OCTAGON THEATRE, BOLTON – UNTIL – SATURDAY 21 OCTOBER 2023

REVIEWED BY ZOE BROWN

5 *****

P.G. Wodehouse’s ‘Perfect Nonsense’ brilliantly adapted from the classic novel ‘The Code of The Woosters’ for stage by The Goodale Brothers, brought the house down.

Wodehouse created 10 novels and more than 30 short stories about the tall and debonair Edwardian gentleman Bertie Wooster and his dependable valet Percy Jeeves. With Wooster often finding himself in strife and reliant upon the rescue of his resourceful companion. The timeless comic genius of Wodehouse’s double act has not diminished in this joint venture by Wiltshire Creative and Octagon Theatre Bolton.

The audience delighted in the sheer energy and enthusiasm of the trio, Luke Barton as Wooster, Patrick Warner as Jeeves and Alistair Cope as Seppings. Each perfectly cast by Olivia Barr, with the latter two actors taking on a variety of characters to assist Wooster in the retelling of his calamitous trip to Totleigh Towers.

‘It’s a complex case of Gussie Fink-Nottle, Madeline Bassett, her father Sir Watkyn, her cousin Stiffy Byng, Roderick Spode and my Aunt Dahlia.’ Says Wooster and so the calamity begins with his uncle’s desire to purchase a silver cow.

Luke Barton as the earnest, dippy, Wooster, was such a devilishly cheeky chappie. He held complete command of his audience as he delivered his narration. Taking time to ensure each of us held his gaze. His timing, diction, and physical comedy were perfect and meant the story never dipped.

Patrick Warner as the suave Jeeves, provided a calming tonic to the fizzy Wooster and his take on newt-loving Gussie Fink-Nottle was sheer brilliance.

Alaistair Cope delighted as the affable Seppings, formidable Aunt Dhalia and the towering Roderick Spode.

As Wooster explains ‘I mean, I’ve been to the theatre a couple of times, I’ve seen people act and have often thought, ‘Well, how hard can that be?’ We soon appreciate that it is, in fact, very hard to accomplish the level of excellence this trio exude.

Direction by Marieke Audsley was slick and made the most of the farce with a combination of the actors’ physical skills and comedic timing to ensure the story never faltered and hit each beat perfectly.

With a glorious 1920’s art deco style compact set design by Olivia du Monceau that allowed for the actors to move between Berkeley Mansions and Totleigh Towers with a simple swivel of a panel or adaptation of a chair. You are transported willingly into the fun-filled world of Wodehouse’s hilarious classics.

What a Spiffingly perfect evening of entertainment that left us leaving the theatre with a Tra-la-la and a Toodle-oo

LIVERPOOL OLYMPIA – THURSDAY 5TH OCTOBER 2023

REVIEWED BY MIA BOWEN

4****

Trainspotting, both Irvine Welsh’s novel and the film adaptation, is considered a significant achievement in 90s culture. It has forever altered the Scottish literary scene. Welsh’s sequel, Porno, continues the story fifteen years after Trainspotting concludes. It allows us to reconnect with the characters Renton, Begbie, Sick Boy, and Spud, who, despite the passage of time, have not necessarily become any wiser.

Irvine Welsh’s Porno is a stage adaptation of his novel of the same name. It had a month-long run at one of the largest Pleasance venues during the 2022 Edinburgh Fringe. The show sold out and received rave reviews from both audiences and critics

In Davie Carswell’s adaptation directed by Jonty Cameron, the characters are portrayed as rough individuals. Fifteen years ago, Renton (played by Scott Kyle) and his companions stole a substantial sum of money in a successful heist. However, Renton decided to flee to Amsterdam, leaving his old life behind. Now, Renton’s mother is seriously ill, prompting him to return to Leith to visit her and make amends with Sick Boy (played by James McAnerney), who now manages a struggling pub. Additionally, Renton hopes to reconcile with Spud (played by Kevin Murphy), who, despite his innocent demeanour, has been overcome with hopelessness. Unfortunately, Renton’s plans are complicated by the presence of Begbie (Chris Gavin), a violent and dangerous man recently released from prison for manslaughter, who is seeking revenge against him.

