Storyhouse, Chester – until Saturday 15th July 2023

Reviewed by Julie Noller

5*****

Tony Blair, Rock Opera, Musical Comedy are not generally the words that come to mind when thinking about the long standing Labour M.P. and former Prime Minister. Written by Harry Hill and Steve Brown, those familiar with Harry Hills TV work well would do well to expect typically British slapstick satirical humour. It’s silly, it’s daft, it’s downright hillarious. I get people will be reluctant to head to the theatre to watch as it’s hard to pin it down into a catergory.

It begins with a flash of lightening and clap of thunder as Tony is wheeled in on his deathbed, yes I jumped in my seat so from the very start I got what I wasn’t expecting. Tony’s deathbed confession is the flashback through the years, from worshipping Mick Jaggers (no one corrects him) to becoming the pop Prime Minister. It at times flies close to crossing the border into offensive territory, you feel your teeth gritting, but it does well to remember this is in Harry’s words not a history lesson, neither has it been endorsed by any fictionalised person on stage. It is just a comedic dramatisation of events through the years and if any of us are truly honest have probably wondered about and highly likely imagined. Enough about reality back to the stage, in Tony’s words let’s get back to him!

There are 8 actors on stage covering a multitude of characters, all close propellants in the rocket ship that is and was Tony Blair. We may learn a fact or two, we may already know a fact or two. But the strength is in the speed the story moves, the glossing over certain ideas, skipping past years that pulls us away from it being autobiographical. It feeds from British institutions such as Spitting Image and Monty Python and quite often switches up a gear from musical to farce, the trick is to watch for those little things such as Tony going glossy-eyed whilst maintaining that smile during Gordon Browns speech and to keep listening. Jack Whittle must’ve practised holding that smile for hours in the mirror, I wonder how much his jaw must ache.

To me he was convincing as Tony the man who wanted to be famous and ended up believing his own hype. The wrestling match between him and an ever deep breathing making me feel like hyperventilating Gordon Brown (Phil Sealey) had me looking for Harry Hill as it had his touch all over. Toni Burgess played Cherie Blair straight off Dock Road and into Brookside Close, You can’t help but actually warm to Cherie in a way I never did in real life; even pulling that flat smile of hers to perfection. Howard Samuels is Mandy the dame in this pantomime. Keeping the audience enthused, interacting constantly with us, sketching with Tony over wanting the carrot or the stick for which I am glad I was not in the first few rows and pulling chewed carrot out of my hair. Peter Mandelson now Lord Mandelson was always a character comedians loved and Howard deserves a massive standing ovation for bringing his quirky side to the front of stage, I even noticed the old joke of him being a blood sucking vampire slipping in. I loved Groucho Marx as Saddam Hussein as did my Iraq War veteran hubby, this also may explain why I got so many references through gags that I wonder if younger generations may miss great jokes. George Bush being rallied by Dick Cheney (the brilliant Howard Samuels again) who points out Saddam beat his Father and they should forget Afghanistan and get Iraq is another highlight for me, how they railroad Tony and he ends up looking like hes been caught up in the Hangover with a breakdown and a sexed up dossier leading to his downfall and fall from grace. It ends with the absolute genius song The Whole Wide World…. Is run by Assholes.

Where Tony back in his suit looking suave points out all the bad leaders ending with Putin in Russia. Tony Blair who then points a finger at the audience after someone shouts murderer from the back of the theatre and I’m still non the wiser if it was meant to be or someone getting carried away. Tony asks the question who of you put me here 3 times even after Iraq you still voted me in…. and do you know what that’s the whole point of the show yes he lied, yes he was smug and spun a good a word but he led and we followed. We kept him there. Tony the Rock Opera has brought a new format to the stage they’ve dissected a person by pulling them apart from a perfect shape and twisted the extreme motions moulded into a brand new package. Never before have I skipped back to my car humming The Whole Wide World is run by Assholes and I wonder if I’ll ever be the same again.

