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.

The Crazy Coqs

Reviewed by Phil Brown

4****

The cosily intimate Crazy Coqs, located on the edge of Soho, with its glitzy interior hinting of art deco, feels like the perfect venue for staging the wistfully reflective “Soho Songs”  – an exciting new song cycle in progress, highlighting the lives of people who inhabit the area, its character and how its changing.  

In the way that the name Hollywood implies so much more than a neighbourhood of LA, to most Brits, Soho is not so much a dream factory as redolent of every kind of off duty distraction on offer, along with a smorgasbord of seamier pleasures to sample.  Songwriters Barb Jungr and Mike Lindup (Level 42) have cleverly composed musical snapshots of Soho life around a typical day in the Shangri-La, a single public house struggling to stay open, and whose ever shifting clientele from dawn to dusk provide the subject matter for the songs  It’s a brilliant concept and one that should have legs.

The songs were performed with considerable style and gusto by 5 exceptional vocalists in a variety of formations – 2 women (Emma Salvo and Hannah Nuttall) and 3 men (Will de Renzy Martin, James Gulliford and Stephen Lambert), each having their moment out front.  They were backed by the very accomplished trio of Mike Webborn (piano and musical director), Doug Brennan (bass) and Jonathan Lee (drums).  

The musical performance alone was worthy of 5*, but as a cohesive show, it is probably still not quite fully realised.  It is a work in progress after all.   In some ways, it felt too intense – you’ve barely finished digesting the import of one song when you’re onto the next.  Having said that, appetite whetted, I also felt hungry for more.  I hope there is scope for one or two more songs and also some opportunity to reprise some of the musical themes.  There is no between songs chat – the director makes use of fairly short audio clips with thoughts and experiences of (presumably genuine) Soho characters.  Whilst this seemed a touch clunky at times, Benji Sperring’s direction is otherwise suitably understated with, I think some limited use of costume, and some well judged, subtle in character acting by the vocalists.  

The song cycle itself is clearly the work of a master craftsman/woman.  Every song is lyrically rich and smart, laced with wry humour (reminiscent of Clive James’ work long ago with Pete Atkin).  For this reason, I would hope that in future, audience members can get access to a  lyric sheet.  Why hide such craft away?  The arrangements are excellent – superbly imaginative and well executed and the song cycle covers a breadth of musical styles and tempos that render every song fresh and helps build engagement throughout the show..  

For me, the standout song of the evening was the beautiful, melancholic  “Your Heart in My Hand” performed immaculately by Will de Renzy Martin.  It has the air of a future songbook standard about it.  A number of other songs are candidates to be audience favourites and some, potential hits.  The witty, semi spoken “Estate Agent” would likely resonate with many.  I loved the US parade ground call and response swing of the pit musician song, the immediately catchy disco beat of “Nice Girls Shouldn’t Go to Soho” and the funky boogie of the formidable “Bouncer Man”.  “Kit on, Kit off” has some delightful melodic variations and the Shangri-La landlady’s “Every Kind of Blue” is wonderfully world weary.  Following the love torn “Heart in my Hand”, the song cycle ends with the harmony rich, deep nostalgia of  “Dreaming of Soho”.

Even as a work in progress, Soho Songs is simply 75 minutes of incredible music and more importantly, superb, satisfying entertainment.  Thoroughly recommended.

Adelphi Theatre, London – 13 June 2023

Reviewed by Phil Brown

3***

For one night only – at least for 2023 – the Adelphi Theatre on the Strand played host to the never ending tour that is Lost in Music, and its encyclopaedic repertoire of 70s disco music.

And what a night…

The air conditioned respite from a very warm London night didn’t last that long before the Lost in Music band had the audience on its feet grooving, singing and sweating along to the disco beat of classic 70s hits.  Across both halves of the show, the full set list ran to a mammoth 25 or so songs and several medleys covering all of the greats – Earth Wind & Fire, Gloria Gaynor, Donna Summer, Bee Gees, Tavares, Chic, Barry White, Family Sledge, Rose Royce and many more.

Lost in Music is essentially a very professionally presented concert in two one hour sets with a live band and 5 singers.  The audience is required to play its part in generating atmosphere and singer Kevin Coles who also MCed the show, worked consistently hard on audience engagement. The exhortation to “make some noise” did wear thin pretty quickly but the audience seemed ever ready to cooperate.  In a move that is likely to trouble the usual theatre crowd, the use of mobiles to post on social media and acknowledge performers is actively encouraged at this show.

As stage sets and lighting systems go, these would probably be regarded as no frills options compared to the state of the art, and are almost certainly designed for ease of touring.  The stage costumes on the other hand are a lot more glam – at least for the three female singers – Jackie Walters, Natalie Collins & Taryn Charles. 

