FULL CAST AND CREATIVES ANNOUNCED FOR

THE JAMIE LLOYD COMPANY’S

NEW WEST END PRODUCTION OF

ANDREW LLOYD WEBBER’S

SUNSET BOULEVARD

STARRING NICOLE SCHERZINGER

The Jamie Lloyd Company, the successful partnership between Ambassador Theatre Group and Artistic Director Jamie Lloyd, alongside Michael Harrison for Lloyd Webber Harrison Musicals, today announce the full cast and creative team for Andrew Lloyd Webber’s Sunset Boulevard directed by Jamie Lloyd, with book and lyrics by Don Black and Christopher Hampton, based on the Billy Wilder film.

Nicole Scherzinger (Norma Desmond) is joined by Tom Francis (Joe Gillis), Grace Hodgett Young (Betty Schaefer) and David Thaxton (Max Von Mayerling). As previously announced, Rachel Tucker will be guest starring as Norma Desmond on Thursday 12 October matinee, and all Monday performances from 16 October 2023 – 6 January 2024.

Completing the cast are Carl Au (Myron / Jones), Georgia Bradshaw (Lisa / Masseur), Hannah Yun Chamberlain (Patsy / Beautician), Tyler Davis (Sheldrake), Kamilla Fernandes (Dorothy / Astrologer), Ahmed Hamad (Artie), Laura Harrison (Catherine / Doctor), Charlotte Jaconelli (Joanna / Masseur), Olivia-Faith Kamau (Nancy / Beautician), Luke Latchman (John / Guard), Emma Lloyd (Mary / Heather / Analyst), Mireia Mambo (Jean / Beautician / Dance Captain), Gregor Milne (Sammy), Kody Mortimer (Finance Man / Frank), Jon Tsouras (Finance Man / Cecil B. De Mille) and Charlie Waddell (Morino / Hog-Eye), with Lara Denning (Standby Norma), Jordan Cork and Shayna McPherson (Camera Operators), and Catherine Cornwall, Michael Lin (Assistant Dance Captain), Jon Reynolds, Kirsty Anne Shaw, Harrison Wilde and Lillie-Pearl Wildman as swings.

The creative team are Soutra Gilmour (Set and Costume Designer); Fabian Aloise (Choreographer); Alan Williams (Music Supervisor and Musical Director); Jack Knowles (Lighting Designer); Adam Fisher (Sound Designer); Nathan Amzi and Joe Ransom (Video Design and Cinematography); Stuart Burt CDG (Casting Director); Hazel Holder (Voice and Dialect); Kate Waters (Fight Director); Ingrid Mackinnon (Intimacy Coordinator); Rachel Woodhouse (Costume Supervisor); Lily Mollgaard (Props Supervisor); Rupert Hands (Associate Director); Paris Green (Resident Associate Choreographer); Huw Evans (Associate Musical Director); Kelsh B-D (Associate Sound Designer); Martyn Sands (Production Manager).

Opening 30 years after the original West End production, Sunset Boulevard runs for a strictly limited 16 weeks at the Savoy Theatre from Thursday 21 September 2023 – Saturday 6 January 2024, with press night on Thursday 12 October at 7.30pm.

The Jamie Lloyd Company continues its commitment to accessibility, with 5,000 stalls and dress circle tickets priced at £20 available across the run exclusively for under 30s, key workers and those receiving government benefits. These tickets will be released weekly from September, with further information to be announced. 

SUNSET BOULEVARD

Music by Andrew Lloyd Webber

Book and Lyrics by Don Black and Christopher Hampton

Based on the Billy Wilder film

Directed by Jamie Lloyd

Savoy Theatre

21 September 2023 – 6 January 2024

Nicole Scherzinger stars as the immortal Norma Desmond in Andrew Lloyd Webber’s legendary Sunset Boulevard. This thrillingly atmospheric musical, which features an iconic score including the songs With One Look, The Perfect Year and As If We Never Said Goodbye, is reimagined by visionary director Jamie Lloyd for a new generation.

Haunted by her memories and dreams, movie star Norma Desmond (Scherzinger) yearns to return to the big screen. A struggling screenwriter who can’t sell his scripts to the Hollywood studios may be her only hope, until their dangerous and compelling relationship leads to disastrous circumstances.

Drenched in champagne and cynicism, Sunset Boulevard scrutinizes the ambitions and frustrations of its characters and their intoxicating need for fame and adoration.

The Jamie Lloyd Company production of Sunset Boulevard is produced by Ambassador Theatre Group Productions, Michael Harrison for Lloyd Webber Harrison Musicals, Gavin Kalin Productions, Wessex Grove, David Mirvish and Nick Thomas.

Sunset Boulevard is produced by arrangement with The Really Useful Group Ltd and is based on the original Paramount film by Billy Wilder.

Instagram:          @sunsetblvdmusical

Twitter:               @sunsetblvd

Facebook:           @SunsetBoulevardTheMusical

Carl Au (Myron / Jones)

Theatre credits include: Cabaret (Lido2Paris); Anything Goes (Barbican Centre/ UK tour); South Pacific (Chichester Festival Theatre); Aladdin (Cambridge Arts Theatre); High Fidelity (Turbine Theatre); Cilla The Musical (UK tour); Ostrich Boys (Belgrade B2); Bright Phoenix (Liverpool Everyman); Jersey Boys (Prince Edward Theatre); Bells Are Ringing (Union); The Fantasticks (Duchess Theatre); Dance: Radio (York Theatre Royal/ Roundhouse); A Christmas Carol (Birmingham Rep); Sleeping Beauty (Oxford Playhouse); High School Musical (Hammersmith Apollo); Robin Hood, Babes in The Wood (Bournemouth Pavilion); Pendragon (Arthur Pendragon/UK & Japan tour); Sinking Water (Theatre Royal Stratford East) and 101 Dalmatians (Regent’s Park Open Air Theatre). Film credits include: The Magician’s Garden. Television credit include: Doctors; Waterloo Road; Lost Sitcoms – Til Death Do Us Part; Casualty and Let’s Dance for Comic Relief. Concert credits include: Barbara Cook and Friends (London Coliseum); Good Thing Going (Cadogan Hall); The BRIT Awards 2009. OTHER: Feather Boy (Blacklist Entertainment); Peter & The Wolf (ACT Productions); The Last of the Mohicans (Irving Street Productions).

Georgia Bradshaw (Lisa / Masseur)

Theatre credits include: Bat Out of Hell (Peacock/International tour); Bring It On (Southbank Centre/ UK tour); 9 to 5 the Musical (UK and Ireland tour); Bare the Pop Opera Musical (The Vaults); Flashdance (Korean tour); Dreamgirls (Savoy Theatre); Mad on Her (UK tour); Dreams (Dubai Global Village) and Snow White and the Seven Dwarfs (Barbican).

Hannah Yun Chamberlain (Patsy / Beautician)

Theatre credits include: Legally Blonde (Regent’s Park Open Air Theatre); Out of the Box (Turbine Theatre) and Cabaret (Lido2Paris).

Jordan Cork (Camera Operator)

Theatre credits include: Arminio, Alcina (Royal Opera House); Das Rhinegold (English National Opera) and Snow White and Seven Dwarfs (Tunbridge Assembly Hall). Other credits include: Fanta Halloween; KFC Commercial; 101FM (Little Simz) and We Day (Wembley Arena).

Catherine Cornwall (Camera Operator Swing)

Theatre credits include: The Cher Show (UK Tour); The Prince of Egypt (Dominion Theatre) and Snow White and the Seven Dwarves (Manchester Opera House). Film credits include: Greenpeace Don’t Stop Thinking About Tomorrow and The Prince of Egypt (NBC/Universal). Other credits include: London International Horse Show (BBC); Kurupt FM and Craig David Summertime (Music Video); Atlas 3.0 (Commercial) and House of Fraser (Commercial).