Theatre Royal Nottingham – until Saturday 15 July 2023

Reviewed by Amy Coulson

4****

The dawn breaks over a Liverpudlian skyline, where a cobbled street is slowly revealed.

Mrs Johnstone (played by Niki Colwell Evans) is the mother to several children, seven in fact. Fearing that some of the children will have to go into care after her husband leaves her pregnant for the sixth time and runs off with a younger woman, Mrs Johnstone agrees to give away one of her unborn twins to her employer, Mrs Lyon (played by Paula Tappenden). The Lyon’s have been trying for a child and whilst he’s away for several months his wife persuades the pregnant housekeeper to part with one of her babies, promising to look after him and that they will stay in touch. Once the twins are born, this promise is short lived. Mrs Lyon becomes paranoid about Mrs J and the child and so fires her, leaving her poverty stricken once more. As the twins grow older their lives become entangled but still, they do not know they are actual brothers. As friends, they declare themselves blood brothers, the very best of friends. A tale of nature versus nurture lies at the heart of this simple but epic story.

The show has been running since the early 1980s. Very early on, winning two Olivier Awards including Best New Musical. Writer, Willy Russell says “people see it more than once, and one of those reasons is that it is a musical with a strong book, it has got a tale to tell.” This reviewer is a little ashamed to say they weren’t familiar with the story and found the musical numbers beautiful, but random…

The cast is exceptional. Danny Whitehead plays the Narrator, who lurks in shadows throughout, stepping out to accompany other characters in song or to tell the audience what’s happening, although that was in riddles, so not too helpful! Sean Jones as Mickey and Joe Sleight as Eddie, the Blood Brothers, were hilarious and loveable. Their ability, as older men, to play seven-year-olds was bizarre but they had perfected mannerisms and accents wonderfully. The audience lapped up playful scenes of imaginary horses and laughed at outrageous learnings about swearing. This reviewer nearly spilt her drink at Eddie’s misunderstanding of the F word! Niki Colwell Evans as Mrs Johnstone was outstanding too, with her captivating Liverpudlian accent and stunning singing voice. I could list all the actors that were fabulous, but we’d be here all day!

Whilst confused by the production; is it a musical? Is it not? This reviewer laughed, laughed again, and cried along with everyone else. The production was very well received by this Nottingham audience, with a standing ovation and whoops of delight. Willy Russell was right, there were clearly fans here, with many explaining to others how many times they’d seen it and excitedly comparing notes as we shuffled out the theatre.

Overall, it didn’t matter if it was a musical or not, it made for a very enjoyable evening out!

New Victoria, Woking – until Saturday 15 July 2023

5*****

I’ve seen Titanic once or twice on this tour. And every performance has been different. I’ve seen outstanding understudies and alternates. I’ve seen the cast grow into the roles and add in little movements and nuances that really add to the show and I think last night in Woking I saw the very best version I have ever seen.

Maury Yeston’s magnificent score sets the scene almost immediately. We are taken on board as the ship embarks on its journey from the ports of Southampton, meeting characters from first, second and third class, and the crew. The first act introduces us to the inner workings of the ship and the minds of the passengers and we watch as relationships and tensions play out and dreams are wished upon.

There’s the upper-class, including the wonderfully charming Mr and Mrs Straus; the middle class – Alice Beane, who is insistent on schmoozing with the elite, and her long-suffering husband Edgar; and third class, where the three Kates from Ireland are driven to start a new life in the new world and escape the hardship of home.

The cast’s voices harmonised beautifully and were incredibly haunting and moving, bringing me to tears a number of times. A range of soft, heartfelt ballads and dramatically powerful numbers cut through the silence in the theatre like ice, vocalising the emotions that became the foundations of the show; fear, loss, sadness, love, and hope.

The performance itself was flawless throughout; flowing as smoothly as the calm sea that surrounded the Titanic before disaster struck. This was helped by the stunning staging, which was simple yet incredibly effective, especially when it came to the climax.

