KARIS ANDERSON & ELESHA PAUL MOSES TO PLAY TINA TUNER

OKEZIE MORRO TO PLAY IKE TURNER IN

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

FROM WEDNESDAY 28 JUNE 2023

The hit West End production TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and was produced in association with Tina Turner herself, announces new cast members joining the musical, which has been running in the West End for 5 years. TINA – THE TINA TURNER MUSICAL is a global success with 8 productions having opened worldwide since 2018.

Karis Anderson, who is currently in the ensemble, will share the role of Tina with Elesha Paul Moses who continues in the role. Okezie Morro will join the show to play Ike Turner.

Mark Anderson joins to play Record Producer Phil Spector and Lyricist Terry Britten, Jonathan Carlton will play record company Marketing Manager Erwin Bach, current ensemble member Vanessa Dumatey will playTina’s sister Alline Bullock, Irene Myrtle Forrester continues as Tina’s Grandmother, Earl Gregory joins to play Tina’s father Richard Bullock, Harry Harrington joinsas Tina’s Manager Roger Davies, Emma Hatton joins to play Ike and Tina’s manager Rhonda Graam, Jarius McClanahan joinsas Tina’s first love Raymond Hill and Carole Stennett joins to play Tina’s mother Zelma

Ensemble members are Lauren Allan as Toni, Turrell Barrett-Wallace who continues to play Tina’s son Ronnie, Joey James who continues to play Tina’s son Craig and Thomas Sutcliffe who continues to play Carpenter, the Ikettes are played by new cast members Morgan Broome, Amara Campbell and Abiola Efunshile and swingsare Richard Appiah-Sarpong, Jenna Bonner, Ana Cardoso, Junior Delius, Livvy Evans, Ewan Grant, Imogen Rose Hart, Llewellyn Jamal, Amy Punter, Ellie Seaton and Samuel J Weir.

Children’s casting includes Shaniyah Abrahams, Seikemi Okotore and Shyanne Ononiwu as Young Anna Mae Bullock, Eden Butcher, Adisa Richards and Ezmai Robinson as Young Alline Bullock and AJ Aboiralor, Ayden Beale and Philip Kamau as Young Craig.

Karis Anderson’s theatre credits include Diana Ross in Motown (UK Tour), PP Arnold in All Or Nothing (Ambassadors) and Genie of the Lamp in Aladdin (Jordan Productions). In January 2011 Karis joined the girl band Stooshe and after a year in development they broke on to the UK music scene with the release of their first pop single, Love Me, featuring American rapper Travie McCoy. Stooshe achieved rapid success with their monster song, Black Heart spending over 16 weeks in the Official UK Charts and receiving a nomination for “Best British single” at the 2013 BRIT Awards, up against some of the biggest names in the industry such as Adele. They went on to tour with female super houses such as J-Lo and Nicki Minaj and made various TV appearances including The Jonathon Ross show & Top of the Pops.

Elesha Paul Moses joined TINA – THE TINA TURNER MUSICAL in the West End in 2022. Her credits include Whitney – Queen of the Night (Cuffe and Taylor) and Tina: What’s Love Got to Do With It (Cuffe and Taylor). Elesha has had a career in the music industry for over 25 years. She was mentored by Matthew Knowles, as well as will.i.am and Tom Jones while appearing on The Voice on ITV 1. Elesha has written and performed with the likes of house production duo Ku De Ta, superstar Lionel Richie and industry steadfast Nicky Graham, and has backed Andy Abraham on his Eurovision performance.

Okezie Morro’s theatre credits include Moon on a Rainbow Shawl (Talawa/National Theatre), To Kill a Mockingbird (Manchester Royal Exchange), Damned by Despair (National Theatre), Romeo & Juliet (Headlong), As You Like It (Rose Theatre Kingston), The Riots (Tricycle Theatre/Bernie Grant), Innocence (Arcola Theatre), Ruined (Almeida Theatre), Rum and Coca Cola (English Touring Theatre), and This is How it Goes (The King’s Head). His film credits include World War Z (Paramount/Plan B), Red Tails (Lucas Film), Gulliver’s Travels (Electric Dynamite/FOX), Antisocial Behaviour (Echelon Studios) with his TV credits including The Nevers (HBO), The Mist (Paramount TV/Netflix), Whitstable Pearl (Acorn TV/Amazon), Silent Witness (BBC), New Tricks (BBC), Dr Who (BBC), Shuga (MTV), Outnumbered (BBC/Hat Trick Productions), Placebo (BBC), The Bill (ITV), World War I Project (BBC Jam).

The critically acclaimed production of TINA – THE TINA TURNER MUSICAL received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre.

Discover the heart and soul behind the Queen of Rock ‘n’ Roll at TINA – THE TINA TURNER MUSICAL, the undeniable mega hit in London’s West End. Set to the pulse-pounding soundtrack of her most beloved hits, experience Tina Turner’s triumphant story live on stage as this exhilarating celebration reveals the woman that dared to dream fiercely, shatter barriers, and conquer the world—against all odds.