Kevin Murphy delivered a spectacular portrayal of Spud, his physical acting perfectly complemented the rest of the show, captivating audiences with every aspect of the character – his agitated movements, awkward shuffling, and pitiful attempts at smiling. Out of all the storylines, Spud’s is undoubtedly the most tragic, and Murphy skilfully depicts his inner turmoil. The audience can’t help but sympathize with Spud, especially because of the way Murphy connects with them. Overall, Murphy’s performance is beautiful, taking the audience on an emotional rollercoaster ride.

The set design is both simple and diverse. It consists of a bar, a few tables, and chairs that can be used by all the characters.

This iconic show lived up to all of my expectations and wonderfully surpassed the hype of its predecessor. It was hilariously nostalgic and offered a satisfying conclusion to the lives of characters we have all grown to both love and hate.

York Theatre Royal – Thursday 5th October 2023

Reviewed by Michelle Richardson

4****

On Thursday night I had a welcomed trip out to the wonderful York Theatre Royal. It’s been a few months since my last trip to the theatre, and I’ve certainly missed it. A Night at the Theatre was brought to us by Fingers & Fringe, a night of comedy, seven acts, and compere.

New Zealand native Jarred Christmas, seriously love the name, hosted and compered the evening. He was an excellent host, embracing his role with his enthusiasm and energy. Christmas had a generous amount of stage time and had us all laughing with his tales. His interactions with the audience were priceless, hint don’t get up and go to the loo for your partner to say she’s going for a poo, makes great comedy. The skit about his name was quite hilarious, especially loved the rapper interpretation and the subsequent rap. In fact, I think he should now be known as Jarreeed Christmas. He really was a generous and infectious host.

The first act of the night was Jake Lambert. My first thought was how young? Showing my age there. I have since found out he is a lot older than he looks, though still a damn sight younger than me. I found his comedy really refreshing, with his tales about visiting an old university friend in Houston Texas. He was extremely likeable and a fabulous storyteller. One of my favourites from the evening’s entertainment.

Abi Clarke, a Tik Tok star, whose comedy was bang up to date and relatable, with references to the all-important self-image. Her tales of finally moving out of her parent’s house was something we could all identify with, or for some of the audience, something they could wish for.

The final act of the first segment was Hull comic Jack Gleadow. He has a great energy, a physical comic with such a likeable quality about him. Using music and singing, with reference to ELO, formed eons before he was even thought of, he really hit the mark. With his suit and tie and I suppose maybe a slightly more traditional flavour, you could just imagine him at the Royal Variety Show. This is not a bad thing. He was a true crowd pleaser and along with Jake, my favourite of the night.

Laura Lexx followed the break. A pocket rocket, striding across the stage. She is from Brighton, and as she likes to tell us, she is not a lesbian, even with her half-shaved head. Her stories about chub rub and love handles were truly hilarious.

Michael Akadiri is not only a comic but also a junior doctor. He has a natural charm and was full of great anecdotes. I must admit that that topic about prostate and how you can check for problems had a lot of us squirming in our seats, but the catch phase was extremely catchy and the message powerful.

Huge Davies was the final act of the second segment. Along with his strapped-on keyboard, his comedy very dry and deadpan. His take on how different radio stations cover the news was hilarious and then the story to his wife about a stag do, ended with a huge punchline. Though he was extremely po-faced we did see a smile sneak out once or twice.

After another interval, which could have been skipped, Clinton Baptiste hits the stage with his blond wig and tight white and silver suit. He’s a comedy psychic, with a piecing high pitched voice, who was so good at creating a laugh. He first made a brief appearance on Phoenix Nights, a television show I’ve never seen, but a fair few of the audience obviously had. His take on communicating with the spirits to get through to different members of the audience, was spot on, totally living up to the stereotype. We must have heard every name possible to finally get to Mark. Very funny.

