Festival Theatre, Malvern – until 22nd July 2023

Reviewed by Courie Amado Juneau

5*****

Tony! (The Tony Blair Rock Opera), with music by Steve Brown and lyrics by Harry Hill… Who could resist such a totally bonkers concept? Not I.

The opening number immediately showcased the show’s multi-faceted strengths – ensemble song & dance routines, biting comedy and a “knowing nod” to a greater truth behind the politics all set to a toe-tapping soundtrack. Truly, something for everybody.

Howard Samuels launched tonight’s proceedings with a deliciously camp Peter “Mandy” Mandelson, giving the opening number some appropriate spin on the Blair legend. A truly fantastic concoction that fizzed across the stage like a comedic perpetual motion machine intent upon revealing this impressively talented actor in all his technicolor glory. My favourite role of the entire show, with more than a touch of classic Carry On about it. As U2 might say, “even better than the real thing”.

Fans of Harry Hill’s madcap tomfoolery will be thrilled by our title character’s entrance – of which I’ll say no more so as not to spoil the surprise… As a charming theatre going companion astutely commented on Jack Whittle’s performance as Tony; he “perfected each movement and mannerism, to the point of wearing the character like a tailored suit – that louche dead-eyed grin was magnificent”. Thank you Anne, perfectly put!

The story of Blair wouldn’t be complete without his shadow, Gordon Brown, played with devastating precision by Phil Sealey – especially in nailing that vocal tick. His “Macroeconomics” song (written out word for word from an actual speech) was something you don’t hear wrought in song every day and was a sheer delight.

The entire cast were fantastic and only my paltry word count precludes a paragraph for each performer (which they deserve). I will briefly mention Emma Jay Thomas as Princess Diana neatly weaving in (and out and in again) making hers an enjoyable and pivotal role. And the villainous dictators of the tale are treated in perhaps the only way possible for a piece of family entertainment – like the Nazis in The Producers – which I thoroughly enjoyed. Lastly for my whirlwind mentions, Cherie (Tori Burgess) and Tony’s love scene was worth the price of admission alone! I haven’t laughed that hard for quite a while.

I’m not sure if a serious message behind all the humour was intentional but the song “Bombs Away” was arguably one of the most insightful commentaries on American foreign policy ever. There’s also (given our current geopolitical situation) a particularly apt ending to “The Whole Wide World” routine. Guaranteed to receive a supportive cheer, it will have you humming yet another glorious tune long after you’ve left the auditorium.

As my aching face (from the two hour Blair like grin I had been wearing) and split sides attested, Tony! is a riotously funny piece of musical theatre which I cannot recommend highly enough. Utterly wonderful in it’s absurdity and all the moreso as it was based on true events (well, mostly true anyway), this show is a real tonic! Mr Hill began as a Doctor and in this humble reviewers opinion this show should be prescribed on the NHS as a pick me up. Bravo to all concerned, grab a ticket while you can!

Arts Theatre, London – until 18 February 2024

Reviewer Alec Legge

5*****

To the Arts Theatre to see The Choir of Man. I have never been to this theatre and did not know what to expect! On entering I was offered a drink at the bar in the foyer or a drink on the stage. This is new I thought I’ve never been offered a drink on a stage before! So I opted for a drink on the stage.

Entering the auditorium I saw that the theatre was of small proportions leading to what I would describe as having an intimate feel.

I saw that the stage was set up as the bar of a pub with people milling about on stage and a barman pulling pints. Up we went and ordered a pint which was duly pulled from the tap and handed to me. Tasted it and yes it was real beer, Carlsberg in fact. Spent a few minutes getting the feel of being on stage although with your back to the seating it did feel somewhat similar to a real pub. I realised that some of the cast were intermingling with us punters. This was definitely a first.! Then we took up our seats in the stalls.

Gradually the stage cleared to be filled with the performers. What followed then was to me a truly new and excitingly marvellous experience in a theatre! The cast of nine performers sung and danced as though they were having a night in the pub, the singing was superb and the energetic dancing fabulous.

In between songs one of the players acted as a narrator performing monologues extolling the virtues of pubs and their effect on particularly male friendships, music etc, These monologues were extremely interesting and effective and so enhanced the performance considerably.

There were plenty of funny moments in the show including one bawdy sketch involving a urinal, nothing sexual, but immensely funny.

The singing and dancing did not appear polished in the way musicals normally do or the way choirs normally perform but were full of gusto and verve and also encouraged audience participation. They also involved audience members by taking them on stage to participate in some of the numbers.