TINA – THE TINA TURNER MUSICAL can currently be seen on tour in North America, in Australia and at Theatre Royal Sydney. In March 2019, the German production opened at Stage Operettenhaus in Hamburg and is currently running in Stuttgart at the Apollo Theater. The Broadway production opened in November 2019 and was nominated for 12 Tony Awards including Best Musical. The Dutch production opened at the Beatrix Theater, Utrecht, in February 2020 and a third European production opened in fall 2021 at the Teatro Coliseum in Madrid, Spain.

Produced by Stage Entertainment and Ghostlight Records and featuring the original London cast, TINA – THE TINA TURNER MUSICAL: Original Cast Recording is available worldwide on CD, both online and in stores. The CD features a 20-page booklet, which includes liner notes, synopsis, and production and studio photography. The album was recorded in February 2019 at Angel Studios and RAK Studios, produced by the show’s Music Supervisor Nicholas Skilbeck and Kurt Deutsch, and co-produced by Tom Kelly. To download or stream the album, or order the CD www.ghostlightrecords.lnk.to/riverdeep-tinaturnermusical

Directed by Phyllida Lloyd and written by Pulitzer Prize-winner Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg, orchestrations by Ethan Popp, wigs, hair and makeup design by Campbell Young Associates, casting by Pippa Ailion CDG and Natalie Gallacher CDG and fight direction by Kate Waters.

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.

TINA – THE TINA TURNER MUSICAL is dedicated to the memory of Tina Turner, who sadly passed away in May 2023.

LISTINGS INFORMATION

Theatre:                           Aldwych Theatre, Aldwych, London WC2B 4DF

Dates:                              now booking to 11 February 2024

Performances:Tuesday at 7pm, Wednesday, Thursday, Friday and Saturday at 7.30pm, Thursday and Saturday at 2.30pm and Sunday at 3pm

Box Office:                       0845 200 7981

Website:                           www.tinathemusical.com

Facebook:                         TinaTheMusical

Twitter:                              TinaTheMusical

Instagram:                        TinaTheMusical

Original Theatre in association with New Wolsey Theatre presents 

THE TIME MACHINE – A Comedy  

Available to stream online from Thursday 22 June 2023 at 7.30pm  

Starring Dave Hearn, Michael Dylan, Amy Revelle

Written by Steven Canny & John Nicholson(Very) loosely adapted from the novel by HG WellsDirected by Orla O’Loughlin  

Following the recent stage premiere of Steven Canny & John Nicholson’s play, THE TIME MACHINE – A Comedy, starring Michael Dylan (Wilf), Dave Hearn (founding member of the Olivier Award-winning Mischief Theatre, The Goes Wrong Show) and Amy Revelle (Offside), a filmed version of the live show will be available to stream online for two years from Thursday 22 June 2023 at 7.30pm.   

Watch THE TIME MACHINE – A Comedy brand new trailer: https://youtu.be/HDiasjkpXec.  

Presented by the award-winning Original Theatre in association with New Wolsey Theatre, the production is directed by Orla O’Loughlin and designed by Fred Meller, with lighting design by Colin Grenfell and Sound Design by Greg Clarke.   

From the writers behind The Hound of The Baskervilles and Spyski, THE TIME MACHINE is a madcap adventure exploring life, the universe and time paradox theorems. Fresh from a three-month nationwide tour, this online release made exclusively for Original Online and filmed in front of a live audience at the New Wolsey Theatre in Ipswich now allows audiences from all over the world to begin to grapple with the laws of time travel from the comfort of home in their own time travelling chairs (or sofas). Warning: may contain Cher tunes. Age guidance: 10+.  

To watch THE TIME MACHINE – A Comedy, become an Original Online member from £8.99/month to access all of the streaming shows: https://www.originaltheatre.com/membership.   

The release on Thursday 22 June at 7.30pm will coincide with a ‘watch party’ to celebrate the digital launch. Watch along at the same time as other time travellers, and tag your chat and pictures on social media using #thetimemachine.  

Alastair Whatley, Artistic Director of Original Theatre, said: “THE TIME MACHINE has already been on a journey around the UK reducing audiences from Bolton to Bath to tears of laughter. I am thrilled that the production now finds a berth at Original Online where we can reach even more people with Steve and John’s brilliant adaptation of HG Wells’ genre defining novel.”  

REGENT’S PARK OPEN AIR THEATRE ANNOUNCES FULL CAST AND CREATIVE TEAM FOR ARTISTIC DIRECTOR TIM SHEADER’S NEW PRODUCTION OF

 LA CAGE AUX FOLLES

Regent’s Park Open Air Theatre today announce full cast and creative team for their forthcoming production of the show-stopping classic musical La Cage aux Folles (29 July – 16 September).

