Royal Northern College of Music, Manchester – Saturday 14 October 2023

Reviewed by Mia Bowen

5*****

After having a great time at a Hooky gig in Liverpool the previous night, I had the chance to attend the final night of the 10th anniversary 2023 tour of “New Dawn Fades – A Play About Joy Division And Manchester.” As I sat in the renowned Royal Northern College of Music theatre, I found myself watching the audience take their seats. The wide range of ages really made me reflect on the profound influence that Joy Division has had over the years, which continues to this day!

The story of Ian Curtis, the lead singer of Joy Division, is widely known. His life, the band’s rise to fame, and his unfortunate tragic end were depicted in Anton Corbijn’s film Control. Despite its bleakness, this portrayal is widely regarded as beautiful. Additionally, the film 24 Hour Party People offers an unflattering portrayal of Ian. Now, New Dawn Fades tells the story of four regular guys who were inspired by the punk revolution in the 1970’s and brings this musical journey from Manchester to the theatre stage.

Author and director Brian Gorman chooses not to perpetuate the mystique surrounding Curtis and Joy Division. Instead, he establishes a sense of closeness by introducing relatable characters. The play offers a fresh perspective on the band, delving into their personal histories rather than putting them on pedestals. Gorman also employs a unique narrative approach, with Tony Wilson serving as our charismatic and flamboyant guide, portrayed by the very talented Gorman himself. He captures not only the band’s story but also the spirit of the era. His writing is truly inspiring, and it is evident that he has a profound passion for the city and its culture.

The small cast joins forces to tell a story that ultimately ends in tragedy. However, the performance also highlights the boundless energy, enthusiasm, and unique identities of the band members.

The highlight of the evening was the live performances of “Shadowplay” and “Transmission”. Joshua Glenister’s portrayal of Ian Curtis truly felt authentic. The mannerisms he displayed on stage closely mirrored reality, and his off-stage mood was well captured.

The way Curtis and his wife, Debbie used the lyrics of “Love Will Tear Us Apart” to describe their failing relationship was both poignant and a masterstroke. Additionally, witnessing Curtis’s suicide in the half-light added a sense of immediacy and rawness.

“New Dawn Fades” is undoubtedly the best portrayal of this story that I have witnessed. It is a truly moving play, evoking a wide range of emotions throughout.

Seven Arts, Chappel Allerton, Leeds – 29^th September 2023

Reviewed by Sal Marino 

5*****

Tim O’Connor and Friends at The Seven Arts, Chappel Allerton, Leeds was a new and unique experience for me in a few ways: a new venue, a musician I’ve never seen perform before and the first-time I’d heard the flute played live in a solo context.  All proved to be uplifting and created a shift within my soul which music has the magical gift and power to do. 

The Seven Arts centre has a vibe about it that’s cool and contemporary without being pretentious or intimidating.  Old and young sit sipping real ales or a coffee in groups and alone as the uber friendly staff make you feel welcome and at ease.  I was on my own and didn’t feel like I didn’t fit in or awkward – there wasn’t that feeling of not being a local or a regular so I can say from experience that new people are most welcome. 

Tim’s gig was introduced by an extremely likable host who relaxed the audience straight away and dispelled any pretentiousness about one’s prior musical knowledge and basically said, “Let’s all just enjoy this and have a good time”. And it was evident that we all did enjoy ourselves as the reactions of the audience included: smiles, laughter, clapping and foot tapping to the beat and a few tears here and there. 

Tim O’Connor is a soul man: his voice, guitar playing and presence is simply soulful. He touches the soul as his music makes you delve back into past memories and perhaps those memories of past lives and those of our ancestors.  You know Tim has been through ‘times’, as we all have, due to how his voice communicates to you – it’s heartfelt and filled with passion. Also, Tim’s voice has a healing quality to it, it creates feelings within you but at the same time soothes you.  Done collectively, to a large group of people is very powerful and creates a loving frequency within the room. 