I will not single out any of the performers individually for particular praise as they were all equally immensely talented and all did individual songs and played musical instruments They also sung together in harmony most pleasantly. They were backed up by a group of musicians visible on a platform above the stage who were also very good. Their intention was to appear to be a group of friends having a good night out in the pub and they gave that impression in spades!

In the program Ben Norris, the monologue writer, wrote, ‘Above all, we wanted to make a show that puts an arm round people, of all genders, and takes them on a bloody good night out’. They succeed in that magnificently.

To my mind this show does not fit in any of the normal theatre categories with a story line etc, but is in a category of its own. with the performers enjoying a good night out with their friends which includes song, dance and generally having fun and on the way thoroughly entertaining and involving the audience with their antics!

The performers and musicians were as talented a group as I’ve ever seen and truly deserved the rousing appreciation which the audience gave them. This was a fantastically enjoyable evening and I would recommend it wholeheartedly.

Hull New Theatre – until 22nd July 2023

Reviewed by Anne Walker

5*****

This renowned, multi-award winning musical, written by Willy Russell, is unforgettable once seen. With its powerful storytelling and unforgettable melodies. Set against the backdrop of a working-class neighbourhood in Liverpool, this production explores the themes of fate, class divide and the consequences of choices made. Blood Brothers delves into the stark contrast between the lives of two twin brothers, Mickey and Eddie, who are separated at birth and raised in different social classes. The narrative explores the impact of their upbringing on their lives.

Do not be put off and think that it’s all doom and gloom! The scenes when Mickey and Eddie are young are fantastic, funny and so well acted. Playing children who are 7 (nearly 8!) and then to hormone fuelled teenagers takes much skill. From the dark introduction, superbly told by the Narrator (Danny Whitehead), we are then transported back in time to the late 1950’s where the boys Mother, Mrs Johnstone, tells us all about the boy’s father and how they met. We hear our first helping of the song ‘Marilyn Monroe’ at this point, a song that is heard throughout with different intent to symbolise a life etched in tragedy.

The characters were brought to life by an incredibly talented cast. The chemistry between the actors playing Mickey (Sean Jones) and Eddie (Joe Sleight) was remarkable, their friendship and eventual rivalry portrayed with genuine emotion and conviction. The audience were fully invested in their journey, rooting for their happiness while simultaneously dreading the tragic outcome looming over them.

Having seen this musical twice before, this performance was nothing short of extraordinary. The cast, led by a talented ensemble, breathed life into their characters with such conviction and authenticity that it was impossible not to be completely engrossed in their journey. The standout performance came from Mrs Johnstone (Niki Colwell Evans), the resilient and tormented mother of the twins. Her portrayal was a masterclass in emotional depth, capturing the anguish and desperation of a woman caught in the relentless grip of poverty. Her haunting and heart wrenching rendition of ‘Tell Me It’s Not true’ left the audience in tears, a testament to her talent and powerful story telling. The evening ended with a full standing ovation for the whole cast, just wonderful.

Sheffield Lyceum – until Saturday 22 July 2023

5*****

My 13th and final trip (for now at least) trip on the Titanic had me sail into Sheffield’s Lyceum Theatre. It’s been an amazing trip too.  Watching the cast grow in confidence, expanding their roles and really giving their character life.

Danielle Tarento has given life to Maury Yeston’s epic music and lyrics and Peter Stones book. Thom Southerlands assured direction, Howard Hudson’s lighting, David Woodheads set and costume design all come together in creating perfection. And there is sheer joy in listening to the live band (Ben Papworth, Thomas Leate, Bridget Mansfield, Gemma Connor, Jack Cherry Craig Apps)

Yes I am probably biased, it is after all my favourite musical, but because I love it so much I seek perfection and I can be left wanting.  But Sheffield gave me what I was looking for and I enjoyed my final sailing

There is humour within the sadness, Barnaby Hughes is pithy as Mr Etches, Bree Smith shines as Alice Beane along side long suffering husband Edgar (Paul Kemball covering for James Darch), Harold Bride (Alastair Hill) is a joy as he sings of his love for the wireless to stoker Barrett (Adam Filipe).  And the three Kates (Emily George, Niamh Long and Abi Hudson covering for Lucie-Mae Sumner) dallying with Jim Farrell (Chris Nevin). Emma Harrold and Matthew McDonald flirt as almost married Lady Caroline Neville and Charles Clarke.