Tyler Davis (Sheldrake)

Theatre credits include: Back to the Future (Adelphi Theatre) and Love Beyond (City Gates). Film credits include: The Boys in the Boat.

Lara Denning (Standby Norma)

Theatre credits include: Everybody’s Talking About Jamie (Apollo Theatre/UK tour); The Secret Diary of Adrian Mole Aged 13 ¾ (Ambassadors/Menier Chocolate Factory); Matilda (Cambridge Theatre); Ruthless The Musical (Arts Theatre); Charlie & The Chocolate Factory (Theatre Royal Drury Lane); Eugenius (Turbine Theatre); The Famous Five (Theatr Clwyd/Chichester Festival); Carousel (Kilworth House); Scrooge The Musical (Leicester Curve); The Rocky Horror Show (European Tour) and Gotta Sing, Gotta Dance, All The Fun Of The Fair and Dirty Dancing in Concert (UK tours). Film credits include: I Came By; Ruthless! The Musical; Dick Whittington; Glass Body and Leave A Light On. Other credits include: Mentos.

Kamilla Fernandes (Dorothy / Astrologer)

Theatre credits include: Groundhog Day (The Old Vic); Newsies (Troubadour Wembley Park) and Grease (Dominion Theatre).

Tom Francis (Joe Gillis)

Theatre credits include: & Juliet (Shaftesbury Theatre); What’s New Pussycat (Birmingham Rep); Rent (Hope Mill Theatre); Hair – The Concert (London Palladium) and I Could Use A Drink (Garrick Theatre).

Ahmed Hamad (Artie)

Theatre credits include: Standing At The Sky’s Edge (National Theatre/Sheffield Crucible); The Boy in the Dress (RSC); The Color Purple, The Addams Family (UK tours); Rumi: The Musical (London Coliseum); Joseph and the Amazing Technicolor Dreamcoat (London Palladium); RENT (Hope Mill Theatre); Stay Awake Jake (Southwark Playhouse) and Now Or Never (Barn Theatre). Concert credits include:  Kinky Boots (Theatre Royal Drury Lane); BBC Proms – West Side Story (Royal Albert Hall) and I Could Use A Drink (Garrick Theatre).

Laura Harrison (Catherine / Doctor)

Theatre credits include: Wicked (Apollo Victoria); The Rocky Horror Show, Legally Blonde, Blood Brothers (UK & Ireland Tour); Parade (Hope Mill Theatre): Peter Pan (Malvern Festival) and Little Shop of Horrors (Kings Arms Salford). Television credits include: Liver Birds Ident. Concert credits include: The Spark of Creation – with Stephen Schwartz (Park Theatre); An Evening with Stephen Schwartz (Hope Mill Theatre); Jason Manford’s Christmas Carol Concert (Bridgewater Hall Manchester) and Stephen Sondheim at 80 (BBC Proms, Royal Albert Hall). Other credits include: Church of Now (BBC Comedy).

Grace Hodgett Young (Betty Schaefer)

Sunset Boulevard marks Grace’s professional stage debut. Credits whilst training include: The Little Mermaid, Bare, Made in Dagenham (Mountview) and Sister Act (Nottingham Playhouse).

Charlotte Jaconelli (Joanna / Masseur)

Theatre credits include: Assassins (Chichester Festival Theatre); The Wizard of Oz (Curve Leicester); Into the Woods (Theatre Royal Bath); The Boy in the Dress (RSC);  Sweet Charity (Donmar Warehouse); Heathers the Musical (The Other Palace/Theatre Royal Haymarket) and She Loves Me (Landor – Offie Award nomination for Best Female). Television credits include: Call the Midwife and Britain’s Got Talent.

Olivia-Faith Kamau (Nancy / Beautician)

Theatre credits include: Rodgers + Hammerstein’s Cinderella (Hope Mill Theatre) and Million Dollar Quartet (Cirencester Barn).

Luke Latchman (John / Guard)

Theatre credits include: Richard II (Holy Trinity Church); Millennials (The Other Palace); Red Riding Hood (Theatre Royal Stratford East); Everybody’s Talking About Jamie (Apollo Theatre); Dick Whittington (Lyric Hammersmith); Flowers for Mrs Harris (Chichester Festival Theatre); Spring Awakening (Hope Mill Theatre); Twelfth Night, A Christmas Carol (RSC) and Working (Southwark Playhouse). Film credits include: Cinderella.

Michael Lin (Swing / Assistant Dance Captain)

Theatre credits include: The Wizard of Oz (London Palladium – Assistant Dance Captain); 42^nd Street (Théâtre du Châtelet); Billy Elliot, Grease (Leicester Curve); Anything Goes (Barbican, Sheffield Theatres/UK tour); White Christmas (Dominion Theatre); Oklahoma!, Forty Years On (Chichester Festival Theatre); West Side Story (Royal Exchange Theatre); Aladdin (Hackney Empire); The Rink (Southwark Playhouse); Pinocchio (National); Thoroughly Modern Millie (Kilworth House); Annie (UK tour) and Thriller Live (UK & European tour). Film credits include: Anything Goes and Tomorrow Morning. Television credits include: Little Women. Other credits include: I Kissed Someone (It Wasn’t You) (dodie).

Emma Lloyd (Mary / Heather / Analyst)

Theatre credits include: Back to the Future (Adelphi Theatre/Manchester Opera House); Dr Doolittle, Thoroughly Modern Millie (UK tours) and Salad Days (Theatre Royal Bath).

Mireia Mambo (Jean / Beautician / Dance Captain)

Theatre credits include: Newsies (Troubadour Wembley Park); The Bodyguard (National Spanish tour); Hairspray (London Coliseum); West Side Story (Leicester Curve); Evita, Ragtime, A Midsummer Night’s Dream (Regent’s Park Open Air Theatre); Motown The Musical (Shaftesbury Theatre); Scaramouche (Teatre Victoria, Barcelona); Sister Act (National Spanish tour) and Charlie and The Chocolate Factory (Theatre Royal Drury Lane). Film credits include: Aladdin. Television credits include: Zorro; KAOS and Servir y Proteger.

Shayna McPherson (Camera Operator)

Theatre credits include: Johannes Radebe: Freedom Unleashed (UK tour); Aladdin (Stuttgart Apollo) and The Wiz (Hope Mill Theatre). Film credits include: Disenchanted.

Gregor Milne (Sammy)

Theatre credits include: The Girl From the North Country (UK tour).

Kody Mortimer (Finance Man / Frank)

Theatre credits include: Assassins (Chichester Festival Theatre); At Last, It’s Summer (London Palladium); Hex (National Theatre); 101 Dalmatians (Regent’s Park Open Air Theatre); Hairspray (London Coliseum) and Gypsy (Manchester Royal Exchange).

Jon Reynolds (Swing)

Theatre credits include: Back to the Future (Adelphi – Assistant Dance Captain); Kinky Boots (Adelphi – Assistant Dance Captain); 9 to 5 The Musical (Savoy Theatre/Daegu Opera House/UK tour – Associate Choreographer); Joseph and the Amazing Technicolor Dreamcoat (London Palladium); Miss Saigon (Prince Edward Theatre); Grease (Piccadilly Theatre); We Will Rock You (Dominion Theatre); Fame (Shaftesbury Theatre); West Side Story (Kilworth House); Chicago (Leicester Curve); Jesus Christ Superstar (International Arena Tour); Aladdin (O2); Legally Blonde, Me & My Girl (UK tours); Sinatra (UK Arena Tour) and My Fair Lady (Singapore Esplanade). Film credits include: Harry Potter and the Philosopher’s Stone; Harry Potter and the Chamber of Secrets; Kinky Boots the Musical and Miss Saigon: 25^th Anniversary. Television credits include: The Dame Edna Experience; Madonna Mania; The Olivier Awards 2015; The Royal Variety Show 2014 and Olympic Parade. As choreographer:  Pride & Christmas Specials (This Morning, ITV).