What made this performance of traditional and modern folk music exquisite and like you’d got the slice of cake with the cherry on top was not only did we get to hear Tim and his incredible songs but, he invited his ‘Friends’ to join him and play too.  Flute player Paul Daly was phenomenal!  I am now in love with the flute! The song ‘Butterfly‘ that he played alongside Tim was breathtaking.  Halfway through the song the tempo lifts and I felt like I was in another realm.  

Mike Walsh – another amazing flute player performed a song about ancestors making journeys and I suddenly found myself reflecting on my own family history of Irish ancestors who left the harbour at Cork for a life overseas which was quite emotional and unexpected. Like many parts within the gig, it felt like a ‘moment’.  Each ‘Friend’ of Tim’s was an outstanding performer and together it was like listening to how one would imagine the heavens to sound – an ethereal quality in parts but also just sheer joy and energetic fun in others. 

Experiencing Tim O’Connor and Friends was like having a huge warm hug when you need one, a genuine warm smile that you so you instantly return back and it evokes a whole host of emotions within that all relate to love in its different forms. 

I’m looking forward to seeing Tim and his friends again someday and also returning to The Seven Arts as both now have a place in my heart. 

Jack Studio Theatre – until 14 October 2023

Reviewed by Claire Roderick

4****

Fish Don’t Matter Theatre Company’s atmospheric and intense production of Hedda Gabler packs a punch in a tightly wound 90 minutes. Ibsen’s masterpiece isn’t diminished by the brevity of the production, with director Scott James embracing Scott Bailey’s music with emotive movement direction from Michael Flanagan.

After a long and disappointing honeymoon where her new husband George Tesman (Michael Flanagan) spent most of his time researching his next book, Hedda Gabler’s (Kelsy Short) married life isn’t what she had envisioned. A life of graciously receiving and entertaining guests surrounded by beautiful things in the Tesman house appears endangered when old academic rival and old flame Eilert Løvborg (River Norris) arrives in town. For all Hedda’s railing and anger, it is the timid Thea Elvsted (Megan McGery) who has done the unthinkable – assisting Løvborg in his work and leaving her husband to be with him. Hedda’s childhood cruelty towards Thea is repeated with added fervour as she plays her deadly game. Hedda’s boredom and disgust with those around her lead to manipulations, betrayals and tragedy as she attempts to retrieve the “beautiful” life she feels she deserves.

Just as Hedda is trapped in her marriage, in this production she is trapped in the small stage – her prison marked by a wooden frame lined with flowers. Once onstage, Hedda is the only character who doesn’t leave this space. The female characters are all dressed in period clothing, with the male characters in more modern garb – River Norris looks like they could go straight to the bar without changing – a nice nod to the freedom of thought and movement assured to well-placed men but denied to even the brightest of women who must live by society’s rules in Hedda’s world. As Hedda’s machinations begin to make her world unravel, characters step out of the frame and once out of Hedda’s orbit and influence deliver lines from other rooms in a dreamlike monotone. Charlie Hills’ intelligent lighting design works wonderfully in the main, but there are a few instances when highlighting the emotional storm with lighting seems unnecessary.

The cast impress, with Kelsey Short imperious and brittle as Hedda. From her heartless aloofness towards Georges’ doting aunt (the wonderfully warm Caroline Edwards) to her wild fury, Short is a powerhouse in this role. Short’s expressions of quiet recognition and horror when she realises Brack’s (Michael Martin becoming increasingly odious with every delicious appearance) power over her might even make you feel sorry for Hedda. Michael Flanagan is a joy as the sweetly frustrating George and River Norris is full of mercurial energy as the volatile and equally frustrating Løvborg. Honestly, if these two characters were Hedda’s best options, it’s no wonder she went off the rails.

Southwark Playhouse – until 28 October 2023

Reviewed by Claire Roderick

4****

Blood, lust, brutality and lots of balloons – it must be a Lazarus production.

Lazarus Theatre’s track record in reimagining classic plays is second to none, and Ricky Dukes’ adaptation of Thomas Middleton and William Rowley’s dark tragedy is another marvel of modernisation.