Following Live at the Apollo model, the acts only had about 15 minutes of stage time, bar Christmas and Baptiste. Christmas was the perfect host and all the comedians truly shone in their own way. It is a show catering for different tastes, and I’m sure my favourites of the night, Jake and Jack, would be different to others. Maybe a bit too long at 3 hours 15 minutes, 30 minutes longer than expected, but this did include a couple of intervals.

I wouldn’t hesitate in going to another show following the same format. A night of fun and laughter, with a fabulous opportunity to see some fresh new talent.

Leeds Playhouse – until 7 October 2023

Reviewed by Sal Marino

5*****

One word to sum up The Light House is beautiful. It was beautifully written, beautifully performed and beautifully structured. Alys Williams, the writer and sole performer (apart from the audience members who she gently and enthusiastically encouraged to join her on stage) of The Light House, bravely told us her story about how she and her partner, ‘Nathan’, navigated through the rough seas of life during a particularly stormy time.

Alys is one of those people who you instantly like, her energy is powerful and electric but at the same time she gives off warm and safe vibes. She invites members of the audience to take part in the show and you just know she isn’t going to embarrass anyone and that it will be just as enjoyable for them as it is for her and everyone else to watch. It was fascinating to observe Alys interact with everyday objects such as a lamp that represented Nathan. The way she communicated with that light was so moving and I don’t know how she did it but, I think I had more empathy with the lamp than I would have if it had been an actual actor stood there: genius work!

Throughout the show, lots of information was given about the mental health system without it distracting from (but was cleverly woven into) the love story narrative. The main message being that: it’s an almighty painful struggle when someone you love is contemplating committing suicide and there’s not much help out there. Alys and Nathan were fortunate to have a circle of good friends and family to support them, to keep their lights shining inside through the dark depths of their journey. Alys’s anecdotes and tales about how they helped her, and ‘Nath’ is so heart-warming and makes you realise that people do care and that together, we can overcome those shadow times and bring the light back in.

Hearing how Alys and Nathan developed their relationship through letters and mini visits and how their love manifest and eventually actualized brought a tear to my eye in several places. Alys acts and vocalizes things so passionately that it makes you feel that new bloom of falling in love. So, when she gets ‘the call’ about Nathan having bad thoughts and things start to come crashing down, you really want to help her help Nathan and illuminate his light again.

You’ll leave the theatre after watching The Light House, feeling a warm fuzzy glow inside, as despite facing some disturbing issues, hope and love wins through and you know ‘everything is going to be alright’. As Alys says, we’re in it together and we’ll get through it.

Curve Theatre Leicester – until 14th October 2023

Reviewed by Amarjeet Singh

5*****

The Book Thief is a beautiful and moving piece of theatre. Adapted from Markus Zusak‘s international bestselling novel by award-winning author Jodi Picoult and Timothy Allen McDonald, the story is set in 1940’s, Nazi Germany and centres around the tale of a little girl called Liesel.

12-year-old Liesel has been adopted by The Hubermann’s after her brother has died and her mother had to leave her in order to survive, under the shadow of communism. Liesel steals a book by her brother’s graveside, earning her the moniker ‘Book Thief’. Reeling from the trauma, she is taken under the wing of the Hubermann’s. An odd couple but perfectly matched in their love, and most importantly, their kindness. There home is turned upside down when for some reason The Hubermann’s decided to hide a Jewish boy, Max, from The Nazi’s, putting them all in danger. With her close friend Rudy joining the Hitler youth and her friendship with Max growing, Liesel is grappling with her understanding of why things happen. All this, whilst being watched by a most peculiar narrator. Liesel’s journey takes her on a discovery of harrowing loss, shocking injustice, and developing ways in which to face and fight tyranny with the most powerful weapon there is…words.

