer comedy musical!

Cast includes: Jacob Fisher as Beatnik, Peter Hannah as Maxwell, Jenna Innes as Beatnik, Miriam-Teak Lee as Carla, Gina Murray as Mrs Swickert, Rory O’Malley as Walter Paisley, Quinn Patrick as Leonard Desantis, and Ian Virgo as Detective. Stage directions read by Pete Gallagher.

MTFestUK 2024 at The Turbine Theatre

ROMY AND MICHELE The Musical

Written by the film’s screenwriter Robin Schiff

Score: Gwendolyn Sanford and Brandon Jay

Director: Kristin Hanggi

Musical Director: Emily Marshall

Based on the Touchstone film Romy and Michele’s High School Reunion and the stage play Ladies’ Room written by Robin Schiff. Produced by special arrangement with Barry Kemp, Peter Schneider, Lawrence Mark, and Stephen Soucy

Pop culture’s most lovable and quotable best friends are back, and this time they’re bringing their misadventures to the stage in the new musical comedy. ROMY AND MICHELE The Musical is an absolute feel-good joyride and the best thing to happen since the invention of Post-Its®.

Cast includes: Femi Akinfolarin as Mike, Laura Baldwin as Romy White, Jarrad Biron Green as Sandy Frink, Millicent Blair as Michelle Weinberger, Jordan Kai Burnett as Heather Mooney, Connor Carson as Billy Christianson, Evangeline Jarvis Jones as Christie Masters, Deena Kapdia as Kelly Possenger, Anna MacLeod as Lisa Luder, and Kingsley Morton as Toby Walters.

***

Bling

Music and Lyrics: Elliot Clay

Book: Tori Allen-Martin

Director: Sarah Henley

It’s 2008, season two of ‘The Kardashians’ is airing, Britney’s made her comeback, and a group of teenagers are about to steal $3 million worth of belongings from Hollywood celebrity’s homes. Inspired by unbelievably true events, this darkly comic pop-opera lampoons noughties culture and asks how and why they did it… O.M.G!!!

Cast includes: Roxanne Couch as Sacha, Rosanna Hyland as Mum/Teacher, Idriss Kargbo as Ryan,  Jessica Lee as Lucy, and Olivia Mitchell as Jenny.

***

REDCLIFFE 

Written by Jordan Luke Gage

Director: Josh Seymour

Musical Director: Ben Tomalin

Based on the true events of William Critchard and Richard Arnold in 1753, Redcliffe is an epic tale of forbidden love in spite during the persecution people faced for hundreds of years.

Cast includes: James Darch as Richard, Jess Douglas Welsh as Abigail, Chris Fung as Landlord, Jordan Luke Gage as William, Emma Lindars as Landlady, and Rebecca Lock as Mother.

Graduate ensemble includes: Elena Bluck, Ellie McAspurn, Rees Parry, and Jonathan Peniket.

***

The Garden

Music, Book, Lyrics: Chisara Agor

Orchestration: Robin G Breeze

Director: Chisara Agor

Musical Director: Robin G Breeze

When a sprawling magical garden grows overnight on Azalea’s estate, Azalea and her friends connect within it to unite the community, healing neighbourly strife and familial bonds. The Garden is an exciting, magical-realist, afro-electric-folk musical which sheds light on the need for social housing, nature and love.

Cast includes: Chisara Agor as Azalea, Elinor Machen-Fortune as Abbi, Jack Matthew as Developer, Resident. Full cast to be announced.