When Alsemero (Mylo McDonald) spots Beatrice Joanna (Colette O’Rourke) in church, it’s love/lust at first sight. Unfortunately, her mother Vermandera (Emma Wilkinson Wright) has promised her to Alonzo (Alex Bird). After meeting clandestinely and hearing of Alsemero’s willingness to duel for her hand, Beatrice knows that she must have Alonzo killed if she is to have a life with Alsemero. Enter De Flores (Jamie O’Neill), her mother’s servant who is obsessed with Beatrice. Beatrice’s promises of even more reward to come after the deed are misconstrued in De Flores’ twisted love, and he expects sex with Beatrice as his ultimate reward. Trapped, Beatrice does as he wishes, leading to further plots and deaths as she realises Alsemero’s sweet and trusting nature doesn’t stretch to tolerating a wife who is not a virgin. Dukes cuts the comic subplot set in an asylum, never allowing the momentum to flag of Beatrice and DeFlores’ tortuous descent into despair and madness. Instead, the wonderful Mikko Juan, Kiera Murray and Hamish Somers represent the madhouse as Greek chorus/house band The Patients with Bobby Locke’s songs riffing on dialogue to lighten the mood and ridicule the choices made in passion by the characters.

The exceptional cast portray their characters with passion: Colette O’Rourke is deliciously two-faced manipulating to get what she wants, and positively jangles with nerves as Bearice’s paranoia and terror of being caught overwhelm her. Jamie O’Neill’s De Flores is the perfect foil – he too knows what he wants and will stop at nothing to get it, although O’Neill gives him the sardonic aura of a man with nothing to lose. Mylo McDonald is a wonderful Alsemero – seemingly noble and loyal, but underneath burning with rage at the suspicion that his wife is not what she seems. Henrietta Rhodes is a hoot as poor sweet Diaphanta, impish and open about her desires in stark contrast to Beatrice.

Like most plays of the time, the struggle for power is at the centre, whether it be the power of noblemen, parents, husbands, the mystical power of virginity or the battle between passion and reason. Sorcha Corcoran’s boardroom table set and Alice Neale’s power dressing costumes establish this world quickly – everyone is not as they seem beneath the sleek lines of their suits – and as the ordered world of the castle crumbles in the latter part of the play, the characters are left more exposed literally and emotionally. At first, the cast are fairly static, with asides delivered by twisting in their chairs, but as the play progresses, there is increasing ensemble movement and the gloriously atmospheric lighting (Stuart Glover) and sound (Sam Glossop) design transport the table from dank tunnels to bedchambers to fiery conflagration. The deaths are stylised but still raw and brutal, with a section of the auditorium designated “the splash zone” as fake blood splatters. Once dead, the character is given a black helium balloon and left to haunt the stage, watching on blankly as the living characters plot and fight. Alonzo dies before the interval, so Alex Bird sits mournfully as the audience file past him, adding a frisson of guilt to that interval rosé.

As The Patients serenade the groom and his virgin bride, giant pink balloons are thrown around the set and audience – a symbolic frolic before things get even weirder. The ensemble is always watching like hawks if they are not in a scene, reminding us of the claustrophobic atmosphere and expectations of the castle. There are so many fabulous ideas bouncing around in this production of stunning visuals and movement that it does feel like a brilliant madhouse at times. But Dukes never chooses style over substance – the dialogue is always clear and the insane plot never gets obscured while quieter, stiller moments are given as much weight as the set pieces.

Another stunning show from Lazarus – The Changeling will leave you exhausted, strangely exhilarated and slightly worried about how much you enjoyed the carnage

Seven Dials Playhouse and Hive North’s

Jock Night extended by popular demand

Monday 9th October – Saturday 11th November 2023

1a Tower Street, London WC2H 9NP

The unique exploration of contemporary gay life and relationships, Jock Night, has been extended until Saturday 11th November due to popular demand. Seven Dials Playhouse have received an overwhelming response to the show and have had to extend the run by a week to meet the demand for tickets. The play unfolds over a year of wild nights in Manchester’s vibrant Gay Village, casting a light on mental health, peeling back the veneer of modern gay culture, using comedy to highlight provocative issues within the LGBTQIA+ community.