And the serious side too; J.Bruce Ismay (Martin Allanson) fighting with Captain Smith (Graham Bickley) and designer Thomas Andrews (Ian McLarnon. Mr Fleet (Sam Brown), Mr Lightoller (Jack North) and Mr Murdoch (Billy Roberts) trying to avoid the fatal iceberg. Mr Latimer (Luke Harley) Mr Bell (Danny Michaels) and the Head Maid (Janet Mooney) all doomed, listening to music of Wallace Hartley (Joseph Peacock) while Ida and Isidor Straus (Valda Aviks and David Delve) dance together through eternity.

With only 706 survivors this is a show that stirs the emotions and when the list of names of the 1,517 fatalities comes down on the stage, it hits you that these were real people, with real hope and dreams.

Pack your tissues and head over to the Lyceum before Titanic ends, because this is probably the most beautiful show you will see in a long time. Sail on Titanic – I hope you return again soon

Soho Theatre, London – until 29 July 2023

Reviewed by Alun Hood

2**

Naming your show after the self-appointed “Queen of people’s hearts”, while trailing quotes from such queer luminaries as Mx Justin Vivian Bond, and promising a “tour-de-force…one person musical spectacular” in the advertising blurb, sets up a certain anticipation of what audiences can expect from Peter Smith’s Diana. Personally, I was hoping for something queer, camp, outrageous, with a hint of the poignant. What I got was something quite different, and a show that requires a certain amount of processing.

At first appearance, Smith is likeable, fey; a charming American commenting on celebrity, the concept of the late Princess Diana as a global icon, particularly in the light of the infamous Martin Bashir interview, and UK current affairs, including the BBC’s regrettable image problems. However, that’s the tip of the self-indulgent iceberg. Smith is a statuesque presence with a persuasive, idiosyncratic singing voice. However, at least on the strength of this brief yet oddly interminable show, Smith appears desperately in need of a dramaturg and a strong director.

Smith is less interested in Diana than in, well, Smith, and certainly doesn’t seem bothered about giving the bewildered audience much to enjoy, or even cling on to. The show is a confusing, messy, impenetrable. It’s neither particularly funny nor illuminating, seldom clarifying whether we are watching Smith or a version of Diana (there are sinister references to “my ex-husband’s family” and their various misdeeds) as topics such as divorce, AIDS, women’s reproductive organs and celebrities including Elton John, Streisand and the infamous Ghislaine Maxwell, are thrown around. Anybody with an aversion to psychobabble will have a particularly frustrating time.

Far more stimulating than all that is a section where Smith considers the unique relationship and dynamic between performer and audiences, but none of it really catches fire. The songs, which have an electropop disco-y feel, are striking, as is the visual aesthetic of light tubes and elegantly outlandish costumes. The original version of the show apparently featured lip synching to the real Diana, but Smith couldn’t secure the copyright for this iteration, so has created an alternative format here but one can’t help but wonder if hearing the Princess’s actual voice would have helped elucidate what is going on here.

A darling of the New York cabaret scene, Smith is charismatic and talented. It’s just a shame that this sombre, intense show feels more like something that should be bashed out on a psychoanalyst’s coach rather than performed in public for paying customers. “Let’s dance, baby” Smith says at one point, in the midst of referring to Diana’s fabled terpsichorean ambitions…. sadly, I didn’t feel much like dancing after this.

Mayflower Theatre, Southampton – until 22 July 2023

Reviewed by Gemma Gibson

5*****

Court has always been a popular backdrop in theatre – the danger, drama, suspense – and The Verdict is another remarkable production that has just got it right. 

Based on the eighties classic, The Verdict is the latest court thriller performed by Middle Ground Theatre Company, taking you right into the heart and action of a serious court case.

When outcast lawyer and alcoholic Frank Galvin, played by Jason Merrells, takes on “the case of his career” – a medical malpractice that ruins the life of a young mother – everything is against him. Wanting to help the poor woman’s family and prove a hospital’s negligence, Frank rejects a $300,000 settlement and takes the complex case to court.

The first half of the show follows Frank building his case, with plenty of twists and secrets along the way. The stage is cleverly divided into Frank’s two resides – office and bar. 

As the curtains raise for the second act it’s time for the trial, and the audience is transported to court. By far my favourite part. The audience becomes the jury which is just a brilliant way to deliver a court case. It feels like you are right there, experiencing emotions running high and the drama first-hand. Completely immersed in the story, I found myself wanting to cheer and boo along with what was going on, desperate to find out the jury’s decision. 

The storyline is fast-paced, intense and gripping, complimented by an absolutely fantastic cast. While my feeling is some of the bigger twists are predictable, the way they come out and impact the story keeps the audience completely hooked, me included. Jason is brilliant as the cheeky and dangerously clever Mr Galvin. The character is completely natural to him, I can’t imagine anyone else playing the part.

