The Actor’s Church, Covent Garden – until 9th December 2023

Reviewed by Fiona Leyman

5*****

There is nothing more mesmerising than watching a flame flicker on a candle. Now, imagine hundreds of (artificial) candles all flickering together, mixed with the enchanting sounds of a string quartet, in the setting of a beautiful church. Sounds too good to be true doesn’t it?

Nestled in the middle of London’s bustling Covent Garden stands the beautiful 16th Century St. Paul’s Church, or otherwise known, The Actor’s Church. There aren’t many places in the centre of London where you can break away from the noise and crowds of Londoners and tourists going about their busy lives, but this little church is tranquillity in the heart of the city. With its walls steeped in theatrical history and memorial plaques with some of the of the most notable names in theatre, Sir Charlie Chaplin, Sir Noel Coward, Stanley Holloway to name just a few, this is the perfect location for such an event.

This magnificent church, lit only by candlelight, showcases the extraordinary talent of the Icon Strings Quartet. With a repertoire full of the most iconic songs from musical theatre, these four incredibly gifted chamber musicians are a wonder to behold. Each of these performers are both National and International award-winning musicians and have performed in some of the most coveted venues around the world. Nathalie Green Buckley on Viola and Elise Harper on Violin, who has toured with the likes of Michael Bublé and Sophie Ellis-Bextor, both play beautifully on instruments which are nearly 200 years old. Award winning Kirsten Jenson on Cello and Waterhouse Prize winner Haru Ushigusa on Violin, complete this amazing quartet. Collectively these musicians can be heard on the most notable albums and soundtracks, such as Downton Abbey, The Matrix and Blue Planet. Each complimented the others beautifully, sending their sounds echoing around every inch of the church.

Musicals by Candlelight is exactly what it says on the tin, your favourite musical theatre songs, enjoyed in the beauty of candlelight. I feel this description does not give this the justice it deserves though. There is no flashy staging, theatrics or costumes that we have become accustomed to being on London’s West End. This intimate concert is stripped back, raw and has simplicity at the heart of it. Hearing songs such as ‘Don’t Rain On My Parade’ from Funny Girl, or ‘Don’t Cry For Me Argentina’ from Evita played on the simple strings of an instrument is something not to be missed. Their ever-changing set list includes classics by Sir Andrew Lloyd Webber and Stephen Sondheim and memorable songs from shows like Mamma Mia, Hairspray, The Lion King and my personal favourite, Dear Evan Hansen.

Seeing each audience member watch in awe, as each song ignites a personal memory in their own mind is a wonder to watch. If you want a place to clear your mind and get away from the hustle and bustle of London, Musicals by Candlelight at the Actors Church is the place to go. Close your eyes, soak in the sounds, it will leave you feeling peaceful, with goosebumps on your arms and a big smile on your face. If I could give Musicals by Candlelight more than 5 stars, then I happily would.

York Theatre Royal – until Saturday 4th November 2023

Reviewed by Michelle Richardson

4****

Theatre Royal Bath Productions of Noises Off is currently playing at York Theatre Royal this week. Written by Michael Frayn, it was first performed in 1982, it is a play within a play, a sex comedy romp about a touring production of Nothing On.

Set in three acts, Act One is set in a theatre, it’s very late, with the cast performing the final, or maybe the technical rehearsal, of an upcoming production of Nothing On, all involved cannot quite make their minds up. With only a day left nothing is going to plan, the cast are under rehearsed, fixating on immaterial things, whilst everything is falling apart all around them, a perfect chaotic storm.

The show follows a housekeeper, played by Dotty Otley (Liza Goodard), who looks after a house owned by a couple in tax exile, played by Frederick (Simon Coates) and Belinda (Lucy Robinson). Unfortunately, her peace and quiet is shattered by the arrival estate agent and his bit of squeeze, played by Garry (Mark Middleton) and Brooke (Lisa Ambalavanar). Then the unexpected arrival of her employers truly puts a spanner in the works, as well as the appearance of the old sot of a burglar played by Selsdon (Matthew Kelly). Unfortunately for the lothario director Lloyd (Simon Shepherd), the actors can’t stick to the script. He becomes increasingly more exasperated with what is unfolding before his eyes, with so little time until opening night.

Act Two we get to see backstage on the opening night. Even with stage manage Poppy (Nikhita Lesler) and technician Tim (Daniel Rainford) attempting to hold things together it has all gone horribly wrong. We have missing actors, jealousy and misunderstandings run rampant, but still the show must go on. We only get to see behind the scenes and the curtain rising.