The historical accuracy was superb and attention to detail was clear, proving that the focus of this show is really to commemorate and educate; from the exact number of fruit and veg needed to feed the passengers, to the names used and the cumulative problems that led to such a huge loss of life.

Conveying such emotion only seems right through the medium of song. In fact, knowing what was inevitably coming meant that, from the very opening numbers, I was fighting back tears. It is eerie, and unusual, to watch famously doomed characters live out their lives on stage.

I found this performance moving and exciting to watch – the standing ovation at the end was enough to prove that this particular Titanic was on course for success at an impressive rate of knots. It is a very special tribute to those who loved and lost that fateful night, allowing the names of many to live on in song and giving them a new lease of life.

Hull New Theatre – until Saturday 15th July 2023

Reviewed by Maria Gill

5*****

‘Absolutely fabulous’, just one of the comments shared by the crowd leaving The Bodyguard on Monday night.

The singing, choreography, pyrotechnics and other incredible effects were without doubt to a standard that you would be appreciate on any West End stage.

Our initial thoughts before this evening were that The Bodyguard, the movie, would take some living up to. However, these doubts were quickly extinguished within the first song. The acting was good but the singing was executed with such skill and professionalism that it undoubtedly created a wonderful feel-good factor amongst the audience.

Although the cast was not extensive, each member played an integral part, leaving a memorable mark on everyone’s hearts.

We must give credit where it is due, and it gives me great pleasure to acknowledge the outstanding performance of young Manasseh Mapira, who played the character of Fletcher. He is undoubtedly a true star in the making. The comedic value infused with a few surprises along the way added an extra layer of entertainment, which was thoroughly enjoyed by all and kept you on your toes! Moreover, we must express our admiration for the spectacular performances by Emily Mae Walker (understudy Rachel Marron), Samantha Mbolekwa and Ayden Callaghan who all portrayed the main characters. Their talent, charisma, and stage presence were nothing short of exceptional. Their contributions truly elevated the production to new heights. We would highly recommend attending this show to anyone in search of an unforgettable night filled with great performances and a vibrant atmosphere.

‘I have nothing’ else to say but ‘trust in me’ that ‘The Queen of the Night’ was truly Emily Mae Walker and we ‘will always love’ live theatre.

Bard in the Botanics festival  – Glasgow Botanic Gardens

(festival runs with different productions until 29^th July)

 REVIEWED BY RACHEL FARRIER 

4****

The theme of this year’s Bard in the Botanics festival in Glasgow’s beautiful botanic gardens is ‘a fault in our stars’, with the first two productions in the line up being Shakespeare’s Julius Caesar (outdoors) and Henry IV (an amalgamation of Henry IV parts 1 and 2, performed in the Kibble glass house).

I arrived at this production of Henry IV – directed by Gordon Barr – feeling somewhat abashed that as an English graduate, I nevertheless had very little clue about the plays, or the historical period which they illustrate. It did mean, however, that I had no pre-conceptions about how the play(s) have traditionally been interpreted and staged. Even from this vantage point though, it seemed ambitious to effectively stage 2 plays with a cast of only four men, in 2 hours and 15 minutes. And yet, the tiny cast do succeed in telling a tale that echos down the centuries, with an uncanny resonance to current events: an elderly King, troubled and disappointed by the wild and dishonourable behaviour of his son and heir, Prince Hal, dealing with a nation that is fractious and struggling to maintain its borders..

Stephen Clyde as a late stand-in to the role of King Henry, still has the script in his hand, and yet conveys the heavy and lonely burden of the monarch, seeking to lead with strength and yet plagued by the weight of decision-making and increasingly poor health.

Sam Stopford plays the lad-about-town Prince Hal with an energy and humour which couples brilliantly with Alan Steele’s magnificent Falstaff  – a performance which absolutely steals the show: by turns a Fagan-like wise cracking rogue who nimbly talks himself in and out of trouble, riotously and wilfully leading Prince Hal astray at every opportunity, whilst also depicting affection and enormous humour. The very intimate setting of the Kibble glass house, with the actors using a ‘corridor’ stage in between audience rows which are inches away from the action, allowed Steele to draw the audience into his spell-binding performance, brilliantly creating a sympathy for this character.