Nicole Scherzinger (Norma Desmond)

Sheis a multiple award-winning, multi-platinum selling performer, singer, actress, dancer and television personality, selling over 37 million singles worldwide and 16 million records as a solo artist. Formerly a member of one of the world’s best-selling music groups of all time, selling over 55 million record worldwide, she has graced the stages of London’s West End, performed at Madison Square Garden, voiced the character Sina in Disney’s animated blockbuster ‘Moana,’ starred in ABC’s remake of ‘Dirty Dancing,’ and most recently was the resident panellist on the runaway TV phenomenon, The Masked Singer on FOX. On May 7, 2023 Nicole Scherzinger performed at Windsor Castle for the official concert for the Coronation of Charles III and Camilla. Accompanied on stage by esteemed pianist Lang Lang, the pair performed the Disney Mulan classic “Reflection.”

Kirsty Anne Shaw (Swing)

Theatre credits include: 9 to 5 the Musical (South Korea & UK tour); Cinderella (The Alban Arena); Beauty and the Beast (New Royal Portsmouth); West Side Story – BBC Shakespeare Live (RSC) and Peter Pan (Imagine). Film credits include: Wicked and York Witches Society. Television credits include: Strictly Come Dancing; Eurovision Song Contest Opening and Taggart. Other credits include: P&O Australia.

David Thaxton (Max Von Mayerling)

Theatre credits include: Les Misérables (Sondheim/Queen’s Theatre); Come from Away (Phoenix Theatre); The Phantom Of The Opera (Her Majesty’s Theatre); Passion (Donmar Warehouse – Olivier Award for Best Actor in a Musical); Camelot (London Palladium); Jesus Christ Superstar (Regent’s Park Open Air Theatre); Love Never Dies (Adelphi Theatre); West End Men (Vaudeville Theatre); She Loves Me (Sheffield Crucible); Candide (Menier Chocolate Factor); Roller Diner (Soho Theatre); Only The Brave, The Rake’s Progress (Wales Millennium Centre); The Sorcerer’s Apprentice (Southwark Playhouse); Trial by Jury (BBC National Orchestra of Wales/ St David’s Hall/ Chandos) and The Cunning Little Vixen (Cardiff Sherman Theatre). Concert credits include: Broadway to the Bay (Wales Millennium Centre); Welsh Guards Centenary Celebration (Cardiff Principality Stadium); Friday Night is Music Night (BBC Radio 2); Bond with the Royal Northern Sinfonia (Sage Gateshead); Bring Them Home (Cardiff Castle).

Jon Tsouras (Finance Man / Cecil B. De Mille)

Theatre credits include: Moulin Rouge! (Piccadilly Theatre); Be More Chill (The Other Palace); Evita (Regent’s Park Open Air Theatre); Hairspray, My Fair Lady (UK tours); Kiss Me, Kate (Welsh National Opera/ UK Tour); Dirty Rotten Scoundrels, Legally Blonde (Savoy Theatre); A Chorus Line (London Palladium); Jesus Christ Superstar (UK Arena Tour); My Fair Lady in Concert (BBC Proms/ Royal Albert Hall); White Christmas (The Lowry); Priscilla Queen Of The Desert (Palace Theatre); Lord Of The Rings (Theatre Royal Drury Lane); White Christmas (Plymouth/ Southampton); Saturday Night Fever (European Tour); Gigi (Stratford Festival Canada); The Hunchback of Notre Dame (Stratford Festival Canada) and Starlight Express (Bochum). Television credits include: EastEnders.

Rachel Tucker (Norma Desmond at certain performances)

Theatre credits include: Come From Away (Gerald Schoenfeld, NY/ Phoenix Theatre – Olivier Award Nomination for Best Actress; WhatsOnStage Award Nomination for Best Supporting Actress in a Musical); Songs For a New World (London Palladium/ Stream); Wicked (Apollo Victoria/ Gershwin); The Last Ship (Neil Simon, NY/ Chicago Bank of America); Communicating Doors (Menier Chocolate Factory); John and Jen (Southwark Playhouse – OFFIES Award for Best Lead Performance in a Musical); Farragut North (Southwark Playhouse) and We Will Rock You (Dominion Theatre). Television credits include: Hope Street; Informer and I’d Do Anything.

Charlie Waddell (Morino / Hog-Eye)

Theatre credits include: Gypsy (The Mill at Sonning); South Pacific (Chichester Festival Theatre/UK and Ireland tour); Passion (Hope Mill Theatre) and Bernstein’s Mass (Southbank Centre). Television credits include: Pitch Battle (Semi Finals and Live Finals)

Harrison Wilde (Swing)

Theatre credits include: The Wizard of Oz (London Palladium); Cats, Chicago the Musical (International Tour) and Mamma Mia! (Novello).

Lillie-Pearl Wildman (Swing)

Theatre credits include: Newsies (Troubadour) and Cabaret (Kit Kat Club, Playhouse).

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. From Joseph and the Amazing Technicolor Dreamcoat (1969) to Bad Cinderella (2022). Lloyd Webber has had shows running continually in the West End for 50 years and on Broadway for 43.

When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards.

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. It was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings.

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre.

Andrew Lloyd Webber has composed anthems for the 1978 World Cup in Argentina and for two Olympic ceremonies, including “Amigos Para Siempre” the official song of the 1992 summer games in Barcelona. He wrote “Let Us Love In Peace” for the aftermath of the attacks on The World Trade Centre, and wrote and performed “Sing” with Gary Barlow at Queen Elizabeth II’s Diamond in 2012. Lloyd Webber curated musical theatre performances for the Queen’s Platinum Jubilee concert in June 2022.

Andrew Lloyd Webber was knighted in 1992 and created an honorary life peer in 1997.

Don Black received two Tony Awards for Best Book and Lyrics of a Musical for his work (with Christopher Hampton) on Sunset Boulevard, which marked his third collaboration with Andrew Lloyd Webber. They first joined forces to write the song cycle ‘Tell Me On A Sunday,’ which developed to form the basis of the stage show Song and Dance. They were reunited again for Aspects of Love. He also wrote the lyrics for the Andrew Lloyd Webber produced Bombay Dreams. Awards include an Oscar for his song ‘Born Free;’ five Academy Award nominations; two Tony Awards and three Tony nominations; six Ivor Novello Awards; a Golden Globe, and many platinum and gold discs. He has written a quintet of James Bond theme songs: ‘Thunderball,’ ‘Diamonds Are Forever,’ ‘The Man With The Golden Gun,’ ‘Surrender’ from Tomorrow Never Dies and ‘The World Is Not Enough’. Among his many popular songs are two U.S. number ones – ‘Ben’ for Michael Jackson and ‘To Sir With Love’ for Lulu. He was inducted into the Songwriters Hall of Fame in 2008. In The Queen’s Honours List he received the Order of the British Empire. Earlier this year he was awarded an Olivier award for his outstanding services to theatre. Most recently he wrote his critically acclaimed memoir ‘The Sanest Guy In The Room,’ which featured in the Sunday Times Bestsellers list. His musical of Bonnie and Clyde had a successful West End run at the Garrick Theatre and his next project which he wrote with Christopher Hampton and George Fenton is a musical version of the classic film The Third Man.

Christopher Hampton became involved in theatre while studying French and German at Oxford University, and wrote a play in his first year. The Royal Court’s subsequent production was so successful that it transferred to the Comedy Theatre while he was still a student, making him the youngest writer ever to have a play performed in the West End – a record which still stands. He said at the time that he also hoped to become the oldest writer to have a play in the West End, an ambition he has yet to achieve.