Carl Mullaney (Chicago/Les Misérables) will play Albin and Billy Carter (A Moon For The Misbegotten) will play Georges. Further principal casting includes Ben Culleton (Jean-Michel), Julie Jupp (Marie Dindon), Shakeel Kimotho (Jacob), Debbie Kurup (Jacqueline), John Owen-Jones (Edward Dindon) and Sophie Pourret (Anne).

Completing the cast are Jak Allen-Anderson (Hanna), Craig Armstrong (Cagelle), Tom Bales (Cagelle),Taylor Bradshaw (Cagelle), Daniele Coombe (Mme. Renaud), Jordan Lee Davies (Chantal), Nicole Deon (Ensemble), Lewis Easter (Cagelle/Swing/Dance Captain), Harvey Ebbage (Cagelle), Emma Johnson (Ensemble/Swing), George Lynham (Cagelle), JP McCue (Cagelle), Rishard-Kyro Nelson (Cagelle/Swing), Alexandra Waite-Roberts (Ensemble) and Hemi Yeroham (Francis).

Directed by Artistic DirectorTim Sheader with a book by Harvey Fierstein and music and lyrics by Jerry Herman, La Cage aux Folles is based on the play by Jean Poiret, and includes the classic songs ‘I Am What I Am’ and ‘The Best of Times’.

Completing the creative team are: Thyrza Abrahams (Associate Director), Amy Ball (Casting Director), Arthur Carrington (Associate Casting Director), Guy Common (Make Up Designer), Ryan Dawson Laight (Costume Designer), James Hassett (Associate Sound Designer), Howard Hudson (Lighting Designer), Nick Lidster (Sound Designer), Ingrid Mackinnon (Season Associate – Intimacy Support), Stephen Mear (Choreographer), Ebony Molina (Associate Choreographer), Janis Price (Voice & Text Director), Colin Richmond (Set Designer), Tom Slade (Assistant Musical Director), Ben van Tienen (Musical Director) and Jennifer Whyte (Musical Supervisor)

Georges, Albin and their son Jean-Michel re-discover the true meaning of family, and of putting yourself last so that the ones you love can come first.

La Cage aux Folles is presented by arrangement with Concord Theatricals Ltd. www.concordtheatricals.co.uk

Regent’s Park Open Air Theatre’s remaining 2023 season also includes Robin Hood: The Legend. Re-written (until 22 July) written by Carl Grose andcommissioned by Regent’s Park Open Air Theatre with direction by Melly Still. The Tempest re-imagined for everyone aged six and over (30 June – 22 July), revised and directed by Jennifer Tang in a co-production with the Unicorn Theatre. Finally, this summer, Nicoll Entertainment’s Dinosaur World Live (11 August – 3 September) returns to the Open Air Theatre, written and directed by Derek Bond.

Tickets for Regent’s Park Open Air Theatre 2023 Season are on sale www.openairtheatre.com.

 FULL CASTING FOR THE UK PREMIÈRE OF 

 TOM KITT AND BRIAN YORKEY’S AWARD-WINNING MUSICAL

 NEXT TO NORMAL

With Jack Thorne’s When Winston Went to War with the Wireless currently running at the theatre, Donmar Warehouse Artistic Director Michael Longhurst and Executive Director Henny Finch today announce full casting for the Pulitzer Prize and Tony Award-winning musical Next To Normal.

Joining the previously announced Grammy Award nominee Caissie Levy and Trevor Dion Nicholas, Michael Longhurst directs Jack Ofrecio,Olivier Award winner and Tony Award nominee Jamie Parker, Jack Wolfe and Olivier Award winner and BAFTA nominee Eleanor Worthington-Cox. The production opens on 22 August, with previews from 12 August, and runs until 7 October.

NEXT TO NORMAL

Music by Tom Kitt

Book and Lyrics by Brian Yorkey

Directed by Michael Longhurst

12 August – 7 October 2023

Musical Supervisor: Nigel Lilley; Designer: Chloe Lamford; Lighting Designer: Lee Curran; Sound Designer: Tony Gayle; Movement Director and Choreographer: Ann Yee; Video Designer: Tal Rosner; Musical Director: Nick Barstow; Associate Musical Director: Natalie Pound; Casting Director: Anna Cooper CDG.

Original Broadway Production Produced by David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo and Second Stage Theatre.

“It is much more than a feel-good musical; it is a feel-everything musical.” New York Times

Critically acclaimed Broadway musical Next to Normal is an intimate exploration of family and loss. At its heart is Diana Goodman, a suburban wife and mother living with bipolar disorder and haunted by her past. Donmar Artistic Director Michael Longhurst directs the long-awaited UK première of this powerful musical about a far from average family.

Next to Normal is the winner of the 2010 Pulitzer Prize for Drama and three Tony Awards including Best Original Score.

