Park Theatre, London – until 20th October 2023

Reviewed by Celia Armand Smith

3***

Two actors, a tired runner, and a trailer sliding into a volcano. It sounds like a set up for a joke. And the jokes are plentiful in this new production of It’s Headed Straight Towards Us at the Park Theatre. Written by Adrian Edmondson and Nigel Planer, It’s Headed Straight Towards Us takes place in a trailer (the kind you find on movie and TV sets) in Iceland where the seventh instalment of the ‘Vulcan’ sci-fi franchise is being filmed. A franchise I would gladly watch. Iceland is a place of myth, folklore and famous air travel stopping volcanoes, where the land and it’s inhabitants, elves included, are respected. I’m no scientist, but put a movie set for a most probably straight to streaming sci-fi full of has-beens and wannabes on the side of a volcano, and most likely it is going to take it’s revenge.

Huge Delavoix MBE (Samuel West) has the biggest trailer on set and is once again playing a butler on screen. Gary Savage (Rufus Hound) has one line in the film, a drinking problem that leads to blackouts, and has to sit in hair and make up for 4 hours. Gary has had a huge Hollywood career but is homeless so takes any role so he can stay in a hotel, Hugh is a character actor who always plays the same character, but can buy himself baroque sofas and cats. They are fierce rivals and fierce friends, the kind who know a bit too much about each other so there is always a barbed joke or a witty riposte. Trying to keep the peace is Leela (Nenda Neururer), a runner studying volcanoes with a passion for Icelandic folklore and tradition. Rounding out the cast is the stage itself. The trailer designed by Michael Talyor is constantly moving and creaking, providing the backdrop for the action. As an avalanche hits, and an already fragile bridge crashes into a crevasse, they are left stranded with a make up trailer’s supply of cheap white wine, and only themselves for company.

Samuel West is delightful and understated yet comedically perfect as Hugh, divorced from a wife, sober (went to AA for the networking), and sort of happy in his out gay life. He has taken up tai chi and cobbling to pass the time and be more like Daniel Day-Lewis. Rufus Hound is fiery yet poignant as the drunk star who can remember all the lines from every part he has ever played, and has a fondness for saying whatever he likes. The character of Gary at times strays a bit too close to the current news cycle, however Hound plays him with gusto, and towards the end a tenderness that is a welcome change from the shouty beginnings. Together Hound and West are a comedic treat. Nenda Neururer as Leela is a sweet breezy break from the thespy egos, and under direction from Rachel Kavanaugh, the cast keeps the pace nimble and the jokes flowing.

It’s always fun to peak behind the curtain of the film industry, and that is where the strength in this show lies. The believability of the relationships, the on set hierarchies, and the time spent between takes. It is a welcome and at times hilarious glimpse through the looking glass.

Arcola Theatre – until 23 September 2023

Reviewed by Claire Roderick

4****

The final show in the Arcola’s Grimeborn Opera Festival 2023 is a polished and playful production of Gilbert & Sullivan’s The Mikado. Charles Court Opera’s small scale but high-quality version is set in post-World War 2 Japan. The mockery and satire of British politics and society no longer needs to be camouflaged, so the characters are all thoroughly British, with the Mikado being the governor-general and the action set inside the British consulate in Totori. Character names are anglicised – Yum-Yum is now Victoria Plum, Nanki-Poo is Charles Chauncey Drew – and director John Savournin alters a few lines, but this does not diminish the charm and joy of this production. A cast of eight and musical director David Eaton on the piano create a magical show that is simply irresistible.

Gilbert & Sullivan’s witty lyrics and uplifting music are as infectious and entertaining as ever, and the machinations of the Lord High Executioner as he tries to avoid his own death and find someone to behead while contending with the arrival of his bride-to-be’s true love are a treat to watch, however familiar you are with the plot.

In The Arcola’s compact space, Rachel Szmukler’s design is wonderfully evocative of mid-century government offices and gentlemen’s clubs. The besuited diplomats and the three little maids are a delight as the ridiculous affairs of state are manipulated to maintain the Mikado’s nonsensical laws. The entire cast are on top form, with glorious voices and wonderfully arch but also charmingly silly performances. Amongst the marvellous comedy, the slower songs are haunting and the cast’s voices soar beautifully.