David Paisley, best known for his role as Ben Saunders in Holby City, leads the cast of Jock Night as Ben. Sam Goodchild (Far Away, Donmar Warehouse; The Convert, Above the Stag) and Levi Payne (Jekyll & Hyde, Derby Theatre; Hench, M6 Theatre) will join him reprising their roles from the 2019 run of Jock Night as Kam and AJ respectively. Joining them are George Hughes, making his London stage debut as Simon, and Matthew Gent (Sweeney Todd, Adelphi; Phantom of the Opera, Her Majesty’s and Les Misérables, Queen’s) who will be stepping into the role of Russell

Adam Zane’s Jock Night is a raw, hilarious, and provocative comedy drama about contemporary gay life, love, and relationships following Paisley’s character, Ben, a Victoria Wood enthusiast in his forties, striving to find love amidst a culture of chemsex and casual encounters. Jock Night highlights thought-provoking issues in the LGBTQ+ community through the lens of comedy and compassion

Mike Lee, Producer of Jock Night, comments, We are absolutely thrilled by the overwhelming response to Jock Night, our first show at Seven Dials Playhouse. Extending the show due to incredible demand is a testament to the compelling story that Jock Night tells.

Seven Dials Playhouse, London – until 11th November 2023

Reviewed by Celia Armand Smith

3***

Jock Night, written and directed by Adam Zane is a frank and funny tale of five revellers at the afterparties of four Jock Nights in Manchester’s gay village. Forty-something Ben (David Paisley) plays host to younger party boys Kam, Russell and AJ as they navigate the world of relationships, chemsex, and HIV. Within minutes of the play starting there’s a Victoria Wood joke and reference to Coronation Street, two camp Manchester icons. Kam (Sam Goodchild) is the life and soul of the party, “fabulous and undetectable” as he says himself, and Russ (Matthew Gent) is lovely, slightly dim gym bunny, hanging on Kam’s every word. Enter AJ (Levi Payne), fresh off the bus from Doncaster, sweetly naive about the world but here for a good time. And a good time they all have.

Written in response to the NHS refusing to fully fund PrEP (a drug proven to prevent the contracting of HIV), almost all the play is based on real events. During the first act we learn about their relationships to dating apps, drugs, sex, and each other. There are moments of hilarity and lucidity, before they take another timed swig of GHB and the room swirls and bends with bodies and music. There is chat of a local porn performer (not star) they all know of called Hunter (George Hughes) who appears in one of their Grindr inboxes. Hunter aka Simon is like a whirlwind of semi celebrity, appearing to want a simpler life with Ben, but there are darker undertones of addiction present. As the dates change, shadowy figures on stage rearrange the scene, like you’re watching something happen on fast forward, and the ever present Alexa (now a common addition in plays set in contemporary life) calls out the days as they go by. The second act is darker, as lives start to spin out of control and relationships fray. A lot of topics are covered from HIV, being undetectable, the importance of taking PrEP and getting checked, and being a good family member, chosen or otherwise. The whole play is performed in Ben’s bedroom, designed by Dick Longin, and it is perfect in it’s decor and use of props, including several different jock straps and harnesses worn throughout.

The characters are solid, and the pacing is good. It’s a strong ensemble piece, but then it has to be with the content of the play. Much of the humour comes from Sam Goodchild and Matthew Gent as Kam and Russ respectively, while Levi Payne is sweet in his portrayal of AJ. There is an honesty and trust to their portrayals that makes the characters believable. The lived experience of lives on which Jock Night is based ever present in the background.

Jock Night is funny, sad, heart warming, heartbreaking, and most importantly informative. I came away thinking about how I could be a better friend, family member, and ally. I also came away thinking a lot about jock straps.