Tom Kitt received the 2010 Pulitzer Prize for Drama, two Tony Awards for Best Score and Best Orchestrations, and the Outer Critics Circle Award for Outstanding New Score for Next to Normal (Second Stage Theater/Broadway). He is also the composer of If/Then (Tony and Outer Critics Circle Award nominations), High Fidelity (Broadway), Bring it On, The Musical (co-composer with Lin-Manuel Miranda, Broadway), Superhero (Second Stage), Disney’s Freaky Friday (Stage Production and Original Disney Channel Movie Musical), Dave (Arena Stage), The Winter’s Tale, All’s Well That Ends Well, Cymbeline (Public Theater’s NYSF), From Up Here, The Madrid (Manhattan Theatre Club), Orphans (Broadway), The Retributionists (Playwrights Horizons), and As You Like It  (Toho Co., Japan). As a music supervisor, arranger, and orchestrator, credits include SpongeBob Squarepants, The Musical (Tony, Outer Critics Circle, Drama Desk Award nominations), Head Over Heels, Jagged Little Pill; Grease Live!, Rise (NBC), and American Idiot. His work with Green Day also includes additional arrangements for their Grammy Award-winning album 21st Century Breakdown and their album trilogy, ¡Uno! ¡Dos! ¡Tré! Tom received an Emmy Award as co-writer (with Lin-Manuel Miranda) for the 2013 Tony Award opening number, Bigger. Other television songwriting credits include a musical episode of Royal Pains, and songs for Penny Dreadful, Sesame Street, and Julie’s Greenroom. As a musical director, conductor, arranger and orchestrator, credits include the Pitch Perfect films, 2Cellos featuring Lang Lang (Live and Let Die), The Kennedy Center Honors, 13, Debbie Does Dallas, Everyday Rapture, Hair, Laugh Whore, Pippin (Deaf West), and These Paper Bullets. Upcoming projects include musical adaptations of the films Almost Famous (premiering on Broadway in October 2022), Magic Mike, and The Visitor.

Brian Yorkey received the 2010 Pulitzer Prize for Drama, as well as the 2009 Tony Award for Best Score for Next to Normal (Second Stage Theater/Broadway). He was also nominated for the Tony Award for Best Musical and Best Book of a Musical for Next to Normal, and his work on the show earned him the Outer Critics Circle Award for Best Score. He partnered again with the Next to Normal team on If/Then (Tony Award nominee for Best Score) starring Idina Menzel. He co-wrote the libretto for The Last Ship (Outer Critics Circle Award nomination, with John Logan), with a score by Sting. His musical adaptation of Freaky Friday for Disney Theatricals enjoyed a national tour before being adapted into a Disney Channel Original Movie. Current theatrical projects in development include the original musical Jesus in My Bedroom, with composer Tim Symons, as well as a stage musical adaptation of Magic Mike. Additional theatre credits include Making Tracks, which has played off-Broadway and regionally, the musical adaptation of Ang Lee’s The Wedding Banquet, and the play, Book of Jobs with Alex Glover. Brian was the Executive Producer and Showrunner of 13 Reasons Why for Netflix, Paramount Television and Anonymous Content.

Caissie Levy plays Diana Goodman. Her theatre credits include Leopoldstadt (Longacre Theatre), The Bedwetter (Linda Gross Theatre), Caroline, or Change (Studio 54), Frozen (St James Theatre), First Daughter Suite (The Public Theatre), Les Misérables (Imperial Theatre), Murder Ballad (Union Square Theatre), Ghost The Musical (Lunt-Fontanne Theatre, Piccadilly Theatre, Manchester Opera House), Hair (Gielgud Theatre, Al Hirschfeld Theatre), Wicked (Pantages Theatre, Gershwin Theatre), Hairspray (Neil Simon Theatre and US tour) and Rent (US tour). Her television credits include The Battery’s Down, Creative Galaxy, Gotham, Wishenpoof! And for film; Options and Ms. Bula Banerjee.

Trevor Dion Nicholas plays Dr. Madden/Dr. Fine. His theatre credits include George Washington in the West End production of Hamilton; Preacher in Bonnie & Clyde (Theatre Royal Drury Lane); Disney’s Aladdin – What’s On Stage Award for Best Supporting Actor in a Musical (West End, Broadway & US Tour); Big River (US Tour); The Wiz; The 25th Annual Putnam County Spelling Bee, Ragtime, The Little Mermaid, The Wizard of Oz; Into the Woods; Little Shop of Horrors; Rent; The Exonerated and This is the Life (ETA Hoffman Theatre, Germany). Trevor is the voice of the Ghost of Christmas Present in the Netflix animated film Scrooge: A Christmas Carol. Television credits include: Panellist/Judge on All Star Musicals (ITV); Lester in Moley (Boomerang); The Show Must Go One (Sky Arts); Strictly Come Dancing (BBC); Christmas at the Snow Globe; The Americans, Sunday Night at the Palladium, Royal Variety Performance and Disney’s Broadway Hits at Royal Albert Hall (Emmy Award).

Jack Ofrecio plays Henry. His theatre credits include From Here to Eternity (Charing Cross Theatre), Boys Will Be Boys (Flawstate) and The Merry Wives of Windsor (Shakespeare’s Globe).