Johnny Panchaud puts in a serious shift playing an astounding array of characters – as Hal’s partner in crime Ned (an amalgamation of several characters in the original script), he and Stopford convey the animated, chaotic and pushing-the-boundaries nature that can characterise young male friendship. Moments later Panchaud pivots to the serious, combative rebel, Henry Hotspur – two characters amongst a huge range which Panchaud admirably portrays. The fight between Hal and Hotspur (directed by Robin Hellier) which ends in the latter’s death was powerful and impressive, especially so given the very limited size of the stage and proximity to the audience. This proximity is both wonderfully engaging and at times frustrating for the audience – if the action was happening at the other end of the corridor-like stage, it was sometimes hard to hear lines and therefore keep up with the plot. The denoument of the production, which hurriedly brings us to the close of Henry IV part 2, and a reformed Prince Hal’s elevation to King and rejection of his old friend Falstaff, feels rushed and therefore somewhat lacking in sincerity. That aside, this is an enjoyable and innovative production which deserved the warm reception it received from its audience last night.

Rose Theatre Kingston- until 7 July 2023 

Reviewed by Carly Burlinge 

4**** 

The Rose Theatre brings you the production of Wild, an award-winning Broadway style musical written by Leanne Nicholls and music by Nick Harvey alongside the amazing City Chamber Orchestra of Hong Kong. The story begins with Jim (Jordan Cheng) and Chad (Freddy Au Yeung) , two animal poachers that are on a mission to catch endangered species. During their search, they come across a Wild Orchestra filled with many animals that are vibrant, colourful, uplifting, and full of energy, with their Chief the Lion (Apollo Wong) making a spectacular appearance as the conductor of the orchestra, he had such a glorious mane that radiated his confidence and leadership for all to see, not to mention the gleaming glitter of his outfit making him all that more fabulous and showing us that he’s definitely the King of the Jungle. Alongside the Lion was an array of spectacular animals which filled the stage playing various musical instruments with much character pure eye-catching brilliance. Let us be honest, where else are you going to view dancing hip hop Hippos, Toucans on a flute and a Lemur on a unicycle! As the story unfolds the poachers entice the Rhino and Toucan away making plans for this exceptionally talented duo to go on further making it big on New York’s Broadway! Will they get away with their evil plan or will the amazing orchestra of animals fight to get their band back! 

The stage itself was done in a spectacular way with much greenery of trees and vines giving it the effect of a rainforest and amazing sounds of birds tweeting noises flowing across the audience. Alongside some outstanding lighting that spread across the seating area making the audience feel a part of it all. The costumes and makeup must have a mention as they were just phenomenal and unique, simply eye-catching. The stage came alive and gave such an amazing, uplifting vibe that made the audience smile from ear to ear. If you fancy a family evening out that has much to offer with great music, movement, and dance, then get yourself down to Wild the musical. You won’t be disappointed. 