His plays, musicals and translations have so far garnered four Tony Awards, three Olivier Awards, four Evening Standard Awards and the New York Theatre Critics; Circle Award; prizes for his film and television work include two Oscars, three BAFTAs, a Writer’s Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and The Collateral Award at the Venice Film Festival for Best Literary Adaptation. His musicals include Sunset Boulevard, Dracula: The Musical, Stephen Ward and most recently, The Third Man, all with Don Black. Many translations include the German musical based on Daphne du Maurier’s Rebecca, opening September 2023. Hampton’s screenplays include The Son, The Father, Perfect Mothers, A Dangerous Method, Chéri, Atonement, Imagining Argentina (which he also directed), The Quiet American, The Secret Agent (which he also directed), Mary Reilly, Total Eclipse and Carrington (the first film he also directed).

Jamie Lloyd directs. His credits for the company include A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

SUNSET BOULEVARD

LISTINGS

Savoy Theatre: 21 September 2023 – 6 January 2024

Savoy Court, The Strand, London WC2R 0ET

sunsetboulevardwestend.com

Performance Schedule:

Monday – Saturday, 7.30pm (excluding Monday 25 December)

Thursday and Saturday matinees, 2.30pm (excluding Thursday 21, Saturday 23, Thursday 28 September and Thursday 5 October)

Nicole Scherzinger will not be performing on Thursday 12 October (2.30pm performance), and Monday performances from 16 October. The role of Norma Desmond for these performances will be played by Rachel Tucker.

Access Performances:

Audio Described:                                            Wednesday 8 November, 7.30pm

Captioned and BSL interpreted:                 Wednesday 15 November, 7.30pm   

THE NEW COMEDY HIT OF THE SUMMER

TO PLAY A LIMITED SEASON AT

THE OTHER PALACE

PREVIEW PERFORMANCES BEGIN FRIDAY 8 SEPTEMBER 2023

Bill Kenwright is delighted to announce that Ben Weatherill’s new comedy, Frank and Percy, starring Ian McKellen (Percy) and Roger Allam (Frank) and directed by Sean Mathias, will have a limited London season at The Other Palace from Friday 8 September until Sunday 3 December.

Frank and Percy received its critically acclaimed world premiere at the start of a record-breaking run at Theatre Royal Windsor, followed by two sold-out weeks at Theatre Royal Bath.

Frank and Percy is a poignant and witty take on the unexpected relationship that blossoms between two men. Devoted to their canine companions, they believe that human connection is far more temperamental, but, as their dogs play in the park, can Frank, a widowed schoolteacher, and Percy, a somewhat radical elder statesman, find the time for new love, or should they just let sleeping dogs lie?

Director Sean Mathias said:

“I cannot believe my luck in finding this charming and original new play. Ben Weatherill (Frank & Percy) is a true young talent in theatre. To have reunited Ian and Roger after almost 20 years since we all did Aladdin together at the Old Vic is a real coup. Frank and Percy explores the fragility and joy of relationships, and what forges and strengthens bonds between humans, at a time when more than ever, we all need to love and support one another.”

The production will also see the launch of a new writing development fund at The Other Palace. 50p from each ticket sold on all future productions in the main house, will be allocated to a ring-fenced fund specifically to support the development of new writing and emerging playwrights. The fund will provide grants for new writing from an open call to support, commission and workshop new and emerging writers to develop new plays and musicals, which will then receive a sharing or staged production in the studio at The Other Palace. Full details of the first open call and details on how to apply will be announced later this year.

The Other Palace owner and producer Bill Kenwrightsaid:

“In welcoming Ian and Roger to our theatre we are also thrilled to use this limited London run at The Other Palace to launch our new development levy, to enable us to build upon MT Fest, our Musical Bites lunchtime series and Making a Musical podcast to provide further paid opportunities to develop the next generation of theatre makers and writers.”

Frank and Percy will have a limited run at The Other Palace, followed by the next musical production in the main house, to be announced shortly.

Paul Taylor-Mills Artistic Director at The Other Palace said:

“We are very excited to be welcoming two of the biggest stars of British Theatre to The Other Palace for this limited run. Between Ian and Roger, they represent the breadth and range of British theatre, from plays to musicals, demonstrating why London is the heart of the theatrical world.”

Previously to Frank and Percy, Ian McKellen played Hamlet, followed by Firs in The Cherry Orchard in Sean Mathias’s inaugural summer season at Theatre Royal Windsor in 2021.  Ian’s performance as Gandalf in the Lord of the Rings films made him one of the world’s biggest film stars, but in spite of that and his further iconic screen performances in such box office hits as The X-Men Trilogy, he has never forsaken his first love – theatre.  McKellen won the Tony Award for Best Actor in a Play for his performance in Amadeus in 1981 and won six Olivier Awards for his performances in Pillars of the Community (1977), The Alchemist (1978), Bent (1979), Wild Honey (1984), Richard III (1991) and Ian McKellen on Stage: With Tolkien, Shakespeare, Others and YOU (2020).

Roger Allam’s many starring appearances on stage, television, film and radio over the past three decades include, on stage, Javert in the original cast of Les Misérables, Michael Frayn’s Democracy and the hugely successful revival of Boeing Boeing opposite Mark Rylance, as well as extensive work at the Royal Shakespeare Company (of which he is an associate artist), the National Theatre, Shakespeare’s Globe and the West End; on television, the first series of Game of Thrones, the last series of The Thick Of It and ten years as DI Thursday in Endeavour; on film, Pirates of the Caribbean, The Lady in the Van and two Stephen Frears hits, The Queen and Tamara Drew; his many radio roles include his hit series with Joanna Lumley, Conversations from a Long Marriage.  He has won three Olivier Awards.

Sean Mathias is a leading British theatre director, film director and writer with numerous awards to his name, including the WhatsOnStage Award, Evening Standard Theatre Award, the Critics’ Circle Theatre Award, a Fringe First at Edinburgh and the Prix de la Jeunesse at Cannes. His career includes productions at the Royal National Theatre, the Kennedy Centre, the Mark Taper Forum and many productions on Broadway.  In 2009/10, Sean was the Artistic Director of Theatre Royal Haymarket, where his production of Waiting for Godot, starring Ian McKellen, Patrick Stewart and Simon Callow, played two seasons, as well as touring the UK and internationally.  His production of No Man’s Land, also starring Ian McKellen and Patrick Stewart, was the highest grossing play in the history of Wyndham’s Theatre.  In 2013, Sean directed and co-produced in rep off-Broadway Waiting for Godot and No Man’s Land.  

Ben Weatherill is an emerging British playwright.  His debut play Chicken Dust premiered at the Finborough Theatre, before transferring to Curve Theatre Leicester, where Ben was playwright in residence.  Chronic, his second piece, opened shortly after at Southwark Playhouse.  The follow up to Chicken Dust, Jellyfish, premiered at the Bush Theatre, before transferring to the National Theatre.  As Waters Rise ran at the Almeida with the Almeida Young Company in 2020.  Ben has been nominated for multiple awards including an Offie (Most Promising New Playwright) and a Writers’ Guild Award for Best Play.

Frank and Percy is designed by Morgan Large, with lighting design by Nick Richings and sound design by Andy Graham.

Frank and Percy is produced at The Other Palace by Bill Kenwright.

LISTINGS INFORMATION

8 September – 3 December 2023

The Other Palace

12 Palace Street

London SW1E 5JA

Box Office:                         020 7592 0302

Website:                            theotherpalace.co.uk

Performances:                  Tuesdays – Saturdays at 7.30pm*

       Wednesday, Saturday, Sunday matinees at 2.30pm

*No performance Tuesday 12 September

Signed Performances:      4 October at 2.30pm, 17 November at 7.30pm

Relaxed Performance:      19 October at 7.30pm

Tickets:                              from £25.50**

**The ticket price includes a 50p contribution from every ticket sold to a development fund to enable The Other Palace to develop and support new writing.