Jamie Parker plays Dan. His theatre credits include The Curious Case of Benjamin Button (Southwark Playhouse Elephant); The Doctor (Harold Pinter Theatre); Harry Potter and the Cursed Child – Olivier Award winner for Best Actor and Tony Award nominee for Best Leading Actor in a Play (Palace Theatre/Lyric Theater, Broadway); Guys & Dolls (Chichester Festival Theatre/Savoy Theatre); High Society (The Old Vic); Assassins; Proof (Menier Chocolate Factory); Candida (Theatre Royal Bath); Cat on a Hot Tin Roof (Leeds Playhouse); Henry V, Henry IV Parts I & II, A New World, As You Like It (Shakespeare’s Globe); Racing Demon (Sheffield Crucible); Rosencrantz & Guildenstern Are Dead (Chichester Festival Theatre/Theatre Royal Haymarket); My Zinc Bed (Royal & Derngate, Northampton); Revenger’s Tragedy (National Theatre); The History Boys (National Theatre/Broadway); Singer (Kiln Theatre); Between the Crosses (Jermyn Street Theatre); The Gondoliers (Chichester Festival Theatre); and After the Dance (Oxford Stage Company).Television includes: The Long Shadow, Masters of the Air, Becoming Elizabeth, Des, Treadstone, The Cloud, Jonathan Strange & Mr Norrel, Count Arthur Strong, Lawless, Parade’s End, Silk, The Hour, Burn Up, Horne and Corden, Imagine Van Gogh, Silent Witness, Maxwell, As If, Wire in the Blood and Foyle’s War. Films include: 1917, The Lady in the Van, Le Weekend, Valkyrie and The History Boys.

Jack Wolfe plays Gabe. His theatre credits include Peter in The Magician’s Elephant (RSC); The Snow Queen (Rose Theatre Kingston); The Musician (The Belfast Ensemble); Sweeney Todd (Lyric Theatre Belfast) and Pinocchio (National Theatre). Television includes: Shadow and Bone, Inside No.9 and The Witcher. Film includes: The Magic Flute by Roland Emmerich.

Eleanor Worthington-Cox plays Natalie. Her theatre credits include The Secret Life of Bees (Almeida); Jerusalem (Apollo Theatre);Tom Cat (Southwark Playhouse); Bugsy Malone (Lyric Hammersmith); To Kill a Mockingbird (Regents Park Open Air Theatre) and Matilda: The Musical – Olivier Award for Best Actress in a Musical (Cambridge Theatre). Television includes: Britannia, The Irregulars, The Enfield-Haunting, Cucumber and Hetty Feather.  Film includes: Gwen, Action Point and Maleficent.

Michael Longhurst is the Artistic Director of the Donmar Warehouse. For the company, direction includes Private Lives, The Band’s Visit, Force Majeure, Midnight Your Time (lockdown film), Teenage Dick, Europe, Belleville and last summer’s multicast revival of Nick Payne’s Constellations, whichbroke box office records at the Vaudeville and won the 2022 Olivier Award for Best Revival. Constellations previously ran on Broadway (Samuel J Friedman Theater, for MTC), West End (Duke of York’s, Evening Standard Award Best Play), UK tour, originating at the Royal Court. His Chichester Festival Theatre production of Tony Kushner and Jeanine Tesori’s Caroline, or Change transferred to Studio 54 for Roundabout Theater on Broadway with Sharon D Clarke reprising her Olivier Award-winning performance (also West End and Hampstead). The Broadway production received three Tony nominations including Best Musical Revival.  Other theatre includes Amadeus with the Southbank Sinfonia (National Theatre/NTatHome), The Son (Kiln Theatre/Duke of York’s Theatre), Gloria (Hampstead Theatre), Bad Jews (Theatre Royal Haymarket/Theatre Royal Bath/UK tour & current revival at the Arts), They Drink It In The Congo and Carmen Disruption (Almeida Theatre), ‘Tis Pity She’s A Whore, The Winter’s Tale (Shakespeare’s Globe), If There Is I Haven’t Found It Yet (Off-Broadway for Roundabout), Linda, The Art of Dying, Remembrance Day (Royal Court Theatre), A Number (Nuffield Southampton Theatres/Young Vic), Cannibals (Royal Exchange Theatre), The History Boys (Sheffield Theatres), Dealer’s Choice (Royal & Derngate), The World of Extreme Happiness (NT Shed), Stovepipe (site-specific promenade with the National Theatre, HighTide and Bush Theatre), Midnight Your Time (HighTide), On The Beach (Bush Theatre), On The Record, Gaudeamus (Arcola Theatre), dirty butterfly (Young Vic – winner of the Jerwood Directors Award) and Guardians (Pleasance/Theatre503 – Fringe First Award).