John Savournin’s Peter Rush and Matthew Siviter’s Hugh Barr are the epitome of English establishment’s entitlement – smug and pompous, and slightly camp with wonderful comic interplay. Savournin also plays the Mikado with a quiet sense of power and idiotic adherence to his rules reminiscent of the command officers in Blackadder. Robin Bailey and Alys Roberts are an enchanting and very funny couple as Chauncey Drew and Victoria Plum, while Milly King and Jennifer Clark are full of mischief and glee as the other wards of the Lord High Executioner, Colin Cole (Matthew Kellett). Kellett plays the lowly tailor thrust into a position of power is as a wide boy, with wonderful physical comedy highlighting Cole’s constant plotting to keep himself afloat amongst the more polished diplomats. His little list is brilliantly modern, with the inclusion of a few individuals drawing gasps as well as laughs. Katisha and the Mikado arrive in military dress, and Payne’s performance is in the sweet spot between Miss Trunchbull and Rosa Klebb. Kellett’s scenes with Amy J Payne as Katisha are gloriously daft as he woos her and they make a fantastic double act.

Glorious voices and stellar comic performances – You can’t help but smile as this whimsical and lively production.

Belgrade Theatre Coventry – until 23rd September 2023

Reviewed by Amarjeet Singh

5*****

I’m going to get straight to the point, Heathers the Musical is brilliant! Deviously dark and deliciously dynamic, it comes at you like a knockout punch with its opening number ‘Beautiful’. Setting the scene perfectly, no messing around. You know the lay of the land instantly, in a catchy, entertaining ensemble piece which succinctly introduces the students of Westerburg High, and Veronica Sawyer, a brainy teenage misfit who hustles her way into the most powerful and ruthless clique – the Heathers. There are the jocks, the nerds, the outcasts, but the place to be is sitting atop the social food chain with the ‘Heathers’, a group of entitled, wealthy and beautiful girls with the same first name: Heather Duke, Heather McNamara, and the ruthless queen bee, Heather Chandler. Veronica morphs into a ‘Heather’ to help survive school, but things take a dark turn after a disastrous party and a meeting with a fellow student named JD, who opens her eyes to the tyranny of the jocks and the cruel clique. Falling in love, they plan to exact their revenge, but JD takes things a little too far.

In Heathers the Musical, writers, Laurence O’Keefe and Kevin Murphy have created a multi-layered masterpiece, turning the film into a very witty and relentlessly entertaining piece of musical theatre, whilst also building tension, including twists and turns, to eventually reveal a truly cataclysmic conclusion. With only necessary changes from ‘Heathers’ the film, the musical stays remarkably faithful to, and focusses on, key narrative moments, whilst absolutely smashing it as a performance. Heathers the Musical does not shy away from the films disturbing and troubling themes, such as suicide, sexual coercion, homophobia, bullying and murder, but it handles it well, rounding with the message that ‘we’ll endure it, we’ll survive it … if no one loves me now, someday someone will’.

Incorporating slick direction and choreography from Andy Fickman and Gary Lloyd, O’Keefe and Murphy have created the complete package, with a sublime soundtrack packed with plenty of powerful ballads which stay with you long after the performance has ended, and these effortlessly propel the story forward. Standouts are ‘Seventeen’ and ‘Kindergarten Boyfriend’ as well as the slightly disturbing ‘Our Love is God’. A must see is the rather raunchy but extremely funny ‘Dead Girl Walking’.

Jenna Innes is a powerhouse of a Veronica who cycled gloriously through a whole gambit of teenage emotions. Funny, feisty and with a voice that gives you nothing less than chills, the good kind off course, she narrated Veronica’s journey through a dear diary format and embodied the character with such a preppy likableness. Tom Dickerson took the role of tonight’s JD and was impressive and imposing as the object of Veronica’s affections. His soulful vocals matched Innes’ perfectly.

Alex Woodward and Morgan Jackson were terrific as the two meathead jocks, Ram and Kurt. Truly grotesque in their actions, yet you still laughed at their antics due to the writers balancing a fine line between comedy and some sinister subject matter. Kingsley Morton played Veronica’s best friend Martha beautifully and her rendition of ‘Kindergarten Boyfriend’ may cause you to shed a tear, or two. An amazing ensemble and swing team do an astounding job keeping the energy levels up throughout and the show powering through, so you continuously feel entertained.