As the show is in progress the off-stage actors have to mouth and gesticulate in order to communicate. Frustration and revenge lead to some hilarious moments. The choreography involved with the axe wielding, all the doors opening and slamming, was magnificent to watch. This act had all the audience laughing at the antics playing in front us.

Act Three is the final show of the run. Things have obviously deteriorated throughout the tour. The cast are really on their last legs, in Dotty’s case hers is bandaged up. Relationships have broken down, the script is out of the window, props all over the place, chaos ensues.

During opening night, the theatre had a bit of a malfunction with the stage curtain. The stage manager came on stage between Act Two and Three to apologise and make us aware of this problem, only thing is that I’m not too sure if that was real or part of the show. Even after the apology, was this just part of the act? It fitted right into the story, so it could be.

This show gives the strong cast the opportunity to showcase their comic talents with their over exaggerated portrayals. It is full of slapstick, trousers around the ankles, an overacting actress, you get the gist. Shout out to Middleton for his physical comedy when his shoe laces were tied, and Robinson with her stage energy and ethos of the show must go on.

You cannot help but laugh along with this show, with all the chaos, door slamming and sardines. How on earth sardines play a pivotal role in this show is anyone’s guess, absurd, but that just makes it even funnier. A great night out and a masterclass in farce.

Festival Theatre, Malvern – until 4th November 2023

Reviewed by Courie Amado Juneau

4.5****

A Voyage Round My Father is John Mortimer’s memoir brought to the stage. First performed in 1970, over the years it’s had the biggest names in the business (like Olivier and Jacobi) leading the cast and tonight is no except with another phenomenal talent, the wonderful Rupert Everett, playing the titular character. His transformation as he aged was nothing short of remarkable. To make a character who is at times scheming, grumpy and cynical so likeable shows his abundant talent. The way he handled the script’s tender moments – like telling stories to his grandchildren or when his disability was confronted head on was nothing short of an acting masterclass. But he could also burst forth with joy or anger at a moment’s notice and this turning on a sixpence was also a joy to behold.

Eleanor David, as mother, was the perfect compliment to father, giving us a portrayal full of old fashioned love, kindness and patience. I found her reading very sympathetic and rather fell in love with her to the bargain!

Jack Bardoe, as son, has the most stage time as we see him navigating the choppy waters of his school years, making friends, dealing with girls, having his own opinions and eventually forging out on his own. The professional overlap with his father (both lawyers) gave us some delicate and comical interplay between the two male leads.

Julian Wadham played several roles with distinction and was everything one could hope for in a public schoolmaster – crusty, old fashioned, meaning well whilst imparting dubious advice upon his unsuspecting pupils. Allegra Marland really shone as Elizabeth – especially when standing her ground in the face of some fruity (old fashioned) male attitudes. But, honestly, all the cast were suberb and the play would have been diminished considerably had any of them been missing.

The set and props were deployed intelligently to convey a multitude of scenes and was lit creatively to focus the attention on the acting and push along the drama. The costumes were exquisite, with everyone looking extremely stylish.

Director Richard Eyre gave us a lean, taut production. The dialogue zipped along, giving the heartfelt moments (such as discovering the opposite sex, the realisation that work was not all it was cracked up to be and the sacrifices within marriage and in bringing up a family) more time to breathe and have the impact they deserved. But the most potent moment was surely the ending which was deeply affecting due to a commendably deft, light touch.

The story of interesting lives well lived; most certainly. But more than that, it’s an exploration of navigating the journey of life and those key relationships within it – and that’s what makes it such a fascinating, enjoyable watch as we recognise our own experiences on the stage. That’s not even mentioning the pleasure of all that incredible acting done so well. A crowdpleaser of a show, I have no hesitation in highly recommending it to you.

New Theatre Wimbledon – until 4 November 2023

Reviewer Alec Legge

5 *****

To that gem of a theatre, The New Wimbledon Theatre, to see this marvellously entertaining musical.

Calendar Girls is a musical by Gary Barlow and Tim Firth, which tells the well loved story of a group of WI Ladies from Yorkshire, who, after one of their number lost her husband to cancer, decided to make a calendar to sell in order raise enough money to buy a settee for the hospital relatives room where her husband was treated. After lots of argy bargy they decided to make it a nude calendar and went on to fight against other members and officers of their own WI , their own families and even the National WI Association to be allowed to do it. This was covered in the first act and which also covered the demise of the husband. There was plenty of amusing repartee between the ladies as well as plenty of fantastic songs. Pathos, comedy and wittiness made this an entertaining and emotional show.