LISTINGS

MTFESTUK 2024

THE OTHER PALACE and THE TURBINE THEATRE 

30 January – 11 February 2024

MTFestUK at The Other Palace

A Jaffa Cake Musical
Tuesday 30 January: 7pm
Wednesday 31 January: 7pm

Thursday 1 February: 4pm and 7pm

Written by Sam Cochrane 

Arrangements by Rob Gathercole

Directed by Ali James

Musical Direction by Bianca Fung

Both
Friday 2 February: 7pm
Saturday 3February: 4pm and 7pm

Sunday 4 February: 7pm

Music and Lyrics by Declan Bennett and Olivia Broadfield

Book by Declan Bennett

Directed by Declan Bennett

Musical Direction by Livi van Warmelo

Tit Swingers
Tuesday 6 February: 7pm
Wednesday 7 February: 7pm

Thursday 8 February: 4pm and 7pm

Book, Music and Lyrics by Abey Bradbury and Sam Kearney-Edwardes

Directed by Conor Dye

Plastered

Friday 9 February: 7pm
Saturday 10 February: 4pm and 7pm

Sunday 11 February: 7pm

Book, Music and Lyrics by Randy Rogel

Developed / Co-created by BT McNicholl

Directed by Jerry Zaks

MT FEST at The Turbine Theatre

ROMY AND MICHELE The Musical

Tuesday 30 January: 7pm
Wednesday 31 January: 7pm

Thursday 1 February: 4pm and 7pm

Written by the film’s screenwriter Robin Schiff

Score by Gwendolyn Sanford and Brandon Jay

Directed by Kristin Hanggi

Musical Direction by Emily Marshall

Bling
Friday 2 February: 7pm
Saturday 3February: 4pm and 7pm

Sunday 4 February: 7pm

Music and Lyrics by Elliot Clay

Book by Tori Allen-Martin

Directed by Sarah Henley

Redcliffe

Monday 6 February: 8pm

Tuesday 7 February: 8pm

Wednesday 8 February: 4pm and 8pm

Written by Jordan Luke Gage

Directed by Josh Seymour

The Garden

Friday 9 February: 7pm
Saturday 10 February: 4pm and 7pm

Sunday 11 February: 7pm

Music, Book, Lyrics by Chisara Agor  

Orchestration by Robin G Breeze

Directed by Chisara Agor

Musical Direction by Robin G Breeze

Venues:           The Other Palace Studio & The Turbine Theatre

Address:          The Other Palace 12 Palace Street, London, SW1E 5JA,

The Turbine Theatre Arches Lane, Circus West, London, SW11 8AB

Website:         www.theotherpalace.co.uk    www.theturbinetheatre.com

Tickets:            £16, any two shows for £25 or all 8 for £96

Twitter:
@Fest_MT

@TurbineTheatre 
@TheOtherPalace

#MTFestUK

#PoweringTheImagination

FULL CAST ANNOUNCED FOR

THE ADDAMS FAMILY

A MUSICAL COMEDY

AT THE LONDON PALLADIUM

Katy Lipson for Aria Entertainment and John Stalker Productions are delighted to announce the full cast of THE ADDAMS FAMILY, A Musical Comedy at the London Palladium on 12 & 13 February.

Joining the previously announced Michelle Visage as Morticia Addams, Ramin Karimloo as Gomez Addams and Lesley Joseph as Grandma in the THE ADDAMS FAMILY are Sam Buttery (Jesus Christ Superstar, Barbican/Regent’s Park Open Air) as Uncle Fester, Nicholas Mclean (Annie Get Your Gun, London Palladium) as Pugsley Addams, Dickon Gough (As You Like It, Soho Place) as Lurch, Sean Kingsley (Patriots, Noel Coward Theatre) as Mal, Ryan Kopel (Disney’s Newsies, Troubadour Wembley Park) as Lucas and Kara Lane (Rebecca, Charing Cross Theatre) as Alice. In the ensemble are Leeroy Boone (The Phantom of the Opera, His Majesty’s Theatre), Abigail Brodie (Wind in the Willows, West End & UK Tour), Gavin Eden (Hairspray, UK Tour), Chloe Gentles (Mamma Mia! UK & International Tour), Katie Hutton (Cats, Asia Tour), Matthew Ives (Back to the Future, Adelphi Theatre), Jessica Keable (42^nd Street, Théatre du Châtelet & Theatre Royal Drury Lane) and Castell Parker (Sister Act, Eventim Apollo & UK Tour) and introducing Chumisa Dornford-May (Aspects of Love, Lyric Theatre) as Wednesday Addams. Wednesday Addams, the ultimate princess of darkness, has grown up and has a shocking secret that only Gomez knows; she’s fallen in love with a sweet, smart young man from a respectable family! Now, Gomez Addams must do something he’s never done before — keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. All the usual clan are present – Uncle Fester, Lurch, Pugsley et al. THE ADDAMS FAMILY, A Musical Comedy live in concert will be directed by Matthew White, with choreography by Alistair David, production design by Diego Pitarch, musical supervision and orchestrations by Richard Beadle, lighting design by Ben Cracknell, sound design by Richard Brooker and casting by Jane Deitch. Book is by Marshall Brickman and Rick Elice, and music and lyrics by Andrew Lippa, based on the characters created by Charles Addams. THE ADDAMS FAMILY is produced by Katy Lipson for Aria Entertainment and John Stalker Productions, with co-producers Jason Haigh-Ellery and Guy James and is presented through special arrangement with Theatrical Rights Worldwide.