But what is Heathers the Musical without the Heathers? Elise Zavou was superb as Heather Duke, belting out ‘I will Never Shut Up Again’ with pure disco vibes. Billie Bowman was divine as Heather McNamara, her haunting version of ‘Lifeboat’ gave me goosebumps, and then there is the queen bee herself, Verity Thompson as Heather Chandler. She was incredible. Fantastic vocals, and razor-sharp, she commanded the stage with ease and was a joy to watch, even though she is a mythic bitch!

Heathers the Musical is the complete package! It’s a no brainer if you are looking for a show to watch which has brilliant songs, a decent storyline, and is astoundingly funny. So why not kick back tonight and go be seventeen.

Edinburgh Festival Theatre – until 23^rd September 2023

 Reviewed by Rachel Farrier 

5*****

The sense of anticipation in the sell out audience before the curtain rose for this production of Matthew Bourne’s Romeo and Juliet was an excellent sign of the evening that lay ahead of us, to the extent that when there was a technical glitch and the curtain was stuck half open for a tense 5 minutes, it seemed initially that this was part of the show.   

However, this was truly the only minor wobble in an otherwise perfect evening of sublime ballet.  

Set to Prokofiev’s 1935 score, Matthew Bourne has brilliantly re-imagined Romeo and Juliet into a startling and disturbing tale, set in what Bourne himself says is an intentionally vague institution in which young people are incarcerated. It does not shy away from themes of sexual violence and the abuse of power, but there is a tenderness and beauty in the eponymous relationship between the central characters which is breathtaking, and perhaps all the more so for the claustraphobic setting of distress and violence.  

The set is comprised of the curved, high white tiled walls and white fences of the ‘Verona Institute’, with a raised platform at the back which creates an unsettlingly clinical scene where there is constant observation of the ‘inmates’. In addition, the cast are dressed in all white ‘uniforms’ throughout, apart from one scene where there is a dance (organized by the well meaning chaplain) and this is a welcome relief to the eye as dancers appear in colourful dresses and outfits. 

 It is this scene that we are introduced to Ben Brown’s exceptional Mercutio – he drew all eyes to him with both his athletic swagger and the gentle tenderness towards his lover Benvolio (Euan Garrett). The sequences in which Benvolio expresses his heartbreak and overwhelming distress at Mercuito’s death moved me to tears; it was an exquisite performance from Garrett. The production showcased diverse bodies and sexualities in a way that was full of ease and beauty, further enriching the dynamics of choreography and wonderfully expressed emotion.  

Rory MacLeod as Romeo is simply outstanding and demonstrates a dazzling range of emotion, moving the audience from elation to despair with his exceptional grace and economy of movement. Cordelia Brathwaite as Juliet is the bright heart of the production with a strong presence – the connection between her and Macleod’s Romeo was magnetic. Their duets together were almost impossibly skillful in the way they portrayed love and fear, hope and anguish. The sequence in which they somehow do not part lips with one another as they beautifully manouvere around the stage is as mesmerizing as it is breathtaking.    

The tragic finale with its unexpected twist on the traditional tale left the audience stunned, and the rapturous audience as the curtain fell was no less than this extraordinary troupe deserves.  

Original Theatre in association with Park Theatre  

presents the world premiere of
The Interview

at Park Theatre from 27 October – 25 November 2023  

Written by Jonathan Maitland 

Directed by Michael Fentiman 

Starring Tibu Fortes as Martin Bashir and Yolanda Kettle as Diana, Princess of Wales  

This is the story of the interview. 

The interview which told her story. A story that shocked the world. 

“Why should I stay silent? They’ve been trying to shut me up from day one.  

This way I’ll finally be heard.” 

Original Theatre in association with Park Theatre presents the world premiere of The Interviewat Park Theatre from 27 October until 25 November 2023 (press night: 1 November, 19:00). The production will star Tibu Fortes as Martin Bashir and Yolanda Kettle as Diana, Princess of Wales. 

On 20 November 1995 the BBC broadcast an interview between Diana, Princess of Wales and Martin Bashir. It was watched by hundreds of millions worldwide. But now, it is said, the interview has no legitimacy. Is it right that the way it came about has overshadowed what it was meant to be? 