Twitter:                               @TheOtherPalace

Facebook:                          facebook.com/theotherpalace

Instagram:                         @TheOtherPalace

Garrick Theatre – until 16 September, UK tour until 14 October 2023

Reviewed by Claire Roderick

2**

The historical facts about Colonel Blood’s attempt to steal the crown jewels in 1671 – crown jewels kept in a cupboard in the Tower of London guarded by an ex-soldier in his seventies who happily opens the cupboard for visitors to admire, the thief dressed as a priest with an actress posing as his wife – are pure comedy gold. Unfortunately, Simon Nye’s retelling of the story misses the mark spectacularly. There are the bones of a good show here, but one in need of a lot of development. The main issue is that the play has no sense of identity. Nye doesn’t seem to have made his mind up whether he’s writing a historical drama, slapstick comedy, musical, adult panto or themed standup show – and even this stellar cast cannot redeem the muddled writing. The most enjoyable parts of the show, creating the true belly laughs, are Al Murray doing a regal version of his audience interaction dragging in the wonderful Adonis Siddique as his sycophantic footman, and Murray and Mel Giedroyc riffing ridiculously off each other and corpsing. In truth, scenes without Murray and Giedroyc fall flat and it feels as if Nye gave the pair free rein with their parts, while the rest of the cast stick to the script and therefore pale in comparison.

As the play moves from the plotting to the robbery, chase and capture of the perpetrators, Aidan McArdle, Neil Morrissey, Joe Thomas and Tanvi Virmani do their best as the conspirators Colonel Blood, Captain Perrot, Tom Blood Jnr and Jenny Blaine, but the fascinating quirks of all these characters are mere throwaway lines as the play grinds towards the heist. Director Sean Foley does his best to keep the pace up, with some lovely scene changes on Michael Taylor’s eye-catching set, but it does become a grind. There is some fine physical comedy and visual gags but, to paraphrase the people sitting around me “We were just waiting to see what Al Murray would do next”. Luckily, Murray and Giedroyc also play the jewels’ guardian, Talbot Edwards and his wife, with Carrie Hope Fletcher as their daughter Elizabeth. Mrs Edwards’ entrepreneurial endeavours creating baked replicas of the crown jewels to sell to visitors labours the double meaning and although Giedroyc is hilarious, she deserves better, sharper writing. Carrie Hope Fletcher gives her all in her roles as Elizabeth and Charles’s lady of the bedchamber, demonstrating her formidable comedy chops and delivering songs and accepting applause with seventeenth century style, but the songs are bad. This may be the joke as she sings of singing a terrible terrible song at one point, but they are not bad enough to be funny, merely tedious, and a massive waste of Fletcher’s talent.

The meeting between the captive Blood and Charles II as he decides Blood’s fate should be a HUGE moment in the play, ripe for drama and comedy – instead it is dull, shenanigans with a banana being the most memorable moment, making the epilogue about Blood’s fate and his cod-philosophical musings seem tacked on and a time filler while the stage is prepared for the big finale. (At least it wasn’t a singalong like a panto – although that might have been more fun.)

Fans of Al Murray will love The Crown Jewels, and there are enough gags that hit home to satisfy for a fun night out. But as a play, The Crown Jewels needs industrial scale polishing to become a coherent and enduring production.

UK tour dates

19 – 23 September The Lowry, Manchester

25 – 30 September Marlowe Theatre, Canterbury

3 – 7 October New Theatre, Cardiff

10 – 14 October Milton Keynes Theatre, Milton Keynes

 Edinburgh Fringe Festival 2023

Gilded Balloon Patter Hoose (venue 24) – until 27^th August 2023

 Reviewed by Rachel Farrier

3***

This show describes itself as a dark comedy-musical and it certainly lives up to this description – it was a classic of the anything-goes-at-the-Fringe genre.

The show I went along to was on a Saturday evening and I would guess that most of the audience had spent the day alternating between other shows and some alcoholic refreshment, which made for a fairly riotous crowd. But the small cast took this in their stride, playing to it like absolute pros. 

And this was the greatest strength of the show – a completely committed cast, with first rate performances, as good as any you would see on any professional stage  – it was only a shame that their stage was so small! But that is the nature of the Fringe.

Physical humour throughout, catchy tunes and a winning performance from Potty the Plant and his puppeteer (how he sang whilst crammed in a box, under Potty’s ‘desk’ I have no idea) carried the barely-constructed plot along. I found the central ‘reveal’ about the character of Dr Acula frankly distateful and not something I can personally laugh about, but the audience around me were having a ball and the overall daft hilarity did make for an enjoyable hour of dark humour. 

RACHEL TUCKER JOINS THE CAST OF

THE JAMIE LLOYD COMPANY’S

NEW WEST END PRODUCTION OF

ANDREW LLOYD WEBBER’S

SUNSET BOULEVARD

The Jamie Lloyd Company, the successful partnership between Ambassador Theatre Group and Artistic Director Jamie Lloyd, alongside Michael Harrison for Lloyd Webber Harrison Musicals, today announce that Rachel Tucker joins the cast of Andrew Lloyd Webber’s Sunset Boulevard directed by Jamie Lloyd with book and lyrics by Don Black and Christopher Hampton, based on the Billy Wilder film.

Rachel Tucker guest stars as Norma Desmond on Thursday 12 October matinee, and Monday performances, 16 October 2023 – 6 January 2024. Tucker joins the previously announced Nicole Scherzinger (Norma Desmond), who as scheduled will not be playing these performances. Full cast and creatives to be announced.

Rachel Tucker said today, “I’ve wanted to work with Jamie for a long time and to collaborate with him on a brand new version of one of Andrew Lloyd Webber’s best scores, whilst getting to play such an iconic role, is a career high for me.”

Opening 30 years after the original West End production, Sunset Boulevard runs for a strictly limited 16 weeks at the Savoy Theatre from Thursday 21 September 2023 – Saturday 6 January 2024, with press night on Thursday 12 October at 7.30pm.

The Jamie Lloyd Company continues its commitment to accessibility, with 5,000 stalls and dress circle tickets priced at £20 available across the run exclusively for under 30s, key workers and those receiving government benefits. These tickets will be released weekly from September, with further information to be announced. 

SUNSET BOULEVARD

Music by Andrew Lloyd Webber

Book and Lyrics by Don Black and Christopher Hampton

Based on the Billy Wilder film

Directed by Jamie Lloyd

Savoy Theatre

21 September 2023 – 6 January 2024

Nicole Scherzinger stars as the immortal Norma Desmond in Andrew Lloyd Webber’s legendary Sunset Boulevard. This thrillingly atmospheric musical, which features an iconic score including the songs With One Look, The Perfect Year and As If We Never Said Goodbye, is reimagined by visionary director Jamie Lloyd for a new generation.

Haunted by her memories and dreams, movie star Norma Desmond (Scherzinger) yearns to return to the big screen. A struggling screenwriter who can’t sell his scripts to the Hollywood studios may be her only hope, until their dangerous and compelling relationship leads to disastrous circumstances.

Drenched in champagne and cynicism, Sunset Boulevard scrutinizes the ambitions and frustrations of its characters and their intoxicating need for fame and adoration.

The Jamie Lloyd Company production of Sunset Boulevard is produced by Ambassador Theatre Group Productions, Michael Harrison for Lloyd Webber Harrison Musicals, Gavin Kalin Productions, Wessex Grove, David Mirvish and Nick Thomas.