FULL CAST ANNOUNCED FOR

THE WORLD PREMIERE OF THE NEW BRITISH MUSICAL

THE LITTLE BIG THINGS

BASED ON THE SUNDAY TIMES BEST-SELLING MEMOIR BY HENRY FRASER

EXCLUSIVE FIRST LISTEN TO NEW TRACK ‘GUIDE YOU’ HERE

• Jordan Benjamin (Dom), Rebecca Bowden (Surgeon), Jamie Chatterton (Tom), Tom Oliver (Marco), Malinda Parris (Dr Graham), Cleve September (Will) and Amy Trigg (Agnes) with Stephen John Davis, Elena Pitsiaeli, George Salmon, Amy West and Joseph Wolff complete the cast of the world premiere new British musical The Little Big Things, based on the Sunday Times best-selling inspirational memoir by Henry Fraser.
• They join the previously announced Ed Larkin and Jonny Amies as Henry Fraser, and Linzi Hateley (Joseph and the Amazing Technicolour Dreamcoat, MAMMA MIA!) and Alasdair Harvey (Come From Away, We Will Rock You) as Fran Fraser and Andrew Fraser.
• Music by Nick Butcher, lyrics by Nick Butcher and Tom Ling, book by Joe White.
• Following his Olivier Award winning and Tony nominated production of & Juliet, and Fringe to West End hit, My Son’s a Queer, Luke Sheppard directs The Little Big Things.
• The first performance is on 2 September, with press night on 14 September, running @sohoplace until 25 November 2023.
• The Little Big Things is the first musical to open at the venue and the fifth production in the @sohoplace’s first year, following Marvellous, As You Like It, Medea, and currently Brokeback Mountain, which runs until 12 August.
• The Little Big Things is produced by Michael Harrison and Nica Burns.
• Tickets are on sale now via @sohoplace

Michael Harrison and Nica Burns today announce the full cast for the world premiere of the new British musical The Little Big Things, based on the best-selling memoir by Henry Fraser. Jordan Benjamin (Dom), Rebecca Bowden (Surgeon), Jamie Chatterton (Tom), Tom Oliver (Marco), Malinda Parris (Dr Graham), Cleve September (Will) and Amy Trigg (Agnes) with Stephen John Davis, Elena Pitsiaeli, George Salmon, Amy West and Joseph Wolff join the previously announced Ed Larkin and Jonny Amies as Henry Fraser, and Linzi Hateley and Alasdair Harvey as Henry’s parents, Fran Fraser and Andrew Fraser.

The Little Big Things opens @sohoplace on 2 September, with press night on 14 September, and runs until 25 November 2023.

Also released today is an exclusive new track, Guide You. In the show, Henry discovers that he can express himself through art, and in this song, he and his younger self get to have the closure they’ve been searching for by finally painting together. Please find here.

An extraordinary true story about an ordinary family.

When one moment changes everything, Henry’s family are split between a past they no longer recognise, and a future they could never foresee.

Can Mum and Dad rally his three brothers; as the family start a journey to overcome the unimaginable?

Based on the Sunday Times best-selling autobiography by Henry Fraser, The Little Big Things is a new British musical with an explosive theatrical pop soundtrack in a world premiere production.

This uplifting and colourful new musical is a life-affirming reminder about the transformative power of family, and how sometimes it really is the little things which matter the most.

An avid sportsman and academy player with a premiership Rugby club, Henry Fraser’s life changed forever when in 2009 he had a diving accident. From that moment he had a new life to live as a tetraplegic and new circumstances to accept and adapt to. Henry’s defiance and determination to prosper against devastating odds led to him wheeling himself out of hospital a whole year earlier than predicted. Today he is a successful artist, inspirational speaker and best-selling author.   

Created by a young team of exciting theatre makers, The Little Big Things has music by Nick Butcher (Loved Before), lyrics by Nick Butcher and Tom Ling (Techies: The Musical), a book by Joe White (Blackout Songs – Olivier Award nominated), and is directed by Luke Sheppard (& Juliet – Olivier Award winner, and Tony Award nominated).

THE LITTLE BIG THINGS

Creative Team

Music                                                                                              Nick Butcher

Lyrics                                                                                               Nick Butcher and Tom Ling 

Book                                                                                                Joe White

Director                                                                                          Luke Sheppard

Set Design                                                                                      Colin Richmond

Choreographer                                                                             Mark Smith

Costume Design                                                                           Fay Fullerton

Video Design      Luke Halls

Lighting Design                                                                             Howard Hudson

Sound Design                                                                                Paul Gatehouse

Orchestrator, Arranger and Musical Supervisor                   Matthew Brind

Musical Director                                                                           Laura Bangay

Dramaturg/Associate Director                                                 Nickie Miles-Wildin

Casting Director                                                                           Jill Green CDG 

WORLD PREMIERE OF NEW PLAY THE GAP STARRING MATTHEW KELLY & DENISE WELCH TO OPEN AT HOPE MILL THEATRE FROM 9 FEBRUARY 2024

Hope Mill Theatre are delighted to announce the world premiere of new play THE GAP by Jim Cartwright, starring Matthew Kelly and Denise Welch, directed by Anthony Banks. The production will open at Hope Mill Theatre on 9 February for a limited run, closing on 9 March 2024. Tickets on sale from Saturday 8 July. There will be a national press night on 14 February 2024.