LISTINGS 

www.donmarwarehouse.com 

Instagram, Twitter and Facebook: @donmarwarehouse 

41 Earlham Street, Seven Dials, London WC2H 9LX 

Box Office: www.donmarwarehouse.com / 020 3282 3808          

PERFORMANCE TIMES 

Evenings Mon – Sat: 7.30pm 

Matinees Thu & Sat: 2.30pm 

TICKET PRICES 

£65 / £60 (£55) / £45 (£41) / £23 (£21)

£10 standing tickets 

Preview discounts apply to the first four performances only 

BARCLAYS UNDER 30s £10 TICKETS 

To celebrate our 30th birthday and thanks to generous support from our Associate Sponsor Barclays a limited number of £10 tickets are available for under 30s for every performance. 

YOUNG+FREE 

YOUNG+FREE tickets for 16–25-year-olds released by ballot. Sign up at www.donmarwarehouse.com. 

Generously supported by IHS Markit. 

DONMAR DAILY 

New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band. 

ACCESS 

The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters. 

ASSISTED PERFORMANCES 

If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email [email protected]. 

For all other access enquiries or bookings call 020 3282 3808. 

CAPTIONED PERFORMANCES – 7.30pm (captioned by Stagetext) 

Next to Normal: Monday 25th September

AUDIO DESCRIBED PERFORMANCE – 2.30pm (audio-described by VocalEyes) 

Next to Normal: Saturday 30th September

BRITISH SIGN LANGUAGE INTERPRETED PERFORMANCES – 7.30pm 

Next to Normal: Saturday 23rd September 2.30pm

Lyric Hammersmith Theatre – until 15th July 2023

Reviewed by Ben Jolly

4****

Jocelyn Bioh’s new comedy is a riot. Set at the Aburi Girls Boarding School in Ghana in the year of 1986 (the perfect era for teenage angst and high glam aspirations), the self-dubbed “African Mean Girls play” is true to its name and hits the ground running with high energy, bitchy dialogue and well-defined characters in this fresh retelling of the genre.

Right from the get go we join the social group of teenage girls as they gossip, poke fun and speculate who will be reigned Miss Ghana in the upcoming annual pageant. All bets are on popular leader of the gang, Paulina to take the crown and she would have us believe it no other way. The tables soon turn, however, with the arrival of Ericka – the wealthy, conventionally beautiful and talented transfer student who quickly becomes stiff competition for Paulina in both her friendship circle and aspirations for the future! Chaos ensues, naturally.

This band of talented actors shine on stage throughout the piece; with unbounded energy each performer has something to bring to the play and heighten the already tight and witty script, wonderfully written by Jocelyn Bioh. Heather Agyepong owns the part of Ama, finding every moment and performing with unapologetic nerve. Bola Akeju as Mercy steals many moments with her comedic flair and instinctive comedic nature akin to any seasoned professional. As Headmistress Francis, Alison A Addo has tangible presence and shows range and depth with her audacious performance.

Further into the play as we get to the heart of the matter there were moments when I didn’t know whether to laugh or to cry as we started to see the bigger picture of these full rounded characters – kudos again to Jocelyn Bioh. While structurally the play could do with a little revision, as some of the more dramatic moments take place before they have been truly earned, this is still a wonderfully written play. With expert direction by Monique Touko, the physicality and movement they have added only heightens the drama and thus demands laughter from the audience.

School Girls; Or The African Mean Girls Play is a hit and as with most comedic plays, this will only get better with time as the cast find even more to work with and the natural chemistry grows further between this talented group of actors. With a poignant final message, we leave the theatre with not only some thoughtful insights to ponder, but also a memorable night full of laughter with characters that feel like new friends.

Leeds Playhouse, Leeds – until Saturday 17 June 2023

Reviewed by Sofia Robottom

4****

Set in Tejpal’s newly renovated kitchen which she is excited to showcase as she prepares for her daughter’s surprise birthday party, this modern domestic drama has been revived by Hollyoaks’ actor Harvey Virdi, encouraging South Asian audiences to enjoy theatre performances by reflecting personal experiences and bringing representation to theatres. This emotion-filled performance demonstrates the highs and lows of family conflicts. Containing passion and comedy, a loving family guide each other through self-realisation, evoking themes of freedom and identity.

Sunita, played by Bhawna Bhawsar, first appears on stage when she arrives home early, seemingly aggravated as she leaves her dad a voicemail in hopes that he will visit her on her birthday after decades of being away. During this introduction, Sunita expertly expresses her emotions without the need for dialogue which captures the audience’s attention. While she hides away out of the shiny new kitchen, Sunita’s family frantically prepare for Sunita’s surprise birthday party despite her grouchy and unenthusiastic attitude. As an audience we feel we are eavesdropping on family gossip and throughout the play, secrets are revealed as each family member finds out what is really thought of them.