On to act two which included the making of the calendar. This was hilarious with the ladies humming and hawing about taking part, and being photographed by a man whilst in the nude. Then the uproarious stripping and posing for the photographs. All this accompanied by more fabulous songs.

Then a smashing finale during which it was revealed that they had not only raised enough to buy a settee but there was enough money to build a new wing at the Hospital which was going to be named after her husband.

This play is based on a true story and includes all one would wish for to make for a wonderful night at the theatre! What the ladies accomplished went viral and the calendar sold like hot cakes not only in the UK but in many countries all over the world! Spin offs included films a play and now the musical. Just goes to show that from small acorns great oak trees grow!

I am not going to single out an individual for particular praise but Tanya Franks, Maureen Nolan, Lyn Paul, Amy Robbins, Paula Tappenden, Marti Webb and Honeysuckle Weeks as the Ladies,together with Colin R Campbell and Graham Macduff as the Husband and the Photographer all gave wonderful performances well deserving the standing ovation they received.

In conclusion this was a fabulous, entertaining, sad but funny play with marvellous songs and music well worth a visit. I loved it and would recommend it to all.

Wyndham’s Theatre – until 9th December 2023

Reviewed by Amarjeet Singh

3***

King Lear is a brutal play, filled with human savagery, unwise choices and misplaced trust which unfolds into widespread tragic events. Shakespearean legend, Kenneth Branagh directs and plays the title role in this whistlestop production, which runs straight through at just under two hours due to its heavily stripped text. The result of which robs the audience of its gravitas. There is not enough time to explore the chaos and cruelty, to develop and understand its crucial family and political dynamics and to ultimately realise the journey Lear embarks upon with those around him and most importantly with himself, rendering the conclusion confusing and cold.

There is no doubt that Branagh is a behemoth of an actor, and although he commanded the stage with majesty and was a delight to behold, however, unfortunately, his presentation of Lear was lacking. I fear this was because of the pace and the prose. He swung between extremes of emotion without fully embodying and exploring Lear’s drives and depths. It almost felt like I was witnessing Shakespearean speed dating, where I was getting Branagh’s best moves, impressing but not emoting. He was far better at capturing comedic moments, and thus had the audience laughing at some inappropriate moments, which jarred a little as Lear is essentially a tragedy.

Set in a very ancient, neolithic period of Britain, the cast swathed in furs, carrying sticks, stones, spears, designer Jon Bausor had set the action amidst great rugged stones that bring to mind Stonehenge. These expanded and contracted, had projections imposed upon them, of waves, faces, eyes and horses. Above was an orb, over which Nina Dunn’s projections and Paul Keogan’s lighting set changing skies, birds, the milky way and planets. There are 2 moments of complete blackout to perfectly accentuate key moments. All converged to create an atmospheric staging for King Lear.

Mara Allen as Curan was excellent. Corey Mylchreest is brilliant as Edmund, villain to the virtuous Doug Colling’s Edgar. Deborah Alli’s and Melanie-Joyce Bermdez as Goneril and Regan respectively were superb. Jessica Revell played the dual role of Cordelia and Fool wonderfully. Joseph Kloska as Gloucester deserves a special mention for his tremendous performance. The cast as a whole came together to do the best they could with the sad desecration of the play. Ultimately this production of King Lear has all the elements which ought to make it a sure-fire hit, but without the time to grow, to allow the tale to unfold, it’s a bit of a miss.

FOUR-TIME OLIVIER AWARD WINNER

IMELDA STAUNTON

TO HEADLINE NEW PRODUCTION OF THE ICONIC MUSICAL

The show reunites Imelda with DOMINIC COOKE,

the director of their acclaimed production of Follies

Production also stars ANDY NYMAN,

JENNA RUSSELL, TYRONE HUNTLEY & HARRY HEPPLE

Jerry Herman’s unforgettable score includes

Put On Your Sunday Clothes, Before the Parade Passes By,

It Only Takes a Momentand Hello, Dolly!

Performances begin at The London Palladium on Saturday 6 July 2024

(Thursday 2 November) Michael Harrison is thrilled to announce that Imelda Staunton will be back where she belongs in Hello, Dolly! next summer, as one of the most iconic musicals of all time comes to The London Palladium.