This powerful new play by writer and broadcaster Jonathan Maitland (author of Park Theatre hits Dead Sheep, An Audience with Jimmy Savile, The Last Temptation of Boris Johnson) and directed by Olivier Award nominated Michael Fentiman (Amelie, The Lion, The Witch and The Wardrobe, Loot), gives an insight into the story behind the interview: the woman who gave it, the man who made it happen and the institution that broadcast it.  

The Interview poses tough questions: What can we justify in the pursuit of truth? Can we trust our great institutions? And are we ever, really, in control of our own narrative… our legacy? 

The cast of The Interview is Tibu Fortes as Martin, Naomi Frederick as Luciana, Yolanda Kettle as Diana, Princess of Wales and Ciarán Owens as Matt, with a further cast member to be announced. 

The Creative Team is completed by Set and Costume Designer Sami Fendall, Lighting Designer Emily Irish, Sound Designer and Composer Barnaby Race, Costume Supervisor Logan Kelly, Production Manager Andreas Ayling, Wig Designer Susanna Peretz, Wigs Supervisor Pedro Paiva. The Stage Manager on Book is Kanoko Shimizu and Assistant Stage Manager is Paulina Krauss. The Interview is produced by Steven Atkinson for Original Theatre.  

Writer Jonathan Maitland said: “The things that led to the famous interview and the events that came after it revealed much about our country and its institutions. It’s definitely the stuff of drama and I can’t wait to see our superb cast and brilliant director Michael Fentiman bring it all to life.” 

Director Michael Fentiman said: “It’s a great pleasure to be directing Jonathan Maitland’s play The Interview at Park Theatre this Autumn. It’s an opportunity to return to a theatre I have very fond memories of after my production of Joe Orton’s Loot there in 2017. It’s an added bonus that I get to work with a theatre company in Original Theatre, who I have long admired as a tireless and vital part of the UK’s new work ecology. Jonathan Maitland is a writer of great integrity and bravery and it’s been an honour to be trusted with his play.” 

The Interview is produced by the award-winning theatre company Original Theatre (The Mirror Crack’d, The Habit of Art) who delivered Park Theatre productions The End of The Night, Napoli, Brooklyn and Monogamy and the forthcoming The Time Machine – A Comedy, this December.  

Artistic Director of Original Theatre, Alastair Whatley, said: “I am delighted to be returning to Park Theatre once again with the first of two plays back-to-back, first up with a world première of Jonathan Maitland’s superb new play. It’s wonderful for us to be collaborating with director Michael Fentiman and a brilliant cast and creative team for what we anticipate will be a play that gets London talking.” 

To book tickets for The Interview, visit: https://parktheatre.co.uk/whats-on/the-interview or call the Box Office: 020 7870 6876.*  

* Telephone booking fee applies. 

-LISTINGS- 

Show: The Interview 

Venue: Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP 

Dates: Friday 27 October – Saturday 25 November 2023; Mon – Sat 19.30, Thu & Sat 15.00 

Running Time: approx. 1hr 50 mins (including interval) 

Box Office: https://parktheatre.co.uk/whats-on/the-interview / 020 7870 6876*  

* Telephone booking fee applies. 

Tickets: Previews: £15 – £25. Standard: £22.50 – £44.50. 65+: £20 – £22.50 (Mon eve and Thu mat). Access: £17.50. Booking fees apply. Book early to secure the best prices. Prices may change, subject to demand. 

Age Guidance: 12+ 

Captioned: Tue 14 November, 19.30

Audio Described: Fri 17 November, 19.30 with Touch Tour, 18.30

Access information: https://parktheatre.co.uk/your-visit/access-information 

Category: theatre / drama  

York Theatre Royal – until 23rd September 2023

Reviewed by Janina Cairns

5*****

The age guidance for this play is 14+.

If you are not familiar with the York Theatre Royal, then you are missing a treat. It is over 250 years old and still a firm favourite of theatre goers.