Website: theaddamsfamily.co.uk

X: @AddamsFamilyUK

Instagram: @theaddamsfamilyuk

Facebook: @TheAddamsFamilyUK

TikTok: @TheAddamsFamilyUK

LISTINGS INFORMATION

Performances:

Monday 12 February at 7.30pm

Tuesday 13 February at 3pm & 7:30pm

The London Palladium

8 Argyll Street

London

W1F 7TF

lwtheatres.co.uk/the-london-palladium

Box Office: 020 3925 2998

Tickets from: £25

Royal Court Theatre, London – until 10th February 2024

Reviewed by Celia Armand Smith

4****

Cowbois is a colourful, campy celebration of what it is to be yourself set in the traditionally (and hilariously) manly world of the wild west. Debuting last year at the RSC, Charlie Josephine’s latest play isn’t subtle, but it is fun. Taking place in a small town, all the men have gone missing while prospecting for gold, leaving the women (and the drunk sheriff) bored, sexually frustrated, and just about hanging on. Enter a handsome gun slinging outlaw by the name of Jack Cannon (Vinnie Heaven), who has every person in the town swooning. Soon enough, all the townsfolk start to discover life as their true selves and love blooms, with colour returning to the formerly repressed community. That is until the menfolk return. They are however quite swiftly forced to challenge their own heteronormative ideas and misogynistic ways in order to save the town from some pretty bad black clad folx that Cannon has allegedly wronged.

There is so much going for this production directed by Josephine and Sean Holmes. The design by Grace Smart is fantastic, and the movement and visual arrangement of the cast is one of the highlights. The performers travel across the stage with precision, creating tableaus that change and shift with a clever use of lighting and music from Simeon Miller and Jim Fortune. The play is punctuated by great singing from cast members accompanied by an old-timey band, ever present in the corner of the stage.

There are some particularly good comedic performances from Emma Pallant as the god fearing Sally Ann, Lucy McCormick as the increasingly outspoken and wild Jayne, and LJ Parkinson who clearly is no stranger to commanding a crowd. Paul Hunter, Lee Braithwaite, Bridgette Amofah, and Sophie Melville are all brilliant as well in this truly ensemble piece.

I am a big fan of Dolly Parton, Orville Peck, and all things camp and country, and so I had high expectations coming into this, and this colourful, queer joy filled romp with a big heart did not disappoint.

SONIA FRIEDMAN PRODUCTIONS ANNOUNCE

MARK STRONG AND LESLEY MANVILLE IN

OEDIPUS

CREATED BY ROBERT ICKE, AFTER SOPHOCLES

OPENING AT WYNDHAM’S THEATRE IN OCTOBER 2024

Sonia Friedman Productions (SFP) today announce the West End run of Oedipus, a new adaptation created by Robert Icke after Sophocles. Icke directs Mark Strong (OEDIPUS) and Lesley Manville (JOCASTA). The strictly limited run at Wyndham’s Theatre previews from Friday 4 October 2024.

Icke’s production was originally presented in Dutch at Internationaal Theater Amsterdam and at the Edinburgh International Festival.

Further casting and on-sale dates to be announced. Individuals can sign up for priority booking here: Oedipustheplay.com.

Sonia Friedman Productions present

Mark Strong and Lesley Manville in

OEDIPUS

Created by Robert Icke, after Sophocles

Directed by Robert Icke

Wyndham’s Theatre

Behind every great man is a great woman. 

Election night. The polls predict a landslide victory. Everything is about to change.

Starring the internationally renowned, multi award-winning Mark Strong and Lesley Manville, Sophocles’ epic tragedy is transformed into an essential, explosive human thriller.

After his revelatory Oresteia, visionary director Robert Icke (1984, The Doctor) reimagines another Ancient Greek tragedy, bringing the secrets of the past bursting into the present.

Following hit runs at International Theatre Amsterdam and the Edinburgh Festival, Oedipus comes to comes to Wyndham’s Theatre for a strictly limited season from 4 October.

Mark Strong (OEDIPUS)

Multi-award-winning actor Mark Strong returns to the stage. He previously appeared in A View from the Bridge (Young Vic, West End and Broadway – Olivier Award for Best Actor in a Play and Tony Award nomination);  The Red Barn, Closer, Death of a Salesman, Murmuring  Judges, Fuente Ovejuna, Napoli Milionaria, King Lear and Richard III (National Theatre); Twelfth Night and Uncle Vanya (Donmar Warehouse – Olivier Award nomination for Best Supporting Actor); Speed the Plow (New Ambassadors Theatre); The Iceman Cometh (Almeida Theatre); The Thickness of Skin and The Treatment (Royal Court Theatre); Hess is Dead, The Plantagenets and The Man Who Came To Dinner (RSC).