Moe Katz (Vincent Pirillo), Frank’s mentor and partner in the case, is a wonderful part of the story, his love for Frank clear and involvement in the case crucial. Edgar Concannon (Nigel Barber) is excellent in his role representing the defence, a subtle but devilish demeanour revealing him the villain of the night. And Donna St Laurent (Reanne Farley), waitress at Frank’s local, is just exquisite as the female lead, quickly making an impression on Frank but with her own agenda. 

If you enjoy the mystery and drama of a good court story, The Verdict is a must-watch. 

New Victoria Theatre Woking – until Saturday 22nd July 2023

Reviewed by Liberty Noke

5*****

The Rocky Horror Show has been a popular show for 50 years now with a very loving following. This is apparent from the moment you arrive at the theatre. As I walked up to the doors I was surrounded by people wearing outrageous costumes. They were dressed as characters from the show wearing corsets, stilettos and fishnets among other things and it is from this moment that you know you are in for a treat. People wouldn’t be making this much fuss for a musical that is simply mediocre.

The show opens with clean-cut characters Brad (Richard Meek) and Janet (Haley Flaherty), both of whom have incredible vocals, they are in the car on the way home from a wedding. When their car breaks down, they walk to a nearby house to ask for help but instead find quite the opposite. They are greeted by Riff Raff (Kristian Lavercombe) who invites them inside to meet Dr Frank N Further who it is revelaed is the master of the house. Stephen Webb who plays Frank makes a spectacular enterance to the stage. His performance of ‘sweet transvestite’ oozed sex appeal, he moved around the stage with perfect confidence setting the tone for the rest of the show.

Frank goes on to introduce Rocky played by Ben Westhead, a man Frank has created in his Lab. Chaos then ensues as Brad and Janet learn that they have entered a strange house and must decide whether to stick to their beliefs or give in to pleasure.

Rocky Horror is well known for being a show the audience can participate in. As the narrator (Philip Franks) speaks the audience shout back at him to add comedy to the show. Again this is testimony to how beloved this show is. Franks bounced off the audience as they shouted even making topical jokes about what was in the news. This just goes to show that even though this production is now half a century old it is keeping up with modern audiences.

The Time Warp is a beloved song from this musical and both times it is performed the entire audience were on their feet dancing and singing along. The atmosphere in the theatre was unlike at any other performance I have seen. Infact during almost every song the audience we waving or swaying along.

What makes this production such a success, I believe, is the commitment and performance of every actor. No one stood out because they were all so incredible from the vocals to the dancing to the confident way they held themselves, even in some unconventional costumes. I cannot fault the performance.

This is a production that has to be seen to be believed as there is nothing quite like it. Outrageously sexy and funny from the beginning it is utter filth but you will enjoy every second. I recommend buying a pair of stilettos and looking over the audience script before going but you absolutely must go! It’s the naughtiest show around.

FURTHER CASTING ANNOUNCED FOR THE NATIONAL TOUR OF JAMES GRAHAM’S

SMASH HIT PLAY

INCLUDING EMMERDALE’S

CHARLEY WEBB,

MAKING HER STAGE DEBUT

AND STAR OF WATERLOO ROAD

AND NORTHERN LIGHTS,

MARK BENTON

JOINING THE PREVIOUSLY ANNOUNCED

RORY BREMNER

RUNNING FROM 22 SEPTEMBER 2023

***** “James Graham’s brilliant drama”
Time Out

**** “James Graham’s play is a winner” 
Radio Times

**** “Utterly compelling” 
The Times

**** “Huge fun”
The Independent

**** “Nail biting entertainment”
Daily Telegraph 

Joining renowned comedian, Rory Bremner, starring as Chris Tarrant in the critically acclaimed play Quiz, is Emmerdale star Charley Webb, in her first professional stage role andrecently on screens in Better(BBC). Alongside her is Lewis Reeves, who appeared in I May Destroy You and The Midwich Cuckoos, and TV star of hits including Northern Lights, Waterloo Road and most recently Shakespeare and Hathaway: Private Investigators, Mark Benton.

In addition, playing multiple roles is Leo Wringer, who has had a prolific career on stage spanning over four decades, comedian and actress Sukh Ojla, whose recent screen credits include the streaming phenomenon Bridgerton and Marc Antolin whose stage career has seen him take on West End musicals and plays, most notably Little Shop Of Horrors at Regent’s Park Theatre, for which he was Olivier nominated. 