The Book Thief is simply sublime. It delivers a sensitive and soulful story superbly. Themes of colour, scenes interspersed with light and breath, fluid movements of the scene changers made it all feel dream like or perhaps as if we were straddling a fine line between life and death, which most were when resisting the Nazi regime. Cleverly co-ordinated choreography, tight scripts where a simple line was a sucker punch to the stomach and incredible voices, both individual and the cast as a whole, made this a mesmerising musical. Full of captivating songs, with music and lyrics by Kate Anderson and Elyssa Samsel, songs such as ‘Have a Heart’, and ‘Hello Stars’, the melodies were haunting in the best way. Good Teeth’s set and costume design, Dick Straker’s video and projection and Nic Farman’s lighting along with Tom Jackson Greaves’ and Tinovimbanashe Sibanda’s choreography combined to send this production into the stratosphere. Punchy, dynamic and at times so in tune with the human condition and latent emotions, you found yourself caught completely unaware until you were wiping away a tear.

The supporting cast aka the ‘Storytellers, were brilliant. They ebbed and flowed like water, bringing the stars, books, libraries, trains, puppets, and the Nazi military to life, enabling the story to unfold wonderfully. Obioma Ugoala, was astounding as the narrator. Playing additional roles too, he had boundless energy, switching emotions, and pace, whilst commanding the stage with ease. Liesel and her friend Rudy played tonight by Tilly-Raye Bayer and Thommy Bailey Vine were spellbinding. Powerhouses of talent, they fearlessly took on these complex roles with aplomb. Daniel Krikler plays Max with pure passion, you really felt he had been in the cellar for months and his moment of prayer brought the theatre to silence. Mina Anwar and Jack Lord were a joy to watch as the Hubermann’s. At times offering some comic relief, at others they tore at your heartstrings, they added so much depth to the production. Jack Lords accordion playing was a real treat.

The Book Thief is stunning, it will stop you in your tracks. It has the power to shock and sadden but to also sow seeds of hope as you follow Liesel’s life. I honestly don’t believe there was a dry eye in the theatre by the end, and the production fully deserved it’s standing ovation. The Book Thief is a triumphant piece of theatre, it has to be seen to be believed.

Theatre Royal Haymarket, London – until 16th December 2023

Reviewed by Phil Brown

5 *****

Michael Frayn’s ageless “Noises Off” is now 41 years old but remains as bright and original as newly minted coin .  Apparently, it is regularly revived by both professional  theatre and am-dram companies, and that’s because it’s possibly the closest thing to a theatrical slam dunk there is.  A virtual guarantee of bums on seats.  The fiendishly intricate interplay still leaves plenty of scope for mishaps, but in the hands of a seasoned director and cast, it is a scintillating display of acting skill, precision timing and clever comedy.   The 2011 staging at the Old Vic was my first memorable encounter with “Noises Off” with Lindsay Posner as director, and he brilliantly reprises that role for the superbly orchestrated chaos of this production.

Michael Frayn’s concept of a farce about a farce may have occurred to others, but you fancy only he has the goods  and the patience to actually realise it so perfectly.  “Noises Off” takes us through the life cycle of a farce suggestively entitled “Nothing On”  from Act 1 – during rehearsals at the Grand Theatre, Weston-Super-Mare, through Act 2 – back stage during a matinee performance in the Theatre Royal Ashton-under-Lyne  to Act 3 – towards the end of the tour, on stage at the Old Fish Market Theatre, Lowestoft where the performance of “Nothing On” finally unravels into disarray.  

Act 1 is set in the supposedly empty house of Belinda (played by Tamzin Outhwaite) and Frederick (Jonathan Coy, a veteran of the 2011 production) who are tax exiles   It is quite slow to start, with what seemed an overlong opening scene with aged housekeeper Dotty (Felicity Kendall) channelling Mrs Overall whilst wrestling with a plate of sardines and what is now an old fashioned, wired house phone.  This is the opportunity for director Lloyd Dallas (Alexander Hanson) to establish his directorial presence from alongside the stalls, as well as hint at the frustrations to come.  The pace and energy pick up when estate agent Garry (Matthew Horne) arrives with lover Brooke (Sash Frost) in tow, looking to use the empty house for some afternoon delight.  Then, as per the rules of farce, the owners, Belinda and Frederick show up.  And naturally, the supposedly empty house attracts the attention of a burglar, Selsdon (James Fleet). 