Sunset Boulevard is produced by arrangement with The Really Useful Group Ltd and is based on the original Paramount film by Billy Wilder.

Instagram:          @sunsetblvdmusical

Twitter:               @sunsetblvd

Facebook:           @SunsetBoulevardTheMusical

Nicole Scherzinger (Norma Desmond)

Sheis a multiple award-winning, multi-platinum selling performer, singer, actress, dancer and television personality, selling over 37 million singles worldwide and 16 million records as a solo artist. Formerly a member of one of the world’s best-selling music groups of all time, selling over 55 million record worldwide, she has graced the stages of London’s West End, performed at Madison Square Garden, voiced the character Sina in Disney’s animated blockbuster ‘Moana,’ starred in ABC’s remake of ‘Dirty Dancing,’ and most recently was the resident panellist on the runaway TV phenomenon, The Masked Singer on FOX. On May 7, 2023 Nicole Scherzinger performed at Windsor Castle for the official concert for the Coronation of Charles III and Camilla. Accompanied on stage by esteemed pianist Lang Lang, the pair performed the Disney Mulan classic “Reflection.”

Rachel Tucker (Norma Desmond at certain performances)

Theatre credits include: Come From Away (Gerald Schoenfeld, NY/ Phoenix Theatre – Olivier Award Nomination for Best Actress; WhatsOnStage Award Nomination for Best Supporting Actress in a Musical); Songs For a New World (London Palladium/ Stream); Wicked (Apollo Victoria/ Gershwin); The Last Ship (Neil Simon, NY/ Chicago Bank of America); Communicating Doors (Menier Chocolate Factory); John and Jen (Southwark Playhouse – OFFIES Award for Best Lead Performance in a Musical); Farragut North (Southwark Playhouse) and We Will Rock You (Dominion Theatre). Television credits include: Hope Street; Informer and I’d Do Anything.

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. From Joseph and the Amazing Technicolor Dreamcoat (1969) to Bad Cinderella (2022). Lloyd Webber has had shows running continually in the West End for 50 years and on Broadway for 43.

When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards.

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. It was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings.

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre.

Andrew Lloyd Webber has composed anthems for the 1978 World Cup in Argentina and for two Olympic ceremonies, including “Amigos Para Siempre” the official song of the 1992 summer games in Barcelona. He wrote “Let Us Love In Peace” for the aftermath of the attacks on The World Trade Centre, and wrote and performed “Sing” with Gary Barlow at Queen Elizabeth II’s Diamond in 2012. Lloyd Webber curated musical theatre performances for the Queen’s Platinum Jubilee concert in June 2022.

Andrew Lloyd Webber was knighted in 1992 and created an honorary life peer in 1997.

Don Black received two Tony Awards for Best Book and Lyrics of a Musical for his work (with Christopher Hampton) on Sunset Boulevard, which marked his third collaboration with Andrew Lloyd Webber. They first joined forces to write the song cycle ‘Tell Me On A Sunday,’ which developed to form the basis of the stage show Song and Dance. They were reunited again for Aspects of Love. He also wrote the lyrics for the Andrew Lloyd Webber produced Bombay Dreams. Awards include an Oscar for his song ‘Born Free;’ five Academy Award nominations; two Tony Awards and three Tony nominations; six Ivor Novello Awards; a Golden Globe, and many platinum and gold discs. He has written a quintet of James Bond theme songs: ‘Thunderball,’ ‘Diamonds Are Forever,’ ‘The Man With The Golden Gun,’ ‘Surrender’ from Tomorrow Never Dies and ‘The World Is Not Enough’. Among his many popular songs are two U.S. number ones – ‘Ben’ for Michael Jackson and ‘To Sir With Love’ for Lulu. He was inducted into the Songwriters Hall of Fame in 2008. In The Queen’s Honours List he received the Order of the British Empire. Earlier this year he was awarded an Olivier award for his outstanding services to theatre. Most recently he wrote his critically acclaimed memoir ‘The Sanest Guy In The Room,’ which featured in the Sunday Times Bestsellers list. His musical of Bonnie and Clyde had a successful West End run at the Garrick Theatre and his next project which he wrote with Christopher Hampton and George Fenton is a musical version of the classic film The Third Man.

Christopher Hampton became involved in theatre while studying French and German at Oxford University, and wrote a play in his first year. The Royal Court’s subsequent production was so successful that it transferred to the Comedy Theatre while he was still a student, making him the youngest writer ever to have a play performed in the West End – a record which still stands. He said at the time that he also hoped to become the oldest writer to have a play in the West End, an ambition he has yet to achieve.

His plays, musicals and translations have so far garnered four Tony Awards, three Olivier Awards, four Evening Standard Awards and the New York Theatre Critics; Circle Award; prizes for his film and television work include two Oscars, three BAFTAs, a Writer’s Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and The Collateral Award at the Venice Film Festival for Best Literary Adaptation. His musicals include Sunset Boulevard, Dracula: The Musical, Stephen Ward and most recently, The Third Man, all with Don Black. Many translations include the German musical based on Daphne du Maurier’s Rebecca, opening September 2023. Hampton’s screenplays include The Son, The Father, Perfect Mothers, A Dangerous Method, Chéri, Atonement, Imagining Argentina (which he also directed), The Quiet American, The Secret Agent (which he also directed), Mary Reilly, Total Eclipse and Carrington (the first film he also directed).

Jamie Lloyd directs. His credits for the company include A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

SUNSET BOULEVARD

LISTINGS

Savoy Theatre: 21 September 2023 – 6 January 2024

Savoy Court, The Strand, London WC2R 0ET

sunsetboulevardwestend.com

Performance Schedule:

Monday – Saturday, 7.30pm (excluding Monday 25 December)

Thursday and Saturday matinees, 2.30pm (excluding Thursday 21, Saturday 23, Thursday 28 September and Thursday 5 October)

Nicole Scherzinger will not be performing on Thursday 12 October (2.30pm performance), and Monday performances from 16 October. The role of Norma Desmond for these performances will be played by Rachel Tucker.

Access Performances:

Audio Described:                                            Wednesday 8 November, 7.30pm

Captioned and BSL interpreted:                 Wednesday 15 November, 7.30pm    

GET INTO THEATRE and ATG 

partner on UK-wide careers initiative: WORK IN THEATRE

Get Into Theatre and ATG have today announced an exciting new partnership, that addresses the need for wider diversity in the live entertainment industry: Work In Theatre.  

Funded by Arts Council England (ACE), the nationwide careers programme will improve access to theatre career pathways and information for underprivileged and underrepresented young people and emerging artists across England, Scotland and Wales. 

In-person activity will take place across 15 ATG venues nationwide, with digital activity hosted on getintotheatre.org. Work In Theatre will reach more than 30,000 young people, teachers, and freelance artists across the UK. The Work in Theatre initiative has been developed in consultation with secondary school teachers across the UK, following feedback that young people’s varying needs across the regions are not being met by the current ‘one-size-fits-all’ approach to theatre work experience opportunities. The initiative aims to empower teachers to develop meaningful careers offer that achieves clear Gatsby Benchmarks and showcases the range of careers within the theatre industry.

Co-authored with teachers, the year-long project will be delivered through three strands: Work Experience, Teacher Conference and Emerging Artist Commissions. These strands will meaningfully inspire, educate and spotlight the breadth of on and offstage careers available within the theatre industry and will be brought to those that may not have thought theatre was a space for them; improving equal access for young people from lower socio-economic, d/Deaf or disabled and Black, Asian & ethnic backgrounds.  

Work In Theatre Experience will act as a holistic careers learning programme – curated alongside local schools, offered to young people from education settings and housed within their local ATG venue.  

Work In Theatre Teacher Conference will be a hybrid offer of digital and in-person Continued Professional Development for teachers from targeted state schools, ensuring those with direct access to young people feel confident discussing routes into the industry.  