Having begun her career in the beloved soap Emmerdale as Debbie Dingle in 2002 at the age of 14, Charley Webb was nominated at the 2014 British Soap Awards for Best Female Dramatic Performance. Since leaving the soap in 2021, after 19 years, she has appeared in Better for the BBC and will be seen in The Long Shadow which will air in September on ITV. Trading the drama of the Dingle family and step ping into the scandal of the Ingrams, Charley will take on the role of wife and accomplice, Diana Ingram.

Lewis Reeves starred in the hugely popular black comedy-drama I May Destroy You which was nominated for nine Emmys in 2021, and has recently appeared alongside Keeley Hawes in the Sky science fiction series The Midwich Cuckoos. He is best known for his role as DC Jake Collier in the ITV drama Unforgotten, for which he appeared in four series of the show.

Having appeared in the West End multiple times in acclaimed shows like My Night With Reg and Our Boys, Quiz will be Lewis’ first UK tour and will see him in the hot seat, called for duty as ‘The Coughing Major’ Charles Ingram.

A beloved TV and stage star, Mark Benton is no stranger to touring life, having recently appeared on stages up and down the country in Ramps on the Moon’s Village Idiots, and othercritically acclaimed touring productions including Glengarry Glen Ross and Dirty Rotten Scoundrels. He has also been a regular on our TV screens since the early 90s, and best known for roles including Eddie in Early Doors, Howard in Northern Lights, Martin Pond in Barbara and Daniel ‘Chalky’ Chalk in Waterloo Road.

Most recently he can be seen as one of the titular characters in the BBC One’s Shakespeare & Hathaway: Private Investigators. He will be swapping his police badge and taking up the gavel as, Judge Rivlin along with other roles, in the upcoming tour of Quiz.

In a shockingly shameless scam, Who Wants to Be a Millionaire was duped out of £1,000,000. Or was it?

Quiz is the thrilling and entertaining ride through the infamous Coughing Major scandal which engulfed the world’s most popular TV quiz show. The story remains a mystery and had over six million people glued to their screens in 2020 watching the ITV adaptation starring Michael Sheen, Matthew Macfadyen and Sian Clifford.

Now, uncovering new evidence, it’s time to ask you, the audience, to put fingers on keypads and answer the ultimate 50/50: guilty or not guilty?

Nominated for two Olivier Awards including Best New Comedy, James Graham’s smash hit play, Quiz, transferred to London’s West End with sensational reviews in 2018, following a sold-out run at Chichester Festival Theatre.

The play now returns to Chichester Festival Theatre before embarking on a 9-week UK tour from 22 September to 2 December 2023, with press night on 28 September 2023.

Directed by Co-Artistic Director of The Royal Shakespeare Company, Daniel Evans and Seán Linnen with design by Robert Jones, and produced by Jonathan Church Theatre Productions,Wessex Grove and Gavin Kalin Productions, by arrangement with William Village. Lighting by Ryan Day, composition and sound design by Ben and Max Ringham, with video by Tim Reid and casting by Matilda James CDG.

Quiz is a fictional imagination based on real events which took place in 2001 following an episode of Who Wants To Be A Millionaire? It is not in any way connected with the makers of the programme or any of the individuals portrayed. The television programme Who Wants To Be A Millionaire? is produced by 2waytraffic.

LISTINGS

QUIZ

ON TOUR FROM 18 SEPTEMBER 2023 – 2 DECEMBER 2023

Written By James Graham
Directed By Daniel Evans and Seán Linnen

Produced By Jonathan Church Theatre Productions & Wessex Grove, by arrangement with William Village

Lighting By Ryan Day

Composition And Sound Design By Ben and Max Ringham

Video By Tim Reid

Casting By Matilda James CDG

DATES & VENUES

Chichester, Festival Theatre – cft.org.uk

22 Sept – 30 Sept 2023 – 01243 781312

Newcastle, Theatre Royal – theatreroyal.co.uk

03 Oct – 07 Oct 2023 – 08448 11 21 21

Glasgow, King’s Theatre – ATGTICKETS.com
10 Oct – 14 Oct 2023 – 0333 009 6690

Cardiff, New Theatre – newtheatrecardiff.co.uk

17 Oct – 21 Oct 20203 – 02920 878 889

Salford, Lowry Theatre – thelowry.com

24 Oct – 28 Oct 2023 – 0343 208 6000

Norwich, Theatre Royal – norwichtheatre.org
31 Oct – 4 Nov 2023 – 01603 630 000

Bromley, Churchill Theatre – churchilltheatre.co.uk

06 Nov – 11 Nov 2023 – 020 3285 6000

Canterbury, Marlowe Theatre – marlowetheatre.com

14 Nov – 18 Nov 2023 – 01227 787787

Bath, Theatre Royal – theatreroyal.org.uk

20 Nov – 25 Nov 2023 – 01225 448844

Birmingham, Alexandra Theatre  – ATGTICKETS.com
28 Nov – 02 Dec 2023 – 020 7206 1174

THE HOMECOMING AND NACHTLAND ANNOUNCED BY THE YOUNG VIC THEATRE FOR 2023/2024 

• Matthew Dunster will direct Harold Pinter’s enigmatic masterpiece The Homecoming from 27 November 2023 – 27 January 2024. 
   