THE GAP delves into the audacious adventures of Walter and Corral. He’s back up north, she’s still down south. They haven’t seen each other for fifty years, not since their Soho days, back in the swinging ’60s.

A chance phone call reunites them for one magical night and in next to no time, they’re back to their old tricks.

Matthew Kelly is one of the UK’s most beloved stars of stage and screen. His West End theatre credits include the original Stanley in Funny Peculiar (Mermaid Theatre) – a role he created originally at the Liverpool Everyman Theatre, Waiting For Godot with Ian McKellen and Roger Rees (Haymarket Theatre), Tim Firth’s Sign of the Times the musical (Duchess Theatre), Lend Me A Tenor! (Gielgud Theatre) and Lennie in Of Mice and Men (Savoy Theatre) for which he won an Olivier Award for Best Actor. His other more recent theatre credits include Noises Off (Phoenix Theatre & UK tour), The Habit Of Art (59e59 Theatre, New York & UK Tour), The Dresser with Julian Clary (Theatre Royal Bath & tour), BIG the Musical (The Dominion Theatre), Pride & Prejudice (Regents Park Theatre & UK Tour), The Jew Of Malta, Volpone and Love’s Sacrifice (Royal Shakespeare Company), Toast (Park Theatre & 59E59 in New York), Twelfth Night (Liverpool Everyman), The History Boys (Crucible, Sheffield), The Seagull (Southwark Playhouse) and Educating Rita (Menier Chocolate Factory, tour & Edinburgh Festival). Matthew’s on-screen work includes ITV’s award-winning thriller Cold Blood, Murder They Hope, Going The Distance, Barnes People, The Habit of Art, Benidorm, Bleak House, Egypt: The Pharaoh and the Showman and The Temple of the Sands, MI High, Moving On, Marple, Casualty, Heartbeat, My Family at War and the documentary series Forensic Casebook. Matthew is also known for his presenting credits, such as You Bet!, Stars in their Eyes and Channel 5’s series Top of The Box.

Renowned actress, Denise Welch, is soon to be starring in Diana: The Musical at The Eventim Apollo this December. Her other theatre credits include the 2018 UK tour of Calendar Girls the Musical, The Rise and Fall of Little Voice (The Royal Exchange Theatre), UK tour of Steel Magnolias, Smack Family Robinson (Rose Theatre Kingston), The Ancient Secret of Youth and The Five Tibetans at  (Octagon Theatre Bolton), Grease (Haymarket Theatre Leicester) and Ruby in Yakety Yak (The Astoria). Denise’s television credits include series regular roles in Coronation Street (ITV), Waterloo Road (BBC), Boy Meets Girl (BBC), Hollyoaks (Channel 4), Down to Earth (BBC), Soldier Soldier (ITV) and Spender (BBC), and appearances in Dead Canny (Dave), Benidorm (ITV), EastEnders (BBC), Inspector GeorgeGently (BBC), Born and Bred (BBC) and The Vice (BBC). Alongside her acting career, Denise has been a regular panellist on ITV’s Loose Women since 2001.

Jim Cartwright and Anthony Banks said “it’s great to be collaborating again after our work on Mobile Phone Show in 2013 and Raz in 2016. We’re looking forward to Denise and Matthew bringing these characters to life – two extraordinary lives lived across half a century of changes.”