Act 1 sees the cast struggle with confusion – is it a technical or a dress rehearsal? – and director Lloyd’s mounting exasperation.  It also reveals the quirks of the players – Lloyd’s manipulativeness and weakness for/exploitation of the opposite sex, Dotty’s difficulty in combining speech with action, Garry’s inarticulate substitute of “you know what I mean” for  saying exactly what he means, Brooke’s tendency to lose a contact lens at key moments, Frederick’s liability to nosebleed at moments of stress and Selsdon’s liking for a tipple.  And in the best tradition of farce, there is considerable door traffic as the assembled occupants manage to mostly avoid each other.

Act 2 is where the comedic sparks really fly.  It’s a non-stop riot of laughter as we view the performance of “Nothing On” from backstage.  This is also where technician Tim (Oscar Batterham) and stage manager Poppy (Pepter Lunkuse) come into their.own and tensions and jealousies between cast members become fractious.  Director Lloyd unexpectedly shows up for a surreptitious liaison with Brooke and sends Tim out to get flowers and drink. These props are used for hilarious long running verbal and visual humour, as Poppy and others imagine the flowers are for them and cast members take turns to hide the drink from Selsdon.  The sequence of delightfully uncoordinated audience announcements made by Tim and Poppy is sublime. With director Lloyd propelled into full Basil Fawlty mode, the performance  of “Nothing On” resembles pure slapstick.

Act 3 enters the realms of the surreal as relationships, the set and stage timing all fatally disintegrate and the cast resorts to ad-libbing their way through the turmoil before eventually abandoning the plot and descending into incoherent improv shouting “doors and sardines”….

This brilliantly produced and superbly acted show is an absolute masterpiece of comedy.  Although it is a pretty star studded cast individually, each performer plays their part in making the full ensemble the real star of the show.  They succeed in bringing Frayn’s play to exhilarating  fruition with a wonderful exhibition of stagecraft.  The audience loved it and Michael Frayn was even coaxed onto stage to soak up the extended raucous applause.  This is a must-see show.

Riverside Studios – until 25 November 2023

Reviewed by Ben Jolly

3***

Opening at Riverside Studios last night, Flowers for Mrs Harris tells the tale of widowed working-class cleaner, Ada Harris, who after falling head over heels in love with her employer’s Dior dress vows that for the first time in her life she will do something for herself and somehow, someway, buy her very own couture Dior. Based on the 1958 novel Mrs ‘Arris Goes to Paris by American author Paul Gallico, this musical adaptation first came to light at the Crucible Theatre, Sheffield before a revival in Chichester in 2018.

With too much focus on exposition and a distinct lack of action, this fish-out-of-water musical neither soars nor lands from a dramatic perspective. Historically, the musical theatre industry has enjoyed many successes using novels as source material. It worked well (to say the least) for Wicked, Phantom, Les Misérables… so what got lost in translation for Mrs Harris? In this case, the material has been vastly glossed over to allow room for the insertion of music which unfortunately does not elevate or stir emotion, nor does it steer the narrative. There isn’t a single line of melody that sinks in as the whole evening is plagued with songs that are composed purely of recitative. The book and lyrics have been overly simplified leaving us with two dimensional caricatures and stock stereotypes who are left without any real antagonist to play against. Furthermore, any form of conflict is resolved and wrapped up before it has even transpired.

The saving grace for this production is the cast. Lead by Olivier Award-winner, Jenna Russell who as always has expertly constructed a wonderfully rounded, present and nuanced character in the shape of Ada Harris. She is brilliantly supported by Annie Wensak who embodies the role of best friend Violet. Wensak’s performance is reminiscent of an East End Hilda Ogden and she finds the humour and playfulness in each moment she has to shine. Kelly Price, doubling in the roles of Lady Dant and Madame Colbert brings a fresh (and much needed) boost of energy with every scene; her choices are direct, bold and she hits each comedic beat with keen precision. 