Something that doesn’t happen often is this, they offered a special, post show discussion after the 7.30pm performance on Wednesday 20th September

Murder In The Dark is a psychological ghost story style thriller with humour. It is hard to describe this wonderful show without giving too much away (and spoilers here isn’t appropriate) but it is safe to say, the show takes you on a rabbit warren of plot twists. This play needs to keep the plot secret so as not to spoil it for those coming after – akin to The Mousetrap.

The play starts with Danny Sierra (played by TV and Stage’s Tom Chambers) -a singer – and his dysfunctional family, his brother William (played by Owen Oakshott), his ex-wife Rebecca (played by Rebecca Charles), his son Jake (played by Jonny Green) and Danny’s girlfriend Sarah (played by Laura White).

Having to seek refuge from the weather in a run-down holiday cottage on a farm after being rescued after the crash on the way back towards London after a funeral. Their rescuer is the owner of the farm, Mrs Bateman (played by TV and Stage legend Susie Blake). The stage set for this play is very simple but effective. It is all set within the holiday cottage with an occasional set change for the outside toilet area.

The family are told that the weather has worsened, and it is clear they are stuck for the night as no taxis would be able to get to them and even if they did, no trains were running.

None of them are happy of course. It is New Year’s Eve, and they have places to be. The first half of the play really sets the scene for what is to come, giving us an insight into the dynamic of the group and feeling the tension build between the characters.

The second half of the show really ramps up the tension, with twists, revelation of secrets, some more twists. A real rollercoaster of what is going to happen next. If I am truly honest, I didn’t guess the ending here and that is all down to the brilliant writing of Torben Betts and his creation of this wonderful play.

There was humour all the way through the play and Mrs Bateman’s character is absolutely brilliant. She has us laughing out loud as she takes the cast and the audience with her on her own little mad ramblings. For me, she stole the show but the writing and deliverance of the lines she was given was absolute genius. Well done again to Torben Betts for his writing.

Finally, if you enjoy a good spooky story, you will not be disappointed, but it is also for those who aren’t a ghost story style fan because you will have just as much fun as the humour is more than worth it.

Adelphi Theatre – 19^th September 2023

Reviewed by Heather Chalkley

4****

The promoter, Entertainers, secured the venue for an Adelphi Theatre debut that rocks the house with the reggae beat. Three years after Bob Marley’s death the greatest hits album Legend was released in 1984 and became the bestselling reggae album of all time. Fittingly named, this show brings to life the music of Bob Marley that is as relevant today as it was in the 60’s and 70’s.

Although Marley can never be replaced, he can be remembered. Michael Anton Phillips does the great man justice, bringing to life his well known hits that has the audience on their feet and singing along. A roar goes up when Phillips releases his dreadlocks, synonymous with Marley. The clarity of the lyrics resonates throughout the auditorium, telling real stories of love, life and freedom.

The talented band members of lead guitarist, bass player, keyboards and drummer know their craft and are well honed to the reggae beat. The backing singers are choreographed beautifully for each song and encourage the audience to join in with the lyrics and the moves.

Legend is on a UK wide tour and this is their first time in the West End. After this resounding success, let’s hope we get that rock steady beat back in the city for more dates in the future.

Southwark Playhouse – until 14 October 2023

5*****

Reviewed by Claire Roderick

This gloriously silly pastiche of 1980s police films is insanely smart and absolutely hilarious. The laughs are non-stop and musical numbers capture the nonsensical eighties vibe brilliantly.

Writers Zachary Hunt, Nathan Parkinson and Tom Roe dig deep into the cliches of 1980s cop buddy movies and ramp up the absurd comedy with spectacular results. They also wrote the ridiculous lyrics for Ben Adams’ eighties/musical theatre mashup score which is equally nostalgic and rib-tickling for those of us who grew up playing the soundtracks to cheesy films on cassettes.