With an unforgettable score by the legendary Jerry Herman, Hello, Dolly! will begin performances at The London Palladium on Saturday 6 July 2024 for a strictly limited 10-week season.

To register for more information, visit www.HelloDollyLDN.com

Multi-Olivier and BAFTA Award-winning Staunton plays meddlesome socialite turned matchmaker Dolly Levi, as she travels to Yonkers, New York to find a match for the miserly, unmarried ‘half-a-millionaire’ Horace Vandergelder. But everything changes when she decides that the next match she needs to make is for herself.

With music and lyrics by Jerry Herman (La Cage aux Folles, Mack and Mabel, Mame) and book by Michael Stewart (42nd Street, Mack and Mabel, Barnum), Hello, Dolly! is one of the most iconic musicals of all time. Jerry Herman’s timeless score includes ‘Put On Your Sunday Clothes’, ‘Ribbons Down My Back’, ‘Before the Parade Passes By’, ‘Elegance’, ‘It Only Takes a Moment’ and of course, ‘Hello, Dolly!’.

This brand-new production reunites Imelda with director Dominic Cooke,following their spectacular, critically acclaimed production of Stephen Sondheim’s Follies at the National Theatre.

Imelda Staunton commented: “I’m delighted that we are announcing our new production of Hello, Dolly!, which is a truly joyous show. I am also thrilled to be working again with Dominic Cooke and Michael Harrison. Dolly Levi is one of the great characters in musical theatre, and I can’t wait to join the company in bringing our new production to the iconic London Palladium.”

The production today also announces further casting:

Andy Nyman – who will play Horace Vandergelder – is a multi-award-winning actor, writer and director. Most recently he won unanimous acclaim for his memorable portrayal of Tevye in the celebrated production of Fiddler On The Roof at the Menier Chocolate Factory and its subsequent transfer to the Playhouse Theatre.

Nyman’s acting credits include the Royal Court production of Hangmen and the West End hit Ghost Stories, which he also created and starred in the film adaptation. His various TV roles include Winston Churchill in Peaky Blinders and he has frequently collaborated with illusionist Derren Brown, co-writing and co-directing four of his stage shows.

Olivier Award winner Jenna Russell will play Irene Molloy. Jenna recently starred in the UK premiere of The Bridges of Madison County. She won an Olivier Award for Best Actress in a Musical in 2006 for her performance in Sunday In The Park With George at the Menier Chocolate Factory (a performance she later reprised on Broadway) and was nominated for her work in the Menier’s 2012 revival of Merrily We Roll Along. She also appeared in the acclaimed, London premiere production of Fun Home the Young Vic.

Tyrone Huntley, who will play Barnaby Tucker. Tyrone was nominated for an Olivier Award for his performance as Judas in the widely acclaimed production of Jesus Christ Superstar at Regent’s Park Open Air Theatre. He was also previously in the original London casts of Dreamgirls and The Book of Mormon.

Harry Hepple, who will play Cornelius Hackl, has previously performed in Follies at the National Theatre and Romantics Anonymous at Bristol Old Vic.

Hello, Dolly! also reunites Imelda Staunton with producer Michael Harrison. Their production of Gypsy at the Savoy Theatre was awarded the Olivier Award for Best Musical Revival, and for which Imelda also won the Olivier Award for Best Actress In A Musical for her acclaimed portrayal of Momma Rose.

Further casting for the production will be announced at a later date.

Hello, Dolly! is produced by Michael Harrison, Gavin Kalin, Jonathan Church Theatre Productions & Crossroads Live.

Blackpool Grand Theatre – until Saturday 4 November 2023

Reviewed by Debra Skelton

5*****

If it is a ghost story that you want, then The Grand Theatre Blackpool has just what you need and that is ‘The Woman in Black’ which is showing until Saturday 4th November 2023.

This production is presented by PW Productions and is the adaptation by the late playwright Stephen Mallatratt and directed by Robin Herford.

‘The Woman in Black’ is a ghost story written by Susan Hill where Arthur Kipps the main character relates his haunting experiences at Eel Marsh House.

On Christmas Eve the stepchildren of Arthur ask him to tell them a spooky ghost story, but he decides that it best to write the only story that he knows down as to avoid being disturbed by his memories by telling the story out loud.