Devesh Kishore plays Nav, the sarcastically humorous brother whose wife Harleen, played by Rameet Rauli, exudes comedy with her extravagant demeanour, in an effort to relieve the awkwardness. She always manages to squeeze a laugh out of the audience, especially when she attempts to impress Sunita’s mum Tejpal, played by Divya Seth Shah, with incorrectly spoken Punjabi. Although Tejpal runs into an issue arranging the surprise party, an old friend, and an unexpected guest is called up. As the play comes to an end, the family delve into long-buried family problems which resurface as each character reflects on their own life.

Beautifully rich with South Asian culture and cuisine, this production allows us to experience the closeness of a family enjoying their customs through their music, dancing and food, with reference to Tejpal’s infamous Dhal and butter-free Roti. The Punjabi dialect brings a sense of humour and realism. The music and dancing create a lively atmosphere, brightening up the audience’s faces. As well as exploring bi-culturalism, themes of gender, age and discrimination are prevalent.

It is wonderful thing to experience a family overcoming conflict and differences and breaking free from traditional customs and rebuilding bridges. Eventually, Sunita comes to terms with her own independence and decides to take control of her own life instead of conforming, as well as accepting the idea of moving on from her past and from waiting around her whole life.

This bittersweet performance that allows individuals of many backgrounds to identify and relate to the jokes and troubles of each character, provokes laughter, sadness and self-reflection. It’s a light-hearted play that spreads an inspiring message, specifically to women of South Asian origin, urging them to spread their wings and follow their own aspirations rather than adhere to a life that has been normalised within the community.

The Grand Theatre, Leeds – until 17^th June 2023

Reviewed by Katie Brewerton

4****

The smash hit musical The Bodyguard has come to Leeds! Having not seen the 1992 film starring Whitney Houston and Kevin Costner, I didn’t know anything about the story before going into this but, from the extravagant opening number to the finale I was hooked. 

When Frank Farmer (Ayden Callaghan) somewhat reluctantly becomes the bodyguard of superstar Rachel Marron (played by Pussycat Doll Melody Thornton) they quickly find themselves clashing. But as Rachel realises the seriousness of the threat posed by her stalker (Marios Nicolaides) she quickly becomes reliant on Frank to keep herself and her son Fletcher safe and their relationship blossoms with the chemistry between them clear.

The clever use of curtains throughout helped to separate and split the stage in to two halves to help the cast move effortlessly from scene to scene. And the use of projections on a big screen at the back of the stage during particularly sinister scene’s involving the stalker was a unique addition to the show.

With only a limited number of the cast singing throughout, mainly Rachel, Fletcher, Rachel’s sister Nicki and the ensemble a special mention should go to Emily-Mae who played Nicki Marron, h whose vocal performance was superb. 

With an array of fantastic music including a host of Whitney Houston’s best known songs including Queen of the Night, I Wanna Dance with Somebody, One Moment in Time and of course I Will Always Love You I you’re sure to have a blast at this show. Full of love and heartbreak this is a show not to be missed. 

Festival Theatre, Malvern – until 17th June 2023

Reviewed by Courie Amado Juneau

4.5****

Peter James’s Wish You Were Dead is the latest installment following Detective Roy Grace’s adventures. This time Grace is taking a deserved holiday with his wife and a couple of friends at what promises to be an idyllic French chateau. But things don’t turn out exactly as they had hoped…

The curtains open to a beautiful set. Run down yet sumptuous, with an impressive use of space and perspective to create the impression of grandeur.

Soon Grace (George Rainsford), his wife Cleo (Katie McGlynn) and their friend Kaitlynn Carter (Gemma Stroyan) arrive at the chateau on this (naturally) dark and stormy night. A backdrop familiar enough to movie and theatre goers that it was (cleverly) alluded to in the script. A nice touch. Our friends make a likeable traveling party and Cleo and Roy a believable couple – fine acting and chemistry from all involved.

Soon the French maid Madame L’Eveque appears, played suitably off kilter by Rebecca McKinnis. Like the house, there is something unsettling about her and she conveys a mood of impending menace you can’t quite put your finger on (or is it your imagination). Wonderfully nuanced, Rebecca was a delight. Clive Mantle’s reveal (as Curtis) was very well handled, producing a delicious surprise… He too was perfectly cast and held me spellbound with his characterization. The direction was fast paced yet with room to breathe so it felt natural; all credit to Director Jonathan O’Boyle and Stage Adaptor Shaun McKenna. I’ll mention here that the piece is jumpy. More than once I saw fellow attendees leave their seats only to return to them chuckling at their nervousness. There’s a nicely judged ramping up of the tension, leaving the first half on a cliff hanger, making us anticipate the second half enormously…

Act 2 is where the fun begins, at least for the baddies as it turns into a war of attrition, revenge, plot and sub plot. Oh what tangled webs we weave… and there’s plenty of weaving going on, believe me! The baddies are very much as you’d expect – think the Krays (are there no baddies whose accents aren’t like extras from Eastenders?). And others arrive who may not have much stage time but do a fine job with the limited lines they have. Everyone shines brightest in the second half as the tension grows. Bravo to all the cast. There’s an ingenious escape twist and an ending which hangs in the air (was it true or ruse…). Again, in anticipation that you will want to see the play, I won’t give anything away.