• 2024 opens with the UK premiere of Nachtland, a searing satire by Marius von Mayenburg, translated by Maja Zade, directed by Patrick Marber, from 20 February – 20 April 2024.
   
• Tickets go on priority sale today and public booking opens on 28 July. 
   

Kwame Kwei-Armah, Artistic Director of the Young Vic Theatre today announces highly acclaimed directors Matthew Dunster and Patrick Marber will be at the helm of two major upcoming productions; Harold Pinter’s powerful masterpiece The Homecoming and the UK premiere of Marius von Mayenburg’s thrilling new satire, Nachtland. 

Renowned multi-Olivier-nominated director Matthew Dunster (2:22 A Ghost Story, Hangmen, Shirley Valentine) will revive Harold Pinter’s The Homecoming, in a bold refocusing of the unnerving, modern award-winning classic, with design by Moi Tran. It will run in the Main House from 27 November 2023 to 27 January 2024.

Fresh from his Tony Award win for Best Direction of a Play for Leopoldstadt, Patrick Marber (Closer, Travesties, Don Juan in Soho, Dealer’s Choice) will direct the UK premiere of Nachtland, a mordant satire about marriage, legacy, and the rise of the new right, written by leading German playwright Marius von Mayenburg, and translated by Maja Zade. Young Vic Associate Artist Anna Fleischle will design. It will run in the Main House from 20 February to 20 April 2024. 

Kwame Kwei-Armah said: “The Young Vic has always been, amongst many things, a theatre for great directors of the world. I’m overjoyed to welcome Matthew and Patrick to dance with one of our mightiest modern classics and an electrifying new work I’m convinced will be a future classic. These are plays that test and entertain us, in the hands of brilliant artists.” 

Matthew Dunster said: “I’ve always loved Pinter’s work. He can take working class situations and hone them into something really poetic, crystalized and potent. His plays are about patriarchal force and what it takes to resist that, whether at home or in the state. The Homecoming encapsulates this and poses big, universal questions about power. I’m excited by the challenge of this play and I can’t wait to return to the Young Vic.”  

Patrick Marber said: “Nachtland is a jagged, modern satire but when the laughter stops, there’s a haunting disquiet underneath. I want the show to be thrilling and surprising, the kind of theatre I love.” 

Tickets go on priority sale today to members and on general sale on 28 July.  
 
Full casting and creative teams will be announced in due course.  

---

Young Vic Theatre presents 
THE HOMECOMING 
By Harold Pinter 
Directed by Matthew Dunster 
Designed by Moi Tran 

27 November – 27 January 2024 

Three-times Olivier-Award-nominated director Matthew Dunster (2.22 A Ghost Story, Shirley Valentine, Hangmen) will return to the Young Vic where he was Associate Director, with a bold, spare refocusing of Harold Pinter’s powerful masterpiece, The Homecoming.  

Max. Sam. Lennie. Joey. Teddy.  
And Ruth.  

In a small house in East London lives a family of butchers, boxers and brutes. When academic son Teddy returns home from America, with a wife his family have never met, a strange and carnal power struggle between man, wife and in-laws ensues.  

Harold Pinter’s unnerving modern classic and Tony Award-winning play, The Homecoming, is thrillingly re-explored in a new production by Matthew Dunster. 

The Homecoming is designed by Moi Tran. 
Full casting and creative team to be announced. 

Relaxed Performances: Fri 19 January, 7.30pm & Sat 20 January, 2.30pm 
BSL Performance:  Fri 26 January, 7.30pm 
Audio Described Performances: Fri 12 January, 7.30pm & Thu 18 January, 7.30pm 
Captioned Performances: Tue 9 January, 7.30pm & Thu 25 January, 7.30pm 

The Homecoming goes on sale to Soul Mates today, and Friends on 21 July.  
Public booking opens 28 July. 