The story is about a young Arthur Kipps a junior solicitor who is sent by his employer to Eel Marsh House to settle the affairs of the late Mrs Alice Drablow. At the funeral he sees a sickly-looking young woman dressed in black with which no one else does, however he witnesses her again when he reaches Eel Marsh House which is creepy as its cut off from the mainland at high tide.

Whilst sorting through Mrs Drablow’s papers, Arthur is haunted by the sound of a pony and trap and continues with sightings of the woman. A local man, Sam Dailey reveals to Arthur who the woman is that is haunting the house, Jennet the sister of Alice Drablow.

He ends up staying overnight with Sam’s dog Spider for company where they are spooked by cries, rumblings, and bumps in the night. A door mysteriously unlocks, and Arthur finds a nursery filled with toys and a rocking chair in motion.

Sam rescues Arthur from the house and tells him how every time the woman in black is seen, a child dies by accident.

Unfortunately, the story does not have a happy ending for Arthur as in the future he sees the woman in black again whilst in London and minutes later his wife Stella and child die in a terrible accident.

This production has only two actors, Malcolm James who plays Arthur Kipps and Mark Hawkins who plays The Actor. Their performances can only be described as totally breath taking and their presence on the stage keeps you in your seats the whole way through the play and the rapturous applause at the end was well deserved.

Special thanks are also needed to Antony Eden the Associate Director, Michael Holt the designer, Sebastian Frost for the eerie, scary, and jumping out of your seat sounds and Kevin Sleep for the spooky lighting.

Leeds Grand – until Saturday 4 November 2023

4****

The King and I waltzes into Leeds as part of the UK tour.  Directed by Bartlett Sher, this Lincoln Centre Theatre production was shown at the London Palladium in 2018.

Annalene Beechey and Darren Lee lead a huge cast as Anna Leonowens and the King of Siam.  Widowed Anna was employed to teach the royal children and many wives.  Accompanied by her son Louis (Josh Bortoloso, Fin Goodman, Louis Levy and Charlie McGuire sharing the role), they pack up all their belongings and sail to Siam to work for £20 a month and live in a house adjacent to the palace.  When they arrive, they are met by Kralahome (Kok-Hwa Lie), the Prime Minister who is initially hostile to Anna and her son.  He says there is no house and she must reside in the palace.  After a month, she finally gets to meet the King, Lady Thiang (Cezarah Bonner) the chief wife and the favoured wives and royal children (William Alsina, Alexander Chin, Cody Concha, James Javier, Alanha Baharil Koppen, Kanaho Kurihara, Sanna Kurihara, Caitlin Lau, Ruby-Mae Lewis, Khun Cho Lwin, Grace Mugridge, Angelica Quynh, An Nguyen, Sabri Leonel Puci, Myles Tullett, Phoebe Zhao-Welsh) and Crown Prince Chulalongkorn (Caleb Lagayan).  She also meets Tuptim (Marienella Phillips), who was sent as a gift to the King from the King of Burma and Lun Tha (Dean John-Wilson) her lover.

The show starts with the entrance of a magnificent boat sailing into Siam, but the scenic budget clearly all went on the boat, as the rest of Michael Yeargans set consists of a back wall and drop down columns.  Catherine Zuber designed some magnificent costumes and some of Anna’s dresses needed an acting credit of their own. The live orchestra led by Christoper Mundy excelled with Rogers and Hammersteins songs and the audience appreciated Beecheys clear and exquisite vocals in “Whistle a Happy Tune”, “Hello, Young Lovers”, “Getting to Know You” and “Shall we Dance?” with an enthusiastic Lee.  Phillips and John-Wilson shone during their duets, John-Wilson particularly having a stunning voice.

For all the fabulousness, the show is incredibly long and full of dubious politics.  The Small House of Uncle Tom ballet staged for SIr Edward Ramsay (Sam Jenkins-Shaw) just extends an already epic production. However Christopher Gattelli and Jerome Robbins have choreographed beautifully.