Matthew Kelly said “Dear Manchester, I’m coming home and I can’t think of a better excuse to return than with actress Denise Welch and playwright Jim Cartwright. Denise and I are to star in the world premiere of Jim’s brand new play, THE GAP, at Manchester’s premier theatre, Hope Mill. It’s a funny, moving, exquisitely crafted play which will show off the superb talents of Denise Welch and I shall be showing off beside her all the way. Anthony Banks will direct. It’s a top team embarking on a top project at a top venue. I couldn’t be more thrilled and excited. I’d love it if you could come and share it. Sincerely, Matthew Kelly off the Telly”

Denise Welch said “I am so excited to be returning to my first love, theatre, working alongside the fantastic team at Hope Mill Theatre next year. To play opposite Matthew Kelly in a new Jim Cartwright play is a dream come true. I hope you’ll all come and see what I hope will be a great production.”

THE GAP is produced by Hope Mill Theatre.

Website: hopemilltheatre.co.uk
Facebook: @HopeMillTheatre Twitter: @hopemilltheatre Instagram: @hopemilltheatre

LISTINGS INFORMATION

THE GAP

9 February – 9 March 2024

Hope Mill Theatre

113 Pollard St

Manchester

M4 7JA

Performances: Monday to Saturday at 7.30pm, Wednesday & Saturday at 2.30pm and Sunday matinee options.

Tickets from: from £25

Box Office: 0161 275 9141

CAMERON MACKINTOSH

ANNOUNCES NEW CASTING FOR

ANDREW LLOYD WEBBER’S

THE PHANTOM OF THE OPERA

AT HIS MAJESTY’S THEATRE FROM 31 JULY 2023

Cameron Mackintosh is delighted to announce new casting for Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA at His Majesty’s Theatre from Monday 31 July 2023. THE PHANTOM OF THE OPERAis currently booking until Saturday 2 March 2024.

Lily Kerhoas joins the company as Christine Daaé, with Joe Griffiths-Brown as Raoul, David Kristopher-Brown as Ubaldo Piangi and Maiya Hikasa as Meg Giry. Continuing in the show will be Jon Robyns as The Phantom, Kelly Glyptis as Carlotta Giudicelli, Adam Linstead as Monsieur André, Matt Harrop as Monsieur Firmin and Francesca Ellis as Madame Giry.  At certain performances the role of Christine Daaé will be played by Paige Blankson.

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

Lily Kerhoas made her West End debut as Cosette in Les Misérables: The Staged Concert, continuing with Les Misérables at the Sondheim Theatre. Originally from Paris, France, Lily trained at the Royal Academy of Music.

Joe Griffiths-Brown has most recently appeared in the West End company of Hamilton at the Victoria Palace Theatre, and previously in Frozen at Theatre Royal Drury Lane.

David Kristopher-Brown returns to The Phantom of the Opera having first been part of the production between 2007 and 2008. His other West End credits include The Play That Goes Wrong at the Duchess Theatre and The Blues Brothers Xmas Special at the Arts Theatre. His other theatre credits include The Phantom of the Opera: In Concert in Guernsey, Sister Act – The Musical at Kilworth House Theatre, Little Shop of Horrors at Webster’s Theatre, Glasgow, Sweeney Todd at the Union Theatre, and Elegies for Angels, Punks and Raging Queens at the Tron Theatre, Glasgow.

Maiya Hikasa’s theatrical credits include Billy Elliot at the Victoria Palace Theatre and the international Tour of Cats.

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

Since opening in London in 1986, THE PHANTOM OF THE OPERA has played to over 160 million people in 41 countries, 186 cities and in 18 languages. When the show reopened post COVID, the entire London production was rebuilt and staged by the new creative team who have taken on the brilliant original work done by Hal Prince, Gillian Lynne and Maria Bjornson who are sadly no longer with us. The revised production garnered rave reviews and full houses again, ensuring that this legendary musical, which celebrates its phenomenal 37^th birthday in October 2023, will continue to reign at His Majesty’s Theatre in the West End for many years to come. 

Outside London, the Phantom continues to enthral audiences around the world with the original production playing in Japan, Korea and on a World Tour (currently in China). In addition, Cameron Mackintosh’s acclaimed new production, which has just completed a record-breaking run in Australia at the Sydney Opera House, will open in Vienna in March 2024 and two exciting productions by new creative teams have opened recently, with a successful Greek production now en route to the Middle East, and an Italian production that opens this week in Trieste soon moving to Spain for a residency in Madrid.   