BIRMINGHAM REP PRESENTS

WORLD PREMIERE

OF FIRST EVER STAGE ADAPTATION OF

THE CULT FILM CLASSIC

WITHNAIL AND I

Friday 3 – Saturday 25 May 2024

The Birmingham Rep

A brand new adaptation of Bruce Robinson’s 1987 British tragi-comedy film, Withnail and I, will be directed by the double Olivier Award-winning Artistic Director of Birmingham Rep, Sean Foley and designed by Alice Power.   It will have its stage premiere at Birmingham Repertory Theatre, with performances from 3 May until 25 May 2024.

Written and adapted for the stage by Bruce Robinson himself, the writer and director of the original film, the show will bring to life some of the most iconic comic characters ever created. The film, based on Robinson’s own unpublished novel, was produced by Handmade Films and starred Richard E Grant, Paul McGann and Richard Griffiths.

Sean Foley said:  “Hilarious, tragic, and wild, Withnail and I, is a comedy like no other, and I’m thrilled to be working with the legendary Bruce Robinson to bring it to life on stage… In fact, where better for the extraordinarily funny tale of two unemployed actors who go on holiday, ‘by mistake’? Rightly regarded as one of the finest British film’s ever made, our world premiere stage version brings to life the classic dialogue, the insane situations, and above all the boozy, irresistibly hilarious relationship of one of the most famous slacker duo’s ever created…”

September 1969… the swinging ’60’s, rock ’n’ roll, counter culture bohemianism… and two young unemployed actors – the flamboyant, boozy Withnail, and the shy, contemplative Marwood – live in utter squalor in a flat in Camden Town, praying for a job… Their only visitor is their drug dealer, Danny; their only expeditions are to the local pubs; and their only friends each other… 

Needing a break from the atrocious state of their acting careers, they hit upon the idea of a nice holiday – and Marwood proposes a trip to a cottage in the Lake District, owned by Withnail’s wealthy Uncle Monty. Monty lives in Chelsea, and after a few drinks together, agrees to lend them the key to the cottage – for a price…

Regarded as one of the finest British film’s ever made, this world premiere stage version brings to life the classic dialogue, the insane situations, and above all the boozy, irresistibly hilarious relationship of one of the most famous slacker duo’s ever created…

‘We want the finest wines available to humanity, we want them here and we want them now!’

Cast and further creative team details will be announced in due course.

REHEARSAL PHOTOS RELEASED FOR THE NATIONAL THEATRE’S MUSICAL VERSION OF ROALD DAHL’S THE WITCHES, PLAYING IN THE OLIVIER THEATRE THIS CHRISTMAS

The National Theatre today releases photos of the company in rehearsal for Roald Dahl’s The Witches, a co-production with the Roald Dahl Story Company playing in the Olivier theatre from November. Directed by Lyndsey Turner (The Crucible) with book and lyrics by Olivier Award-winner Lucy Kirkwood (Mosquitoes)andmusic and lyrics by Tony Award-nominee Dave Malloy (Natasha, Pierre & The Great Comet of 1812), The Witches is a rip-roaring musical version of Roald Dahl’s timeless tale, filled with wit, daring and heart.

Everything you know about witches is wrong. Forget the pointy hats and broomsticks: they’re the most dangerous creatures on earth. And now they’ve come up with their most evil plan yet. The only thing standing in their way is Luke and his Gran. But he’s ten and she’s got a dodgy heart. Time is short, danger is everywhere, and they’ve got just one chance to stop the witches from squalloping every stinking little child in England.

The cast includes three-time Olivier-nominated Katherine Kingsley (The Larkins) as the Grand High Witch, BAFTA Award-winner Daniel Rigby (Accidental Death of an Anarchist) as hotel manager Mr Stringer and Sally Ann Triplett (Oklahoma!) as Gran.

Playing Luke’s parents are Laura Medforth as Mum and Richard David-Caine as Dad, playing Bruno’s parents are Ekow Quartey as Mr Jenkins and Maggie Service as Mrs Jenkins, and playing Chef Chevalier at Hotel Magnificent is Irvine Iqbal.