This is a monumental show in all respects.  Outstanding singing and acting but I’m not sure it performs well in this day and age.  However, if you can gloss over the niggles and doubts and length; to just appreciate the performance, then you will have, in the words of Lady Thiang, “Something Wonderful”

Adam Paulden and Sue Gilad & Larry Rogowsky

Steven Antin and Christina Aguilera

present

By

Steven Antin

FEATURING SONGS BY

Christina Aguilera, Sia & Diane Warren

ADDITIONAL SONGS BY

Jess Folley and Todrick Hall

Additional material by Kate Wetherhead

Based on the Sony Pictures/Screen Gems film

Manchester Opera House | Thursday 13 June – Saturday 29 June 2024

Sign up for advance information and priority access – www.burlesquethemusical.com

Burlesque the Musical – the first ever stage adaptation of Steven Antin’s crowd-pleasing musical sensation, Burlesque, which starred Christina Aguilera, Cher, Kristen Bell and Stanley Tucci – will have its World Premiere at the Manchester Opera House.

Performances will begin on Thursday 13 June and run through until Saturday 29 June 2024. Tickets will go on sale on Wednesday 8 November 2023.  Sign up for advance information and priority access to tickets at www.burlesquethemusical.com

Burlesque the Musical has a book by Steven Antin, with additional material by Kate Wetherhead.  The music and lyrics are by Christina Aguilera, Sia, Diane Warren, Todrick Hall & Jess Folley.

Christina Aguilera, who will serve as the Executive Producer of Burlesque the Musical, said:

“Burlesque was my first feature film — and creating the role of Ali along with co-writing the music was a part of my career that I will always cherish.  I am so happy to be reunited with Steven, this time behind-the-scenes as an Executive Producer and contributing songwriter for our new stage version.  Recreating Burlesque as a live theatre experience is something I always hoped would happen, and here we are!”

Steven Antin added:

“To say that I’m excited is an understatement. ‘Peel me off the ceiling’ is more accurate. Getting Burlesque the Musical to the stage has been an ambition and a dream of mine for over 10 years.  I’m working with the best creative and producing team in the world, and we are all beyond thrilled that Christina has chosen to come on board as Executive Producer.  It’s a privilege to be working with her again. Her unrivaled experience, intuition and artistry continues to elevate everything. So exciting to be on this new journey with Xtina.”

Welcome to Burlesque the Musical, the glamorous, gritty and outrageously fun new musical based on the much-loved hit movie.

Discover a club like no other…a place beneath the city lights where the sequins sparkle, seduction shimmers, and a life can change in the flick of a feather boa.

When Ali heads to the bright lights of New York in search of her long-lost mother, she finds herself drawn into a dazzling underground world where the beat of the music and the heat of the dance moves will change her life forever. Among this unlikely family of misfits, dreamers and schemers, Ali will unwittingly find her real voice, discover her talent, and find where she really, truly belongs.

Written by Steven Antin, with additional material by Kate Wetherhead, and directed and choreographed by Nick Winston, BURLESQUE THE MUSICAL is a scintillating journey of self-discovery that absolutely sizzles with songs by Christina Aguilera, Sia and Diane Warren, alongside additional songs by Todrick Hall and Jess Folley.

Burlesque is the big new musical that says life isn’t fair…it’s fabulous!

The full creative team for Burlesque the Musical is: Steven Antin (Book Writer), with additional material by Kate Wetherhead, Music and Lyrics by Christina Aguilera, Sia, Diane Warren, Todrick Hall & Jess Folley, Nick Winston (Director and Choreographer), Soutra Gilmour (Set Designer), Tom Curran (Musical Arrangements and Orchestrations), Ryan Dawson Laight (Costume Designer), Phil Bateman (Musical Supervisor), Chris Poon (Musical Director), Robin Antin (Creative Co-Producer/Associate Choreographer), Harry Blumenau (Casting Director), Sarah-Jane Price (Casting Associate) and Lloyd Thomas (Production Manager).   Further information about the show will be announced in due course.

Burlesque The Musical is produced and general managed by ADAMA Entertainment:

ADAMA Entertainment produces, manages and programmes outstanding live theatre and events in the UK and across the world. Adopting a down-to-earth approach, the company has won numerous accolades for its work, including 3 Olivier awards, a South Korean DIMF award and the coveted WhatsOnStage.com award for Best New Musical.

The company offers theatrical management and programming services to other producers, promoters and companies. It also owns high-quality production sets that are available for hire, and programmes a flexible central London space for rehearsals, photo shoots and more. ADAMA is co-owner of the North East’s leading performing arts college, Musical Theatre Studio (MTS).