When his sister is shot, young Jimmy Johnson vows to become the best darn Police Cop ever. He grows up and achieves his goal, but the search for a drug kingpin may have connections to his sister’s death, and the chief of police sends Jimmy to collaborate with renegade Police Cop Harrison. But does the chief have a sinister motive for sidelining Jimmy? As Jimmy’s quest to bring down the man who shot his sister takes him to Mexico, he meets old friends and forms unlikely alliances as the parade of physical comedy, sight gags and ridiculous costumes (especially for Parkinson) gathers pace to the obligatory final showdown between our tiny band of heroes and the bad guys. The unbelievable exploits of movie heroes are referenced in an “inspirational” song to prepare for conflict, and the fight choreography is wonderfully relaxed for the good guys as villains are frantically attacking. The prejudices and attitudes of the eighties are front and centre to be satirised, with audience participation in a song about racism providing one of the highlights of the show. The Police Cops are American, so they shoot first and ask questions later, and the way the show represents the guns, violence and deaths as silly cartoon violence with anonymous bad guys being dispatched with abandon is a fantastic representation of the equally ridiculous exploits of the blockbusters we grew up with.

Melinda Orengo and Natassia Bustamante provide stellar vocals – Bustamante’s particularly unhinged ex-chief of police is a hoot and Orengo is a wonderfully earnest love interest for Jimmy. Hunt’s sweet and driven Jimmy is relatively sane, and Hunt almost manages to keep a straight face as Parkinson and Roe create mayhem around him in a range of brilliantly bonkers roles. The song and dance numbers fit in cleverly with the plot, adding an extra layer of nonsense and performed impeccably by the cast.

It’s not subtle, but it is very clever and painfully funny – a fantastic musical comedy that shines in its absurdity. Grab a ticket while you can.

@sohoplace – until 25 November 2023

Reviewed by Claire Roderick

5*****

This new British based on Henry Fraser’s memoir, The Little Big Things, is a musical miracle.

When 17-year-old Henry – a promising rugby player with a bright sporting career ahead – goes on his first lads’ holiday to Portugal, a freak accident causes life-changing injuries. This may sound a bit grim for a musical, but Joe White’s book is warm, wise, witty and full of hope. The master stroke is having two actors play Henry – Jonny Amies is Henry before the accident, bursting with teenage energy and enthusiasm, while wheelchair-using actor Ed Larkin plays Henry after the accident – older and trying to come to terms with events he cannot remember. The struggle to let go of his younger self and forgive while his younger self can’t accept that things can never be the same as they were before the accident drives the plot as Henry tells his story.

To paraphrase Henry, this is no pity party. The two actors build a complex character facing a future that is very different to the sporting glory he and his family had envisaged. Of course, Henry doesn’t go through this alone – his family and their reactions to his accident are written beautifully. If Henry had three sisters, this would be a very different musical, but the three brothers struggle with their guilt over the accident, and their inability to express their feelings feels authentic and produces laughs of recognition. These brothers express their love, when sober, through insults – perfectly normal British siblings. Jamie Chatterton, Cleve September and Jordan Benjamin are all marvellous as the brothers, with the musical numbers allowing the strength of the brothers’ bond to shine through, harmonising and dancing together. Linzi Hateley and Alasdair Harvey play Henry’s parents brilliantly, each portraying their different ways of showing their pain and fear of what will happen to Henry with heartbreaking realism. Hateley’s physical reaction to hearing the news had some of the audience sobbing even before she’d started singing the viscerally tearjerking memory of motherhood, One to Seventeen. As Andrew, Harvey is pitch perfect as a da trying to keep things together for his family, and quietly finding ways to adapt and “fix” things – providing Henry with the means to continue his art. Henry’s physio, Agnes (Amy Trigg) is comedy gold. Also a wheel-chair user, Agnes guides Henry with advice about facing his future and tons of sarcasm. Trigg has some powerhouse lines about attitudes to disability and steals every scene she is in with her sharp comic timing.

Nick Butcher and Tom Ling have crafted a soaring score, full of upbeat infectious numbers with intelligent and memorable lyrics that serve the story well and you will be humming for days after the show. The mix of pop with musical theatre flourishes culminates in the title number, at the very end of the show which has the whole theatre sobbing and clapping along. Mark Smith’s choreography has lots of signing, creating a beautifully fluid movement and unity in the cast onstage. The emotional highs in the big numbers are matched with raised platforms and some glorious aerial work. Paul Gatehouse’s sound design, the sound mixing and acoustics in this incredible theatre are pristine – even with an actor standing right next to you singing their heart out, the sound balance ensures they do not drown out the rest of the cast. Performed in the round, Colin Richmond’s set design needed to be accessible for performers and visible from all areas of the auditorium, and the clever use of blocks and props is excellent. Luke Halls video and Howard Hudson’s lighting design are magical – with the stage lighting up with bright colours as Henry begins to appreciate the pure and simple beauty of things he’d never stopped to consider before and creating the same awe and wonder in the auditorium. Fay Fullerton’s costumes are ordinary noughties wear, but Henry’s subconscious and memories are filled with brightly coloured and flamboyantly dressed people having the time of their lives. Director Luke Sheppard does wonders with this show – obviously he includes confetti cannons at some point, but amongst all the dance routines and technical wonders, the quiet moments between characters are allowed to sit and hit home with perfectly judged beats.