Playing the witches are Julie Armstrong, Chrissie Bhima, Zoe Birkett, Maddison Bulleyment, Miracle Chance, Daniele Coombe, Molly-May Gardiner, Tiffany Graves, Bobbie Little, Tania Mathurin, Amira Matthews,and Alexandra Waite-Roberts.

Completing the team at Hotel Magnificent are Adrian Grove, Jacob Maynard and Ben Redfern and completing the company is Emily Langham.

The cast will be playing multiple roles as part of the ensemble.

Amongst the young cast and playing our hero, Luke, are Bertie Caplan, Frankie Keita and Vishal Soni. Playing Bruno are Cian Eagle-Service, George Menezes Cutts and William Skinner, and playing Helga are Jersey Blu Georgia, Asanda Abbie Masike and Chloe Raphael.

Completing the young ensemble are Nesim Adnan, Alaia Broadbent, Chenai Broadbent, Cristian Buttaci, Sekhani Dumezweni, Rudy Gibson, Florence Gore, Elara Jagger, Annabelle Jones, Jemima Loosen, Charlie Man-Evans, Iesa Miller, Jack Philpott, Sienna Sibley, Savannah Skinner-Henry, Poppy-Mei Soon, Benjamin Spalding, Dylan Trigger, Alice Valeriano, Sasha Watson-Lobo and Stella Yeoman.                   

One of Roald Dahl’s most loved stories, The Witches is a brilliant blend of his trademark humour and hair-raising action, featuring one of his most iconic characters, the Grand High Witch. A firm fan favourite across the generations, the book has sold over 11 million copies since it was first published.

The set and costume designer is Lizzie Clachan with choreographer Stephen Mear, music supervisor Nigel Lilley, music director Cat Beveridge, lighting designer Bruno Poet, co-sound designers Alexander Caplen and Ian Dickinson, video designer Ash J Woodward, illusions by Chris Fisher and Will Houstoun, casting director Bryony Jarvis-Taylor, associate director Séimí Campbell, staff director Priya Patel Appleby, associate set designer Shankho Chaudhuri, associate costume designer Johanna Coe, associate wigs, hair and makeup designer Kim Kasim,associate choreographer Ebony Molina,associate music director Natalie Pound andchildren’s and assistant music director Sarah Morrison.

The Witches will play in the Olivier theatre from Tuesday 7 November until Saturday 27 January, with press night on Tuesday 21 November. It is recommended for ages 8+.

Tickets are available from £20 and are on sale now via the National Theatre website. For further information, including details about assisted performances, please visit nationaltheatre.org.uk.

TRAINSPOTTING SEQUEL IRVINE WELSH’S PORNO HITS THE WEST END

New play runs Sunday nights at the Arts Theatre West End from October 29th to December 10th for seven shows only

London run follows an acclaimed UK tour and a sell-out run at last year’s Edinburgh Festival Fringe

Fifteen years after TRAINSPOTTING, what has become of Renton, Sickboy, Begbie & Spud? Disturbing, shocking & extremely funny. Contains swearing, sexual language, debauchery, drug use and even more swearing. As if you’d expect anything else…

Irvine Welsh’s PORNO is a full-length stage adaptation of the novel by the same name, which sold out one of the largest Pleasance venues for a month long run at Edinburgh Fringe in 2022, earning rave reviews from audiences and critics alike.

Now the show transfers to London’s theatreland, playing a season of seven Sunday nights at the Arts Theatre West End from 29th October until 10^th December 2023, tickets are selling fast! The show has recently played to packed houses in Greenock, Glasgow, Liverpool, Crewe and Manchester as part of a pre West End tour.

Mark Renton hasn’t been back to Leith since… well, since he robbed his pals and f*cked off to Amsterdam. Life has been… good? But there’s always been something missing. How will SICKBOY, BEGBIE & SPUD react to the return of RENTON? Have they all settled down and become respectable members of society? Did they CHOOSE LIFE? Of course, they f*cking didn’t!