---

Young Vic Theatre presents 
NACHTLAND 
By Marius von Mayenburg 
Translated by Maja Zade 
Directed by Patrick Marber 
Designed by Anna Fleischle 

20 February – 20 April 2024 

‘Do you want this hanging over your kitchen table to remind you of your Daddy?’  

Nachtland* is a mordant satire about marriage, legacy, the rise of the new right, and terrible impulses buried deep. The UK premiere is directed by Patrick Marber who recently won the 2023 Tony Award for Best Direction of a Play and the Outer Critics Circle Award for Outstanding Director of a Play for Leopoldstadt. Nachtland is written by Marius von Mayenburg and translated by Maja Zade. 

Modern day Germany. Nicola and Philipp argue as they clear out their late father’s house. When they find an old painting stashed in the attic, things get savage.
The painting is a quaint street scene from 1920s Vienna; the work of a failed artist who abandoned his original vocation for Nazism… Nicola wants to sell it. Philipp wants to keep it. His wife Judith wants to burn it.  

Marius von Mayenburg is one of Germany’s foremost playwrights. His plays include Fireface, Plastic and The Ugly One.  

Maja Zade’s translations include works by Lars von Trier, Roland Schimmelpfennig and Lars Norén. 

Nachtland is designed by Anna Fleischle.  
Full casting and creative team to be announced. 

*Nachtland is an invented German word. It suggests a place of eternal darkness.  

This production is supported by Scott Delman and Sonia Friedman 

Relaxed Performances: Mon 11 March, 7.30pm & Sat 6 April 2.30pm 
BSL Performance:  Fri 22 March, 7.30pm 
Audio Described Performance: Fri 15 March, 7.30pm & Tue 16 April. 7.30pm 
Captioned Performance: Thu 14 March, 7.30pm & Mon 8 April, 7.30pm 

Nachtland goes on sale to Soul Mates today, and Friends on 21 July.  
Public booking opens 28 July. 

STOCK AITKEN WATERMAN

ANNOUNCE

FULL CASTING FOR

I SHOULD BE SO LUCKY:

THE STOCK AITKEN WATERMAN MUSICAL

KYLIE MINOGUE ANNOUNCED TO DIGITALLY APPEAR IN THE SHOW

WORLD PREMIERE TOUR COMMENCES AT

MANCHESTER OPERA HOUSE

ON 2 NOVEMBER 2023

NEW TRAILER RELEASED (https://youtu.be/KTcFSGOh0JQ)

Mike Stock, Matt Aitken, Pete Waterman, show creator Debbie Isitt and Ambassador Theatre Group Productions are delighted to announce full casting for I SHOULD BE SO LUCKY: THE STOCK AITKEN WATERMAN MUSICAL. The team also announce today that Kylie Minogue will digitally appear throughout the show as a specially created character unique to the musical. The World Premiere of the official Stock Aitken Waterman musical will open at the Manchester Opera House on Thursday 2 November 2023 before embarking on a UK tour. www.soluckymusical.com, @SoLuckyMusical

Stock Aitken Waterman said today “Stock Aitken Waterman are thrilled to be part of this wonderful new adventure. To see our songs take on a new life in the world of musical theatre and working on a collaboration with Debbie Isitt and her talented team is so exciting and very special.” 

Kylie Minogue said today “I’m thrilled to announce that I will be joining Stock Aitken Waterman in presenting the new musical, ‘I Should Be So Lucky’!  It is the music that inspired a generation (plus my first five albums!) so to have all the SAW hits in this original story will make for a compelling, funny and heartfelt show.  Let’s enjoy the magic all over again!”

Bringing together the West End’s finest talent, the full cast of the musical includes Kayla Carter (The Color Purple, Bedknobs and Broomsticks) as Bonnie, Jamie Chapman (Nativity! The Musical, The Mousetrap) as Spencer, Jemma Churchill (Guys and Dolls, Nativity! THe Musical) as Ivy, Matthew Croke (Wicked, Aladdin) as Nadeem, Jessica Daley (Mamma Mia!, Les Miserables) as Britney, Gary Davis (Annie, Oklahoma!) as Big Mike, Melissa Jacques (Everybody’s Talking About Jamie, Mamma Mia!) as Shelley, Scott Paige (The Great British Bake Off Musical, Made in Dagenham) as Michael, Billy Roberts (Rock of Ages, Titanic The Musical) as Nathan, Giovanni Spanò (Jesus Christ Superstar, Bat Out of Hell) as Ash, Lucie-Mae Sumner (Mary Poppins, Guys and Dolls) as Ella and Anna Unwin (Aspects of Love) as Olivia. The cast is completed by Tegan Bannister, Ralph Bogard, Elliot Broadfoot, Emma Crossley, Kade Ferraiolo, Sydney Isitt-Ager, Joe Kelly, Aidan Nightingale, James Willoughby Moore, Lauren Woolf and Louie Wood.