Founder-Managing Director: Adam Paulden

Chairman: Jason Haigh-Ellery

BURLESQUE THE MUSICAL

Manchester Opera House

3 Quay Street

Manchester

M3 3HP

Performances

Thursday 13 June – Saturday 29 June 2024

For Thursday 13, Friday 14, Saturday 16 June – 7.30pm only

Monday 17 – Saturday 29 June:

• Mon – Sat 7.30pm
• Matinees 2.30pm on Thursdays & Saturdays

Box Office

www.burlesquethemusical.com

Tickets:  From £11.25 – £73.25

Social Media

FaceBook

https://www.facebook.com/burlesquethemuscialuk/

TikTok
https://www.tiktok.com/@burlesquethemusicaluk

Instagram 
https://www.instagram.com/burlesquethemusicaluk/

Twitter
https://twitter.com/BurlesqueStage
 

“The Brits have made the year’s funniest musical…a hit in London’s West End and may head across the Atlantic…rewriting the playbook for originality.…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”

Peter Marks, The Washington Post

“irrepressible wartime musical is a West End triumph”
Emma John, The Guardian

“Hilarious tale makes Mincemeat out of its rivals…Before curtain I talked to a fan seeing this for the seventh time. I wondered why anyone would see the same show seven times. Now I know”

Neil Armstrong, The Mail On Sunday

“LAUGHING so hard I could barely breathe is not what I expected for a musical about a World War II top-secret plan.…the perfect invasion of the West End. Long may they occupy it.”
Thea Jacobs, The Sun

“the feel-good West End musical of the summer…The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”

Alexis Soloski, The New York Times

65 ★★★★★ reviews and counting

Operation Mincemeat: A New Musical – 65 five-star reviews and counting – “a hilarious new musical that rivals The Book of Mormon for laughs”  (Vogue), has extended its West End run for the sixth time through 15^th June 2024. Operation Mincemeat follows thirty-three hugely successful years of The Woman In Black at the Fortune Theatre.

Extension tickets will be available on general sale on Friday 10^th November at 10am from the Official Box Office here

After the success of the first ballot, the second Monday night ballot returns by popular demand. Every week Monday night shows are sold-out. Ticket prices are frozen at £39.50 for the new booking period from Monday 22^nd April – Saturday 15^th June  2024. To ensure fair access for fans tickets will be available through the ballot here. The first draw will take place on Thursday 9^th November.

The fortnightly £25 ticket lottery continues here (next draw on Monday 13^th November). Access to exclusive perks is available via the Official Operation Mincemeat mailing list here.

Now starting to gain international acclaim including titles from the USA -“My far-and-away favorite production” (The New Yorker), Israel – “A story about the impossible that was possible…The guys who put on a show with zero budget conquered the most coveted goal of all. The mouse that roared… Fly to London now, right now” (Shlomut by Globes) and Germany –“stands out from the plethora of West End productions…The current must-see show” (Musicalzentrale), the extraordinary debut musical is written and composed by SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

After five sold-out development runs at the New Diorama Theatre in 2019 and Southwark Playhouse in 2020, 2021 & 2022, plus an extended Riverside Studios run last summer, Operation Mincemeat: A New Musical is back.

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. 

Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler? 

The production is directed by 2023 Olivier Award nominated  Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at theNational Theatre on the creative team are: 2023 Olivier Award nominated  Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer. Grammy Award winning and Tony, Emmy, Olivier award nominated Steve Sidwell (Beautiful: The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2023 Stage Debut Award ‘Best creative West End debut’ nominated Joe Bunker is Musical Director. Georgie Staight joins as Associate Director and Paul Isaiah Isles as Associate Choreographer. Casting is by Pearson Casting.

Operation Mincemeat won The Stage Debut award for Best Composer/Lyricist and the Off-West End award for Best Musical Production and Best Company Ensemble. Following the first New Diorama Theatre run, Operation Mincemeat was listed in The Observer’s Top 10 shows of the year and most recently was listed in The Independent’s Top 15 shows of the year.  The show is currently featured in the V&A’s Re:Imagining Musicals display, exploring how musicals have continuously reimagined, reinvented and reinterpreted themselves over time.  

The 2023 Off-West End Best Musical Production Award winning returning cast (Southwark Playhouse/ Riverside Studios), David Cumming, Claire-Marie Hall, Natasha Hodgson, Jak Malone and Zoë Roberts, are joined by: Seán Carey (returning from Riverside Studios), Geri Allan, Christian Andrews and Holly Sumpton.

Operation Mincemeat is presented in the West End by Avalon (in association with SpitLip), who have supported since the Southwark Playhouse runs. The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.