The show is an emotional roller coaster, filled with enough snarky and silly humour so it never strays into sentimentality. Watching Henry come to terms with his future, and his family learning to adapt to his needs in this heightened reality is thrilling and heart-warming. This is one of the most inclusive, open-hearted shows you will ever see – guaranteed to make your feet tap, your tears flow and your heart soar.

MUSICALS FROM THE HEART AT THE MAYFLOWER THEATRE WOWED AUDIENCES AND WAS ATTENDED BY HER ROYAL HIGHNESS THE DUCHESS OF EDINBURGH

Southampton-based cardiac charity, Heartbeat, pulled out all the stops for its 30th-anniversary extravaganza, “Musicals from the Heart,” at the Mayflower Theatre, Southampton on Sunday 17 September.

Her Royal Highness The Duchess of Edinburgh, Royal Patron of the heart charity attended the event, as well as familiar faces from Heartbeat’s 30 years serving the region including former patients, members of the cardiac team at the Wessex Cardiac Centre, and loyal supporters of the charity.

The hotly anticipated event, hosted and produced by renowned Broadway and West End performer Earl Carpenter and co-hosted by BBC Radio Solent broadcaster Lou Hannon, captured the hearts of theatre lovers, who were all eager to see the lineup of Hampshire-based stars.

Among those treading the boards were Holly-Anne Hull, Lauren Byrne and Harry Chandler, who dazzled the audience with a host of well-known songs from the musicals. 

Adam Hoskins served as the Music Director and conductor on the night, enthralling the audience with players from the Bournemouth Symphony Orchestra.

Earl Carpenter was thrilled with how the night went. He said: “What a night! We are all delighted with the performances, and it was wonderful to get so many old and new friends to get together for an evening of excellent music and for such a good cause.”

The unique collaboration between Heartbeat and the Mayflower aimed to raise vital awareness of the cardiac charity, which plays a major role in supporting over 10,000 patients each year.

Michael Ockwell, Chief Executive of the Mayflower Theatre, said: “After an unforgettable night, Mayflower Theatre takes immense pride in having supported Heartbeat in presenting a feast for the ears and eyes. We extend our heartfelt gratitude to all who attended and contributed to making Heartbeat’s 30^th anniversary celebrations truly exceptional.”

Mark Ind, CEO of Heartbeat, expressed his gratitude, saying: “We would like to thank Her Royal Highness, the cast and crew of ‘Musicals from the Heart,’ as well as the wonderful city of Southampton, for attending this very special performance.

“Since Heartbeat’s launch in 1992, the charity has worked tirelessly to provide the highest quality cardiac care at the Wessex Cardiac Unit based at Southampton General Hospital. It was a true honour to mark this significant milestone in our history with such a memorable event.

“There are so many more people to thank too, this was a real team effort and I’m very grateful to everyone involved.”

Projects spearheaded by the charity include Heartbeat House, the charity’s 25-bedroom ‘home from home.’ The house is designed to support and provide respite to families of cardiac patients undergoing treatment at Southampton General Hospital and is located just a three-minute walk away. The facility’s annual operational costs amount to £87,000, fully reliant on donations.

Another Heartbeat-funded project is its innovative 3D heart campaign, revolutionising surgeons’ approach to invasive cardiac diagnostic testing. Costing £600 per heart, surgeons use specialist cardiac modelling software to non-invasively scan the patient’s heart, using methods like CT scans or MRIs. This process creates a detailed blueprint of the heart, which is then sent to a 3D printer. The printer produces an identical plastic model of the heart, providing an in-depth view of the organ and any potential defects.

For more information on Heartbeat, please visit: www.heartbeat.co.uk