THE WEDDING’S OFF, BUT THE HONEYMOON IS ON! Head from the aisle to the isles in the official Stock Aitken Waterman musical featuring the soundtrack of a generation with music from pop royalty including Kylie Minogue (I Should Be So Lucky), Rick Astley (Never Gonna Give You Up), Jason Donovan (Too Many Broken Hearts) and Bananarama (Love In The First Degree). I SHOULD BE SO LUCKY: THE STOCK AITKEN WATERMAN MUSICAL features no less than 10 Number 1 singles and over 25 songs from the Hit Factory whose music defined an era. Ella and Nathan, a young couple, hopelessly in love and about to take the biggest step of their lives – marriage. Until it doesn’t go quite to plan. Will they be together forever, or will he make her cry and say goodbye?

I SHOULD BE SO LUCKY: THE STOCK AITKEN WATERMAN MUSICAL is written and directed by Debbie Isitt (the hit NATIVITY! franchise), choreographed by Jason Gilkison (Creative Director of Strictly Come Dancing and Eurovision 2023), with orchestrations and musical direction by George Dyer, set and costume design by Tom Rogers, lighting design by Howard Hudson, sound design by Ben Harrison, casting by Anne Vosser and production management by Simon Marlow. It is produced by Ambassador Theatre Group Productions and Gavin Kalin Productions.

STOCK AITKEN WATERMAN

In 1984 record promoter and producer Pete Waterman joined forces with songwriters, record producers and musicians Matt Aitken and Mike Stock, creating Stock Aitken Waterman.

Stock Aitken Waterman achieved a level of success and popularity that is unlikely to ever be repeated.  Working with budding singers as well as established acts, they created an extraordinary pop catalogue that sold millions and dominated the music charts worldwide. Working with artists as diverse as Kylie Minogue, Sir Paul McCartney, Donna Summer, Dead or Alive, Rick Astley, Bananarama, Jason Donovan, Sir Cliff Richard, Mel and Kim, Sonia and many more, they provided the soundtrack to a generation that continues to be enjoyed today.  

Stock Aitken Waterman were honoured to receive awards for music production and songwriting all over the world.  BPI (Brit) Best Producers and 8 Ivor Novellos in the UK including Songwriter of the Year Award three times – a unique achievement,  Numerous BMI Awards for songwriting and DMA Awards for production in America, JASRAC Awards (Japan) and CASH Awards (Hong Kong) and many more globally.

In the UK alone: Stock Aitken Waterman spent three and a half years without a break in the UK charts between March 1986 and October 1990 in one or more of the following roles: Record Producer, Artist, Songwriter.  13 Number 1’s -three of which were consecutive, and over 100 UK Top 40 singles.   

DEBBIE ISITT

Debbie Isitt is a BAFTA and EMMY award winning writer and director of film, television and theatre.  Starting her career in theatre she toured across the world writing and directing with her theatre company Snarling Beasties winning numerous awards for her plays including a West End run of “The Woman Who Cooked Her Husband” starring Alison Steadman.  Her first cinema film NASTY NEIGHBOURS starring Ricky Tomlinson was a major hit at the Venice Film Festival in 2000.  Debbie then adapted Jacqueline Wilson’s novel THE ILLUSTRATED MUM for Channel 4 winning a Bafta and two International Emmy’s for best adaptation.   Debbie went on to make the hit wedding comedy film CONFETTI starring a host of British comedy talent that was distributed worldwide by Fox Searchlight and nominated for a British Comedy Award in 2006. Debbie is best known for creating a hugely successful film franchise writing and directing a series of blockbuster Christmas films; Nativity!  Starring Martin Freeman, Nativity 2 “Danger in the Manger” starring David Tennant, Nativity 3 “Dude Where’s My Donkey?” starring Martin Clunes and Catherine Tate, and most recently Nativity Rocks! starring Celia Imrie and Craig Revel Horwood which have all been major box office hits. Debbie wrote all of the original songs in the Nativity movies and stage show alongside Nicky Ager and her five-star smash hit stage musical adaptation Nativity! The Musical has had four sensational years of sell out shows and is set to return Christmas 2024. Debbie’s latest film Christmas On Mistletoe Farm enjoyed a global release last Christmas on Netflix. Debbie’s next cinema film is a high school musical movie, shooting 2024.