Work In Theatre Commissions will commission emerging creative practitioners from under-represented backgrounds within each region, to create dynamic video responses that capture their career journey – to inspire Get into Theatre’s digital network of 17k young people. 

ATG’s Creative Learning programme actively fosters and champions arts education in schools, with the Work in Theatre initiative playing a pivotal role in this mission.  

Across the UK, the Creative Learning team at ATG actively work to target engagement to priority schools, working collaboratively with local authorities and networks.

“We are delighted that thanks to funding from Arts Council England, we enter an exciting next phase of our ongoing partnership with Get into Theatre – bringing the passion, commitment, and expertise of our organisations together in the locally driven, nationwide delivery of the Work in Theatre initiative. 

We believe partnerships are powerful. This collective approach ensures we’re able to deliver impactful and locally relevant engagement that moves us forwards in our shared commitment to nurture and inspire the industry’s next diverse generation.” Alexandra Snell, Senior Creative Learning Manager, Milton Keynes Theatre 

“Work in Theatre alongside our partnership with Get into Theatre stands as a testament to our unwavering commitment to empowering young people and educators, equipping them with the tools, knowledge, and experiences necessary to discover more about the vast range of careers in our industry.” Anthony Hope, Senior Creative Learning Manager, Sunderland Empire 

Get Into Theatre director Alex Duarte-Davies added: 

“Get Into Theatre exists for those young people who want to build their road map, or at least take a peek at what could be possible – from their homes and school classroom. However, getting through those physical doors can often be a daunting challenge. This collaboration with ATG will see those doors opened wide and ensure that young people from all backgrounds are given the same opportunities to ‘get into theatre’, as well as supporting teachers to confidently offer meaningful and up-to-date guidance to their students. It is a step in breaking down those barriers between education and industry, to ensure that the future of the sector is both representational and accessible.” 

Produced by 15 ATG venues, with digital activity showcased on the Get Into Theatre website, the project will run until April 2024. 

Supported using public funding by the National Lottery through Arts Council England

PLAYING A LIMITED SEASON AT THE
LYRIC THEATRE

FROM 20 TO 24 SEPTEMBER 2023

CELEBRATE THE YEAR MARIE ANTOINETTE WAS BORN
WITH ALL TICKETS FOR THE FIRST PREVIEW
£17.55

WEST END STARS
ZIZI STRALLEN AND RENÉE LAMB
TO REPRISE THEIR ROLES

The brand-new musical, come gig, come ballet, is from some of the most exciting figures in modern British Theatre. Cake: The Marie Antoinette Playlist will be lighting up the West End for one week only as a taster of what is to come for the exciting production.

In celebration of our central figure, all tickets for the first night of the run (20 September) will be priced at £17.55, which was the year Marie Antoinette was born.

Following the success of the UK tour earlier this year, Cake will continue its journey, now on a West End stage. This will allow audiences in London the unique chance to see this show as it continues to expand and develop before finding its forever home.

Cake: The Marie Antoinette Playlist has an award-winning creative team, including Olivier winner’s Drew McOnie (In the Heights; Jesus Christ Superstar), Morgan Lloyd Malcolm (Emilia – The Globe) with Tasha Taylor Johnson (The Cat In The Hat) and singer-song writer, Jack McManus.  

Reprising their roles from the limited season tour earlier this year, will be Zizi Strallen (Mary Poppins) as Marie Antoinette, and Renée Lamb (SIX) as Jeanne with further casting to be announced.

Combining a multi-genre pop score with 18th century France, Cake: The Marie Antoinette Playlist, retells a story that sparked a revolution.
Marie Antoinette’s reign was blighted by gossip and scandal. But when she is implicated in a crime to defraud the crown jewellers of a diamond necklace, it is not just her reputation at stake, but the monarchy and France itself.

Cake was originally commissioned by Paul Taylor-Mills (Heathers; In the Heights) and promises to re-define our expectations of what a musical can be.

Paul Taylor-Mills said, “audiences are the key ingredient to the success of any new musical – without their input, and ultimately their approval, it’s impossible. Earlier this year we staged an incredible regional tour of Cake that taught us a huge amount about the show, the story we’re trying to tell, how we tell it, and indeed who it might be for. 

The creative team and I were completely energised by this process, and we’ve spent the last couple of months finessing Cake and want to take it back to our followers to show them what we’ve been up to and decide how we best take it forward. To that end, we’ve priced all our tickets for the first show at just £17.55 ensuring it’s as accessible and inclusive as possible. Come share our journey! Thank you to Nica & Laurence at Nimax who have helped make this final step before we find our forever home a reality.”

Drew McOnie said, “the opportunity to develop a new musical in this open and audience-led way feels thrilling. After an amazing short taster tour, we are so excited for London’s audiences to be part of the next steps in the creative journey of this truly unruly piece of theatre. We hope to see you there.”

Cake: The Marie Antoinette Playlist has book by Morgan Lloyd Malcolm and Tasha Taylor Johnson, music and lyrics by Jack McManus and Tasha Taylor-Johnson with direction and choreography by Drew McOnie. Set and costume design by Sami Fendall, lighting design by Joshie Harriette and sound design by Andy Sharman. Casting by Will Burton.

One Week Only – Be There For The Start Of The Revolution…We’re Only Just Beginning

Regents Park Open Air Theatre – until 16 September 2023

Reviewed by Alec Legge

5*****

Unfortunately opening night of this well loved show had been washed out but with my fingers crossed I hoped the second night would turn out fine and I’m so glad it did, indeed I will be in danger of running out of superlatives during my review of this fantastic show.

Fortunately the night was warm and balmy, perfect for seeing the show outdoors.

Georges, Billy Carter, opened with a welcome to San Tropez as the MC of a drag nightclub on the French Riviera. And then the Chorus of Drag Queens known as Les Cagelles came on, What a sight to behold in their stunning over the top outfits and wigs! Their dancing was extremely well choreographed and coordinated. They appeared regularly throughout the show and I must mention their can can routine which was superbly executed with amazing dance moves and in which Albin, Carl Mullaney, joined in. For me this was the best routine in the show, absolutely awesome although the final scene with the whole cast performing was stupendous as well.

In between the dance numbers the plot unfolded, with Jean Michel, Ben Culleton, who was Georges son by a lady called Sybil, and was brought up by Georges and Albin, announcing that he was in love and going to marry a girl Anne, Sophie Pourret. Unfortunately Anne is the daughter of a right wing politician who wants to ban drag clubs, and who Jean Michel has invited to stay overnight at Georges and Albin’s flat. Jean Michel is so scared that the politician, Edward Dindon, Craig Armstrong, would not allow the marriage if he discovered that Georges and Albin were in a homosexual relationship.

Jean Michel then relates to Georges that he wants to change the flamboyant décor of the flat and that he wants Albin to vacate the flat for the night and his real mother Sybil to take her place as he feared Albins camp ways would give the game away. The play then continues with great comedy and excellent music, singing and dance.

I think the story line is well known but I won’t give any more away to those unfamiliar with it, suffice to say it was wonderfully comic with pathos included. It was very well received by the audience and after the fantastic closing number the cast were given a well deserved standing ovation.

The whole cast were admirable but I would single out Sophie Pourret, Anne, Ben Colleton, Jean Michel, Shakeel Kimotho, as Jacob Albin’s maid and of course Billy Carter as Geoges, Carl Mullaney, Albin, for special mention. Altogether the cast was truly superb and the seemed to be enjoying performing for us, which made for a wonderfully enjoyable evening for the audience.