This is the third outing of Flowers for Mrs Harris in under ten years and it makes one ponder what it is that warrants the multiple return visits to the stage? With such a thin plot and weak direction, this production should be aided with some high-level production values which, alas, we have also been denied. This was especially clear when finally arriving in Paris at the top of Act 2, we are greeted with a montage sequence to showcase the latest season of Dior’s dresses. What could have been a real “wow-factor” moment ended in a cringe-worthy and painful watch as awkward models staggered down the wobbling staircase, parading creased costumes that looked like they were paid for in full with Mrs Harris’ weekly milk stout budget. Sacré bleu!

SONY MASTERWORKS BROADWAY

RELEASES NEW SINGLE

‘THIS TIME’

PERFORMED AND WRITTEN BY

JOSS STONE AND DAVE STEWART

FROM THE TIME TRAVELLER’S WIFE: THE MUSICAL

AVAILABLE TO STREAM TODAY, FRIDAY 6 OCTOBER

ORIGINAL CAST ALBUM TO THE MUSICAL IS AVAILABLE NOW

STAGE MUSICAL TO OPEN ON 1 NOVEMBER

AHEAD OF FIRST PREVIEW TOMORROW, SATURDAY 7 OCTOBER

AT THE APOLLO THEATRE IN LONDON’S WEST END

MASTERWORKS BROADWAY is delighted to announce the release of This Time, a new single performed and written by Joss Stone and Dave Stewart, from THE TIME TRAVELLER’S WIFE: THE MUSICAL,available to stream today, Friday 6 October: tttw.lnk.to/thistime 

Speaking on the single’s release, Joss Stone said, “Dave Stewart is a legend. He is able to take an emotional ballad into the pop world seamlessly.”

Dave Stewart said “This Time is a song Joss and I crafted over a few years to mould into this amazing love story of THE TIME TRAVELLER’S WIFE: THE MUSICAL. I love Joss’s delicate vocal on this song, and the melody has been stuck in my head since we first wrote it; I think it may get stuck in yours too!”

Grammy and Brit award-winning singer-songwriter, Joss Stone, has released seven studio albums since she secured a record deal at 15 and released her critically acclaimed debut album, The Soul Sessions, in 2003.  In 2015, her album Water for Your Soul was released, achieving the spot of the number-one reggae album upon release and voted best reggae album by Billboard.  In 2019, she completed her most audacious project to date, The Total World Tour, in which she performed a gig and collaborated with local artists in over 200 countries around the world.  Joss Stone’s album Never Forget My Love, produced by Dave Stewart, was released on in: 2022.  Her latest album, 20 Years of Soul Live in Concert, will be released in December.

With a career spanning four decades and over 100 million album sales worldwide, award-winning singer, songwriter, musician, producer and Eurythmics co-founder Dave Stewart is among the most respected and accomplished talents in popular music history. Stewart co-wrote and produced each Eurythmics album in his world-famous duo with Annie Lennox. He has also produced albums and co-written songs with Bob Dylan, Mick Jagger, Tom Petty, Gwen Stefani, Damian Marley, Stevie Nicks, Bryan Ferry, A.R. Rahman, Katy Perry, Sinead O’Connor, Aretha Franklin, Al Green, Joss Stone and many others. His wide-ranging work has earned Stewart a long list of prestigious honours, including over fifty ASCAP and BMI Awards, four Ivor Novello Awards for “Best Songwriter”, four BRIT Awards for “Best Producer” (including a Lifetime Achievement Award), a Golden Globe Award and a GRAMMY® Award. His Eurythmics Songbook: Sweet Dreams 40th Anniversary Tour will play Sunderland Empire on 10 November and London Palladium on 17 November.