WALT DISNEY RECORDS RELEASE

DANGEROUS TO DREAM

RECORDED BY FROZEN WEST END’S ELSA, SAMANTHA BARKS

★★★★★

“Big, blinding, breathtaking. Frozen’s triumphant musical debut”

The Guardian

To mark the upcoming second anniversary of Disney’s Frozen The Musical in the West End, and the 10^th anniversary of the film, Disney Theatrical Productions today announces the Walt Disney Records music release of Dangerous to Dream – sung by Samantha Barks who created the role of Elsa for the London production.

Dangerous to Dream is one of the twelve original songs which Kristen Anderson-Lopez and Robert Lopez wrote for the stage adaptation of the much-loved multi-award-winning film. The track is released today by Walt Disney Records, and is available widely for free across all streaming platforms, and is accompanied by a music video filmed at London’s historic Carlton House.

Kristen Anderson-Lopez and Robert Lopez are the music and lyric writing powerhouse, not only behind Frozen and the mega hit Let It Go, but also WandaVision, and Coco. Robert Lopez was the first ever double EGOT winner in history.

★★★★

“Frozen is an awesome spectacle with more heart, depth and darkness than the film.”

Time Out

With book by Jennifer Lee, the production is now booking until March 2024. In its opening year, it received 7 WhatsOnStage Awards – the most of any production – and 4 Olivier Award nominations, including Best New Musical.

Frozen was released in cinemas in 2013, winning multiple awards, including two Academy Awards® for Best Animated Feature and Best Original Song (“Let It Go”), the Golden Globe for Best Animated Feature Film and the BAFTA for Best Animated Film. It was written and directed by Jennifer Lee and Chris Buck, withmusic and lyrics by Kristen Anderson-Lopez and Robert Lopez. Frozen 2, which debuted in November 2019 is the highest-grossing animated film of all time. 

★★★★★

“Frozen is one hot hit”

Daily Mail

Samantha Barks plays Elsa. For theatre, her work includes Chess (Umeda Arts Theater Main Hall / Tokyo International Forum Hall), Pretty Woman (Chicago and Broadway), The Last Five Years (St James Theatre), Amelie (Berkley Rep), City of Angels (Donmar Warehouse), Chicago (Hollywood Bowl), Oliver! (UK tour), Les Misérables (Queen’s Theatre), and Cabaret (Birmingham Rep). She was one of the participants on the BBC series I’d Do Anything. For film, her credits include Tomorrow Morning, Chocolate Cake, For Love or Money, Bitter Harvest, The Revenger, Interlude in Prague, The Devil’s Harvest, The Christmas Candle and as Eponine in Les Misérables (recipient of Empire Award for Best Female Newcomer; and nomination for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture). She also reprised her performance as Eponine for Les Misérables in Concert: The 25^th Anniversary.

Michael Grandage directs Samantha Barks (Elsa), Emily Lane (Anna), Djavan van de Fliert (Kristoff), Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Duke of Weselton); and alternating the role of Sven, Ashley Birchall and Mikayla Jade. The ensemble includes  Rhianne Alleyne, Jeremy Batt, Marianne Bardgett, Rebecca Botterill, Char Burnett (Bulda), Collette Coleman, Laura Emmitt, Davide Fienauri, Jemal Felix, Jordan Fox, Molly Francis, Matt Gillett, Dominic Adam Griffin, Justin-Lee Jones, Isabella Glanznig Santos, Ben Irish (Pabbie), Aoife Kenny, Jordan Livesey, Joshua Robinson, Harriet Samuels, Jacqui Sanchez (Queen Iduna), Jak Skelly (Oaken/Bishop), Kerry Spark (King Agnarr), Caitlin Tipping, Rodney Vubya, Anna Woodside, and Luke Fraser Yates.

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