The London run has an acclaimed cast of Liam Harkins (The Celtic Story, The Tommy Burns Story’ and Retreat) as Renton, Tony McGeever (Shetland, In Plain Sight, Doctors and Lord Of Rings : The Rings Of Power)as Sickboy, Jenni Duffy (River City and On The Edge)as Lizzie, Chris Gavin (Days That Shook The World, Starcaster) as Begbie, Kevin Murphy as Spud and Tom Carter (Coronation Street and Emmerdale) as Knox.

PORNO is written and produced by the award-winning Davie Carswell and directed by Jonty Cameron.

Davie Carswell explained: “After a fantastic run at Edinburgh Fringe last year and a short tour of venues in Scotland and Northwest England and I am now excited to start a run at London’s Arts Theatre West End for seven nights only across the autumn, bringing the show to Irvine Welsh fans. The adaptation follows the novel as closely as possible. We’ve used plenty of Irvine’s writing verbatim to give it a really authentic script. I loved T2, but it wasn’t Porno.

“The show deals with reaching a certain age and reflecting on what you’ve achieved, or not as the case may be. As you can expect from characters created by Irvine Welsh, the play will include sexual themes, drugs, and a lot of swearing. As if you’d expect anything else.

“I am really excited to see the reaction of audiences in London and the West End and I hope they will enjoy the ride.”

What the critics said…

“It’s difficult to imagine anyone but Robert Carlyle taking on the role of psychopath Begbie but Chris Gavin is a worthy successor.”

Natalie O’Donoghue – Broadway World

“Coarse, gutsy and funny. The pathos as real as the comedy.”

Mark Fisher – The Guardian

“Legendary piece of theatre!”

Nantwich News

**** “Kevin Murphy delivered a spectacular portrayal of Spud”

Fairy Powered Productions

**** “Completely blown away by how great it was!”

Edinburgh Live

**** “This play is excellent. The characters fill the stage and own it.”

One4Review

**** “Everything that Trainspotting lovers wanted and more.”

Theatre Scotland

**** “A fantastic stage adaptation”

Theatre Weekly

**** “Forget Trainspotting 2, this is the real story”.

Sinners Review

Website:         www.daviecarswell.com/porno

Twitter:           @daviecar @FringePORNO

Facebook:       Irvine Welsh’s p0rn0

LISTING INFORMATION

IRVINE WELSH’S PORNO

LONDON – ARTS THEATRE WEST END

Sunday 29 October – Sunday 10 December 2023

www.artstheatrewestend.co.uk

BOOKING EXTENDED UNTIL

SATURDAY 28 SEPTEMBER 2024

FOR

THE PHANTOM OF THE OPERA

AT HIS MAJESTY’S THEATRE

WITH NEW IMAGES RELEASED

THE PHANTOM OF THE OPERA at His Majesty’s Theatre announces today that booking is now extended until Saturday 28 September 2024, having recently marked 37 spectacular years in London’s West End. New production images are also released.

THE PHANTOM OF THE OPERA currently stars Jon Robyns as The Phantom alongside Lily Kerhoas as Christine Daaé, Joe Griffiths-Brown as Raoul, Kelly Glyptis as Carlotta Giudicell, Matt Harrop as Monsieur Firmin, Adam Linstead as Monsieur André, David Kristopher-Brown as Ubaldo Piangi, Francesca Ellis as Madame Giry and Maiya Hikasa as Meg Giry. At certain performances the role of Christine Daaé will be played by Paige Blankson.

The cast is completed by Hollie Aires, Federica Basile, Corina Clark, Michael Colbourne, Leonard Cook, Colleen Rose Curran, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Serina Faull, Florence Fowler, James Gant, Melanie Gowie, Eilish Harmon-Beglan, Yukina Hasebe, Samuel Haughton, Thomas Holdsworth, Jacob Hughes, Grace Hume, Tim Morgan, Eve Shanu-Wilson, Tim Southgate, Zoë Soleil Vallée, Jasmine Wallis, Victoria Ward, Ralph Watts, Simon Whitaker, and Andrew York.

THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.