The Original Cast Recording to THE TIME TRAVELLER’S WIFE: THE MUSICAL is available to stream now – tttw.lnk.to/musical

Featuring new music by Joss Stone and Dave Stewart, the musical will begin performances tomorrow, Saturday 7 October, opening on 1 November, at the Apollo Theatre in London’s West End.

The cast of THE TIME TRAVELLER’S WIFE: THE MUSICAL is led by David Hunter (Henry), Joanna Woodward (Clare), Tim Mahendran (Gomez), Hiba Elchikhe (Charisse) and Ross Dawes (Henry’s Dad). 

The world premiere production of THE TIME TRAVELLER’S WIFE: THE MUSICAL is based on the best-selling novel by Audrey Niffenegger and the New Line Cinema film, with screenplay by Bruce Joel Rubin.  It has an original musical score and lyrics by multi Grammy Award-winning composers Joss Stone and Dave Stewart. With a book by Lauren Gunderson, additional music by Nick Finlow and additional lyrics by Kait Kerrigan, the production is directed by Bill Buckhurst and designed by Anna Fleischle, with choreography by Shelley Maxwell, lighting design by Lucy Carter and Rory Beaton, illusions by Chris Fisher, video design by Andrzej Goulding, sound design by Richard Brooker, sound FX design by Pete Malkin, musical supervision & arrangement by Nick Finlow, orchestrations by Malcolm Edmonstone and wigs, hair and make-up design by Susanna Peretz.  Casting is by Grindrod Burton Casting.  It is produced in the West End by Colin Ingram, InTheatre Productions, Gavin Kalin Productions, Teresa Tsai, Warner Bros. Theatre Ventures, Crossroads Live and Ricardo Marques.

LISTINGS INFORMATION

THE TIME TRAVELLER’S WIFE: THE MUSICAL

From 7 October 2023

Apollo Theatre

Shaftesbury Avenue

London

W1D 7EZ

Currently booking to 30 March 2024

Performances: Mondays – Saturdays at 7.30pm*, Wednesday & Saturday matinees at 2.30pm**

(*No performance on Monday 9 October; **No Wednesday matinee on 11 October)

Box Office:

Email: [email protected]

Phone: 0330 333 4809

Tickets from: £25

Website: timetravellerswife.com

Twitter: @TimeTWMusical

Instagram: @TimeTWMusical

TikTok: @TimeTWMusical

NICHOLAS HYTNER’S IMMERSIVE PRODUCTION OF

G U Y S   &   D O L L S

IS NOW BOOKING UNTIL 31 AUGUST 2024

AS DANIEL MAYS RETURNS AS NATHAN DETROIT

WITH GEORGE IOANNIDES TO PLAY SKY MASTERSON

Nicholas Hytner’s critically acclaimed immersive production of Guys & Dolls is extending booking until 31 August 2024 at The Bridge Theatre. Daniel Mays will return to the role of Nathan Detroit and George Ioannides will take on the role of Sky Masterson from 16 October.

Daniel Mays and George Ioannides complete the current company which comprises Cedric Neal (Nicely-Nicely Johnson), Celinde Schoenmaker (Sarah Brown) and Marisha Wallace (Miss Adelaide). Also appearing are Jordan Castle (Harry the Horse), Cornelius Clarke (Lieutenant Brannigan), Cameron Johnson (Big Jule), Anthony O’Donnell (Arvide Abernathy), Mark Oxtoby (Benny Southstreet), Ryan Pidgen (Rusty Charlie) and Katy Secombe (General Cartwright). With Iroy Abesamis, Simon Anthony, Lydia Bannister, Kathryn Barnes, Callum Bell, Cindy Belliot, Jack Butterworth, Petrelle Dias, Ike Fallon, Leslie Garcia Bowman, Robbie McMillan, Saffi Needham, Perry O’Dea, James Revell, Charlotte Scott, Tinovimbanashe Sibanda, Isabel Snaas, Sasha Wareham and Dale White in the ensemble.