I was totally unfamiliar with this series of books/films so came at the work as a standalone piece. That didn’t matter since tonight’s stage play works on its own merits and has enough exposition to explain events fully on the evening. I found it extremely enjoyable and gripping and would certainly recommend it to anyone who enjoys a good drama or crime caper. I’m already looking forward to the next installment.

OCTAGON THEATRE, BOLTON – UNTIL SATURDAY 1 JULY 2023

REVIEWED BY ZOE BROWN

5 *****

I always enjoy a trip to the Octagon Theatre, not least because they have created a real community feel. You get the sense the audience comes back time and again for its cozy auditorium, friendly staff, and a dedication to producing some of the region’s finest productions.

Not to disappoint this performance of Alan Plater’s ‘Blonde Bombshells’ meant I left the theatre with that satisfying buzz of a great night out. Plater’s story of a war-time bandleader searching for new recruits came to him from a memory of Ivy Benson, a doughty Yorkshire woman, who ran all-women bands for 40 years, touring the length and breadth of Britain. Ivy would often have trouble hanging on to her players as they fell prey to romances, leading to mass defections!

The evening began with simple uncluttered staging depicting the sorry tatters of bomb-stricken community hall circa 1943. The ingenious design by Jess Curtis allowed for a staging that could be moved to represent a change of venue. The first half gave us a fabulous introduction to the musical talents of our cast, thanks to the musical direction of Greg Last, who I believe only had weeks to bring this ensemble together. Much like a war-time version of ‘Britain’s Got Talent’, minus the joke entrants only there to be made fun of, this was a masterclass of musical artistry. Lead by the strong and assertive performance of Georgina Field as Betty we got to eavesdrop on an audition to join the Blonde Bombshells for a very special upcoming event, performing live on the BBC radio.

Gleanne Purcell-Brown as the exciting and effervescent Nun Lily, Stacey Ghent as the vivacious and oft socially detached somewhat elevated Miranda were captivating to watch.

Sarah Groarke as Vera, Alice McKenna as Grace, Verity Bajoria as May, the founding members of the band, carried the dry wit and men-weary humour with aplomb. Lauren Chinery as Liz, our naïve unassuming schoolgirl was a delight, not to mention a joy to hear singing. Lastly, our only man in this all-female band? Rory Gradon as Patrick held his own, even if at times there are uncomfortable and socially unacceptable behaviours given our modern viewpoint on age-appropriate relationships.

My only critique, a small but valuable one, is that, as a hard of hearing person, there was the occasional instance I could not hear some of the actors’ lines due to poor diction or a lack of projection. As a theatre in the round production, I accept this can create challenges, especially if actors have their backs to you. But it is something to be carefully considered. Thankfully it was occasional and did not hamper enjoyment of the show overall. For those who prefer not to miss a beat there is a BSL interpreted and captioned performance Tue, 20th June, 7:30pm.

I would not describe this production solely as a ‘play’ in the traditional sense, more like a musical feast of multi-talented actor musos performing fabulous 40’s numbers loosely held together by storyline. However, that did not detract from what was a wonderful event.

Yvonne Arnaud – until 17^th June 2023

Reviewed by Heather Chalkley

3***

This classic regency comedy from J.M. Barrie is brought to life through a play within a play. The Director Laurie Sansom, has cleverly incorporated a modern day setting as the backdrop for the 1805 tale of returning soldiers, love rekindled and a web of unravelling lies.

The play lends its name to the famous Quality Street chocolates, created by the ‘Toffee King’ John Mackintosh in the 1930’s. We find ourselves with a retired group of chocolate makers in the original Halifax factory, come to see the play and reminisce. The words and characters are from actual retired workers, who attended rehearsals in Halifax!

This is a tale of requited love! We meet Phoebe (Paula Lane) and Susan (Louisa-May Parker) Throssel, two sisters fallen on hard times during the Napoleonic wars. They open their home as a day school to make ends meet. Both Parker and Lane leave you under no false illusions as to how miserable this makes their characters! Their pupils come back later as grown up soldiers and ladies, retaining their comical childhood characteristics. The ensembles quick switch between characters, past and present, keeps you smiling and definitely on your toes! Phoebe’s (Lane) love for Captain Valentine Brown (Aron Julius) leads her into a farcical pretence that she is her imaginary niece, Livvy, so she can attend the 3 town balls that welcome the soldiers home. The beautiful ball gowns are the quality street colours we have all grown up with. The flirtatious Livvy (Lane) leads the town a merry dance, stealing all the attention from potential suitors. The glue to stick the story together is often Patty (Gilly Tompkins), maid to the sisters, who is hilariously run ragged keeping the pretence going and offering desperate words of wisdom.

This is a far cry from J.M. Barrie’s well known stories of Peter Pan, however it captures the same magical essence of the regency period. A sweet play to escape in to.