His television credits include Temple (also series Executive Producer); Deep State; Low Winter Sun; The Long Firm (Broadcast Guild Award for Best Actor and BAFTA nomination); Prime Suspect; Fields of Gold; The Jury; Anna Karenina; Our Friends in the North and the forthcoming Dune: Prophecy (HBO Max).

An acclaimed film actor, he recently appeared in The Critic with Ian McKellen; Dead Shot with Felicity Jones; Nocebo with Eva Green; Murder Mystery 2 with Adam Sandler and Jennifer Aniston (Netflix) and will next appear on screen in various projects including The End We Start From with Jodie Comer and Benedict Cumberbatch; Shadow Force opposite Omar Sy and Kerry Washington and Atlas opposite Jennifer Lopez.

His other film credits include Todd Field’s Tar with Cate Blanchett; Sam Mendes’ 1917; Miss Sloane with Jessica Chastain; Cruella alongside Emma Stone; The Imitation Game with Benedict Cumberbatch and Keira Knightley; The Kingsman films with Taron Egerton and Colin Firth; Before I Go To Sleep with Nicole Kidman;Thomas Alfredson’s Tinker Tailor Soldier Spy with Gary Oldman; Peter Weir’s The Way Back; John Michael McDonagh’s The Guard; Ridley Scott’s Robin Hood with Russell Crowe; Guy Ritchie’s Sherlock Holmes with Robert Downey Jr and Jude Law; Martin Campbell’s Green Lantern; The Young Victoria opposite Emily Blunt; Kathryn Bigelow’s Zero Dark Thirty; Danny Boyle’s Sunshine; Stephen Gaghan’s Syriana with George Clooney; Roman Polanski’s Oliver Twist and Thomas Vinterberg’s It’s All About Love.

Lesley Manville (JOCASTA)

Lesley’s notable television credits include Princess Margaret in award-winning drama, The Crown, for Netflix, BBC’s drama Sherwood (for which she received a Best Supporting Actress nomination at the 2023 BAFTAs), which is returning for a second series. Mum (RTS Best Female Comedy Performance and two BAFTA nominations for Best Female Performance in a Comedy), Magpie Murders for BBC and PBS, similarly set to return for a second series titled Moonflower Murders. Lesley can currently be seen in Citadel for Prime Video alongside Richard Madden and Stanley Tucci. Upcoming roles include Alfonso Cuaron’s thriller series, Disclaimer. Lesley’s further TV credits include I Am Maria for BBC, River (BAFTA nomination for Best Supporting Actress), Save Me Too, Talking Heads, World On Fire and Harlots.

Her roles in film include Paul Thomas Anderson’s Phantom Thread (Academy Award nomination for Best Performance by An Actress in a Supporting Role, BAFTA nomination for Best Supporting Actress, Critics Circle Award for Best Supporting Actress), the titular role as Mrs Harris in Mrs Harris Goes To Paris for Focus Features (which earnt Lesley a Golden Globe nomination for Best Actress) Let Him Go, Ordinary Love, Misbehaviour. In addition, Lesley is also known for her collaboration with Mike Leigh in projects such as, Another Year (NBR Best Actress Award, Critics’ Circle Best Actress Award and BAFTA nomination for Best Supporting Actress), and All Or Nothing (Critics’ Circle Best Actress Award), Topsy-Turvy, High Hopes and Grown Ups, to name a few. Upcoming projects include Sam Taylor-Johnson’s upcoming Amy Winehouse biopic, Back To Black, Kasia Adamik’s upcoming Cold War feature, Winter Of The Crow, Cold Storage starring opposite Liam Neeson- a thriller about a spiralling virus and Luca Guadagnino’s feature film, Queer opposite Daniel Craig.

On stage, Lesley’s theatre credits include Long Day’s Journey Into Night (Olivier Award nomination for Best Actress), Ghosts (Olivier Award for Best Actress and Critics Circle Best Actress Award), Grief (Olivier Award nomination for Best Actress), Top Girls and The Visit. Further credits include Six Degrees Of Separation and All About My Mother at the Old Vic Theatre and Some Girls and The Cherry Orchard in the West End.