The stage set had an art deco styled frontage behind which was a covered area set out as the interior of a night club with the band in one corner in plain sight of the audience. There was a large apron stage in front where most of the action took place. The clever use of mobile scenery on the apron enhanced the acting, particularly the scene in Albin’s dressing room, the promenade and the scene in the restaurant,’ Chez Jacqueline’,

The theatre itself is shielded on three sides by mature trees with the seating sloping up quite steeply thus giving a good view to all seats. I also noticed that there was disabled access for wheelchairs. The seating was adequate with plenty of leg room. The sound reproduction was very good and I could hear every word spoken or sung. The costumes worn by the Les Cagelles and the Ensemble were fantastically splendiferous and really enhanced the performance!

I have given a well deserved 5 Stars to the performance and would encourage all to see it and have a truly entertaining and pleasurable evening at this marvellous musical, rip roaringly funny comedy!

 Bridge Theatre  – until 24 February 2024

Reviewed by Phil Brown

5*****

When an entire audience leaves with beaming faces, a spring in the step, and joy in the heart, and gentlemen are whistling “Luck be a Lady Tonight” in the loos, you know that it’s been a show of rare quality.  Maybe I lead a sheltered life, but it felt like the best night out for a long, long time.  A triumph for director Nicholas Hytner and his team – Tom Brady (Musical Supervisor & Conductor), Arlene Phillips and James Cousins (Choreography), and Bunny Christie (Set & Costume & Designer) and, of course for the entire cast

The original Broadway production of “Guys and Dolls”was in 1950 and the first UK production in 1953.  Since then, it’s been almost as regular as panto on London stages.  And there is a very good reason for it –  a simple, witty, but captivating storyline (Abe Burrows with Jo Swerling) populated by the vivid characters from Damon Runyan’s brilliant comic writing about Broadway lowlife, and the outstanding song craft of Frank Loesser.  My verdict on the star studded 2018 production of “Guys and Dolls” at the Royal Albert Hall was “spectacular”.   This show towers above it for entertainment value.  

One of the key differences was the richly immersive experience created at the Bridge Theatre, from the moment you enter the building.  The Bridge made the most of its “in the round” configuration by staging the action as a promenade event with the whole of the ground floor, normally, a conventional stage and stalls, given over to a performance space accommodating various rise and fall stages and a standing audience – an inspired way of improving audience engagement and fun for everyone.  “NYPD cops” made sure standing audience members were shepherded appropriately as the different stages popped up and down in the course of the show.  What could have been a logistical nightmare worked perfectly.

Before the opening, this space simulated a busy pre-show Broadway with the necessary neon and “walk/don’t walk” signs as well as hot dog and drink stalls.  During the interval, it became the Hot Box nightclub with a vocal group reprising numbers from Act One and a special performance by Miss Adelaide (played by Marisha Wallace) that some lucky guy sitting on stage will dine out on for a long time.  And, afterwards, it became a dance floor with cast and audience mixing freely and indulging in some manic dance jamming.  

To briefly summarise the plot – Nathan Detroit (played by Owain Arthur) needs cash to hire a venue for his floating crap game.  To raise the money he bets that the more cerebral Sky Masterson (Andrew Richardson) won’t be able to fly a beautiful member of the Save-A-Soul-Mission, Sarah Brown (Celinde Schoenmaker), to Havana for dinner.  Meanwhile Nathan is trying to dodge marriage to his fiancée of 14 years, Miss Adelaide (Marisha Wallace), and  Sky falls in love with Sarah and arranges for 12 sinners (Nathan Detroit and his associates) to be delivered to the Save-A-Soul-Mission for saving.

This was a really well conceived and well-oiled show in all respects.  Sets were smartly changed by using ceiling hung neon signage illuminated with precision timing, the only conventional props being a few tables and chairs , a hat-stand, a smoking industrial pipe and some  street lights.  Economical and effective.   Dialogue was snappier than brand new elastic. Classic songs were delivered with real verve.  Dance routines performed on the limited space afforded by the staging were small miracles of gymnastics and razor sharp coordination. The band was on fire.  And so was the cast.  

Of the four main leads, the superb Marisha Wallace was perfectly cast as Miss Adelaide and glamorous Hot Box nightclub singer.  Relatively new cast member Owain Arthur played the ducking and diving Nathan Detroit, to a tee, featuring a showpiece duet with Miss Adelaide – “Sue Me”.   Andrew Richardson as Sky Masterson was coolness personified – as smooth as the dulce de leches he fed Sarah Brown (Celinde Schoenmaker) in Havana.  He summed up a central theme in  “Guys and Dolls” –  “Why is it the minute you dolls get a guy that you like, you take him right in for alterations?”   There were also several good moments in the singing spotlight with Sarah (“I’ll Know” and “I’ve Never Been in Love Before” as well as the lead on the swinging “Luck Be a Lady Tonight”.   Celinde Schoenmaker didn’t quite capture the virginal purity we might expect of the innocent Sarah Brown and her singing occasionally verged on harsh, but these are minor quibbles.  Her big number was the ringing  “If I Were a Bell” delivered with due abandon.  Possibly the performance of the night belonged to the excellent Cedric Neal playing Nicely Nicely Johnson with a rollicking, crowd pleasing, show stopping  “Sit Down You’re Rocking the Boat”.

This show is simply sensational.  No detail has been overlooked, as illustrated by the wonderfully informative programme which even has a section on how to shoot craps.  As a self confessed “Guys and Dolls” nut, I wonder if such a scintillating performance could ever be surpassed.   Right now, it’s the only legal high in town…

Apollo Theatre, London – until 17th September 2023

Reviewed by Celia Armand Smith

3***

Since 2:22 A Ghost Story opened in 2021, there have been six casts in five different theatres. The current iteration includes Frankie Bridge, best known for being in the band The Saturdays, in the role of Lauren. She takes over from Sophia Bush, and what an acting debut it is. 2:22 has been quite the leaping off board for people in entertainment, most notably Laura Whitmore, Cheryl, and now Frankie Bridge.

Danny Robins’ 2:22 A Ghost Story is set in a renovation project in Hackney which has marriage problems, baby problems and ghost problems. Jenny (Jaime Winstone) and Sam (Clifford Samuel) are hosting a dinner party for their friends Lauren (Frankie Bridge) and Ben (Ricky Champ). Sam is a scientist, interested only in facts, Ben is a builder and is interested in everything including the supernatural. As more booze is consumed, and tempers are frayed, we edge closer to 2:22 (there is a huge digital clock on the wall). Still directed by Matthew Dunster, strange things are happening and Jenny is determined to make sceptic Sam see and hear what she has witnessed during the previous nights he has been away. There are jump scares, eerie vibes, and twists and turns around every corner.

Anna Fleischle’s set is that of terraced house with fancy new crittall doors and a new kitchen, but the memory of the house that is was still lingers. Old wallpaper is peeling away, and light fixtures remain. Everything adds to the eerie feeling that someone in that house, or indeed the house itself, is trying to communicate with the inhabitants. Sound design by Ian Dickinson coupled with Lucy Carter’s lighting punctuate the play, rounding out the spooky sense of unease that permeates the theatre. Lights go on and off, and foxes and human screams intermingle making you question what you are witnessing.

For a first time treading the boards, Frankie Bridge seems at ease on the stage, only stumbling over her lines once or twice. There is good chemistry between the cast members, everyone hamming up their roles. Ricky Champ as Ben is particularly good, funny and poignant, and definitely the most likeable character. I guessed the ending, but that did not stop me thoroughly enjoying the whole show. The gasps and disbelief of the people around me when it’s all finally revealed are truly a delight.

2:22 A Ghost Story is really enjoyable, and seems to be staying put in the West End for the foreseeable. If you like a jumpscare, a giggle, and audibly gasping in unison with a theatre full of people, then 2:22 A Ghost Story is just the play for you. It’s a thrilling way to spend a couple of hours.