Guys & Dolls – a musical fable of Broadway, based on the story and characters of Damon Runyon – opened on 14 March 2023, marking Hytner’s first musical presented at The Bridge Theatre.

The Bridge transforms for one of the greatest musicals of all time. It has more hit songs, more laughs and more romance than any show ever written. The seating is wrapped around the action while the immersive tickets transport you to the streets of Manhattan and the bars of Havana in the unlikeliest of love stories. Join us on Broadway for the explosion of joy that is Guys & Dolls.

Guys & Dolls has music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows, with – choreography by Arlene Phillips with James Cousins, musical supervision and arrangements by Tom Brady, set by Bunny Christie, costumes by Bunny Christie and Deborah Andrews,lighting by Paule Constable, sound by Paul Arditti, orchestrations by Charlie Rosen, associate direction by James Cousins, and casting by Charlotte Sutton.

Guys & Dolls is booking at the Bridge Theatre until 31 August 2024. Cast from 26 February 2024 to be confirmed.

London Theatre Company Bridge Theatre

LISTINGS INFORMATION FOR THE BRIDGE THEATRE

Address:                            Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                         0333 320 0051 or [email protected]

Access:                              0333 320 0051 or [email protected]

Audio Described and Touch Tour Performance – Saturday 18th November at 2.30pm

Website:                            www.bridgetheatre.co.uk

Twitter:                              @_bridgetheatre

Instagram:                          _bridgetheatre

Facebook:                           facebook.com/bridgetheatrelondon

A SPECTACULAR WEEKEND OF STRICTLY IN BLACKPOOL!

JUDGES ANTON AND SHIRLEY TO BRING STRICTLY MAGIC TO THE WINTER GARDENS BLACKPOOL, 17th & 19th NOVEMBER

As Blackpool readies itself for the electrifying annual Strictly showdown at the Tower, this year promises an extra dose of sparkle. Judges Anton Du Beke and Shirley Ballas are set to host exclusive fan events at the Winter Gardens Blackpool, offering an intimate, unforgettable experience.

Anthony Williams, Head of Marketing, expressed his enthusiasm for these star-studded events: “Having Anton and Shirley host their personal fan evenings during the iconic Strictly weekend is a once-in-a-lifetime occasion. For ardent fans of Strictly, Anton, and Shirley, these events present a unique and golden opportunity to get up-close and personal with the stars. We’re ecstatic to offer such an intimate experience that truly complements the dazzling atmosphere of the Strictly weekend in Blackpool.”

On the evening of Friday 17th November, Anton Du Beke will grace the stage of the Winter Gardens to delve into the world of his latest novel, ‘The Paris Affair’. A journey from the romantic streets of 1920s Paris to the dramatic heart of wartime London, with dance and danger at every twist and turn.

Starting at 7.30pm, the intimate Q&A session guarantees insights into Anton’s writing process, inspiration, and of course, his passion for dance. Every ticket, priced at £29.00 (including fees), comes with a signed copy of ‘The Paris Affair’.

Anton, celebrated as the King of the Ballroom, has not only been lighting up the dance floor on Strictly but also the literary world. ‘The Paris Affair’ marks the 6th mesmerising instalment in the acclaimed Buckingham series and showcases Anton’s seventh foray into novel writing.

Then, on Sunday 19th November at 12pm, fresh off her judging duties and just a day after the iconic live show, Shirley Ballas invites fans for a captivating journey into her debut novel, ‘Murder on the Dance Floor’. Set against the glittering backdrop of the Blackpool Tower Ballroom, the story unravels a web of intrigue where dance meets detective drama. The first of The Sequin Mysteries series, Shirley’s book is set to be every bit as compelling as her dance performances.

Each attendee will be presented with a hand-signed copy of Shirley’s debut novel, all included in the ticket price of £29.00 (fees inclusive).

To secure your spot at these not-to-be-missed events, book your tickets now:

An Audience with Anton Du Beke

An Audience with Shirley Ballas