For her contributions to Drama and Charity, Lesley was honoured with a CBE in 2021.

Robert Icke is an award-winning writer and director, working in theatre and on screen.

His recent productions include Judas, Children of Nora, and Oedipus at International Theater Amsterdam, where until 2023 he was Ibsen Artist in Residence. His adaptation of Animal Farm played an extensive national tour in 2022 and is slated for a London transfer. His monologue condensation of Enemy of the People starred Ann Dowd at Park Avenue Armory and was one of the first new pieces of theatre to play in New York post the shutdown. He is directing Ian McKellen in Player Kings at the Noël Coward Theatre, 1 April – 22 June 2024, previewing in Wimbledon and Manchester from March.

In six years at the Almeida, five of his productions transferred to the West End, and four to New York. These included his adaptations of The Wild Duck, Mary Stuart (also West End and National tour), Uncle Vanya, Oresteia (also West End; Schauspiel Stuttgart; Park Avenue Armory), and 1984 (co-created with Duncan Macmillan, also Broadway; West End; national and international tours). As a director, his productions included Hamlet (also West End; Park Avenue Armory; and broadcast on BBC2); The Fever and Mr Burns. His final production at the Almeida was The Doctor, which played last summer at Park Avenue Armory, in the West End in 2022, and remains in repertoire at both the Burgtheater in Vienna and Internationaal Theater Amsterdam, as well as in numerous new productions across the globe.

His awards include two Evening Standard ‘Best Director’ Awards; the Critics’ Circle Award, the Kurt Hübner Award (for his debut production in Germany); and the Olivier Award for ‘Best Director’, of which he was the youngest ever winner. He is a Fellow of the Royal Society of Literature.

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LISTINGS

OEDIPUS

Wyndham’s Theatre

From Friday 4 October 2024

Box Office: Oedipustheplay.com

Cambridge Arts Theatre, Cambridge – until Saturday 20th January 2024

Reviewed by Steph Lott

4****

A Joyous Ode to Empowerment: 9 to 5 The Musical at the Cambridge Arts Theatre.

The Cambridge Operatic Society’s recent production of 9 to 5: The Musical, based on the book by Patricia Resnick, with songs and lyrics by Dolly Parton, is a delightful and empowering theatrical experience at the Cambridge Arts Theatre.

The audience are transported into the vibrant world of the late ’70s, a time when office dynamics were shifting, and women were beginning to demand their rightful place in the corporate landscape. The show cleverly balances humour, heart, and a powerful message of female empowerment, capturing the essence of the original 1980 film that inspired it.

One of the standout elements of the production was the stellar casting by the Cambridge Operatic Society. The three leading ladies, Violet (played by Emma Vieceli), Judy (played by Ellie Baldwin), and Doralee (played by Vikki Jones), delivered performances that were both hilarious and heart-warming. Their chemistry was palpable, creating a dynamic trio that effortlessly carried the show from start to finish.

It was interesting to witness the audience’s reaction to Rodger Lloyd’s portrayal of the dastardly Franklin, which was creepily superb with excellent comic timing. However, instead of applause, I almost felt he was going to get booed, such was the level of revulsion he stirred up!

The ensemble cast, composed of the talented members of the Cambridge Operatic Society, showcased impressive vocal prowess and energetic dance numbers that brought the infectious spirit of Dolly Parton’s music to life. The choreography, executed with precision and flair, added a visual feast to the already engaging narrative.

Dolly Parton’s music is, without a doubt, the soul of the production. The score, was flawlessly performed by the live orchestra, enhancing the overall theatrical experience. The titular song, “9 to 5,” had the audience tapping their feet and humming along, a testament to the timeless appeal of Parton’s compositions.

While 9 to 5 The Musical provides ample opportunities for laughter and entertainment, it doesn’t shy away from addressing serious issues such as workplace inequality and sexism. The script’s witty dialogue, coupled with the charismatic delivery of the cast, struck a perfect balance between humour and social commentary.

In conclusion, the Cambridge Operatic Society’s rendition of 9 to 5 The Musical at the Cambridge Arts Theatre was a resounding success. The stellar performances, vibrant production design, and the timeless appeal of Dolly Parton’s music combined to create a theatrical experience that was both uplifting and thoroughly enjoyable. The production not only pays homage to the source material but also adds a contemporary flair, making it a must-see for audiences of all ages. The audience gave the Cambridge Operatic Society a very warm welcome at Cambridge Arts and tonight’s performance had many members of the audience on their feet giving them a very well-deserved standing ovation.