Even though the Lost in Music show is only a few days into its 2023 tour, the seven piece band was already road honed and impressively tight.  Tony Woods on keys and musical director seemed content to take a back seat, while all of the horn section enjoyed good solo moments showing off their chops and sparring with vocalists up front (Lee Hallam – Trombone, Pelham Wood – Sax and Dylan Herbert – Trumpet).  (They’re also worth keeping an eye on for their dancing).  Chris Dawkins on lead guitar took a few decent solos while the rhythm section (Des Woodbine – bass and Cameron Meek – drums) were thunderingly relentless.   Sadly, the band wasn’t well served by the sound system which seemed murky to my ears.

The singers rotated roles slickly throughput and were very polished without ever quite attining the peaks of the original recodrings.  Aside from the amusing Travolta moves, there were occasional moments of choreographic interest, and both Kevin Cole and his limber male vocalist partner, Bilal Aygei impressed with their athleticism.

For me, the first set took a while to warm up and then tended to drag.  Things got off to a much livelier start in the second set and although it doesn’t look like it on paper, whoever programmed the running order has loaded many of the best songs and performances into Set 2.  Even so, Set 2 also seemed to go on too long.   Unrelenting disco music offers little scope for varying the dynamics of a show and there is a delicate trade off between sending the audience on its way feeling sated or bloated.

With 70s disco surely being a niche market, it’s quite a feat to virtually sell out the Adelphi Theatre.   Most of the audience were female of a certain age.  Any men along were probably designated drivers, walking wallets or reviewers.  It’s good that 70s disco is still being played live to such a high standard, but there will come a time when that audience starts to dwindle.  In the meantime, Lost in Music is a surefire way of scratching that disco itch for a few years to come.

NEW COMPANY ANNOUNCED FOR OLIVIER AWARD NOMINATED WEST END SENSATION

THE CHOIR OF MAN

NOW BOOKING AT THE ARTS THEATRE UNTIL 18 FEBRUARY 2024

TICKETS AVAILABLE TO BOOK HERE

Welcome to the best pub in the world… Come ready to drink in the excitement!

Opening hours extended again! The Olivier-nominated international stage sensation THE CHOIR OF MAN continues its sell-out West End run at the Arts Theatre, with new tickets released for dates until 18 February 2024.

An uplifting celebration of community and friendship with something for everyone… including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.

Brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few. A wildly talented group of incredible instrumentalists, world-class wordsmiths, and sensational singers; this cast of nine (extra)ordinary guys serve it all…live!

From Tuesday 4 July, the new company of the West End show are Adam Bayjou (The Choir of Man – US Tour, Les Misérables – West End) as ‘The Hard Man’, Michele Maria Benvenuto (The Choir of Man – Norwegian Cruise Line, West End debut), as ‘The Maestro’, Andrew J Carter (The Choir of Man – Edinburgh Fringe, Australia, US Tour, The Phantom of the Opera – Beau Sejour Centre) as ‘The Pub Bore’, Ben Goffe (Hex – National Theatre, Snow White at the London Palladium – London Palladium) as ‘The Handyman’, Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘The Romantic’, Michael Hamway (Andrew Lloyd Webber’s Cinderella – Gillian Lynne Theatre, Waitress – Adelphi Theatre) as ‘The Poet’, Mark Irwin (The Choir of Man – Korea, US Tour, Sydney Opera House, Norwegian Cruise Line, European Tour, The Commitments – Palace Theatre) as ‘The Barman’, Tom Miles (The Choir of Man – Norwegian Cruise Line, Arts Theatre, UK Tour, Frankenstein – Illyria) as ‘The Beast’. Completing the company are Sam Ebenezer (The Mousetrap – St Martin’s Theatre, Cinderella – Sunderland Empire), James Hudson (Saturday Night Fever – Peacock Theatre, The Choir of Man – Sydney Opera House, European, Australian & USA Tour), Peter Lawrence (The Choir of Man – UK Tour & International Venues, Peter originated the role of the Beast as the Edinburgh Fringe Festival), Niall Woodson (West End debut) and Daniel Harnett as ‘The Joker’

The on-stage band has Emmanuel Nana Kwasi Bonsu on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.

THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. The show has also recently announced a formal fundraising partnership with suicide prevention charity CALM (The Campaign Against Living Miserably), with the aim to raise £10,000 for the charity’s vital work over the next year.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Hollie Cassar serves as musical director and associate musical supervisor.

The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.

Nic Doodson said, “We’re absolutely delighted to extend the opening hours of The Choir of Man in the West End. Since first opening at the Arts Theatre in 2021, it’s come to be a real home for us and we love opening the doors to The Jungle, our onstage pub, and welcoming everyone in to share an evening of stories, song and of course, a beer or two. The new company that will be the landlords of The Jungle are an incredible group of performers and we can’t wait for not only our regulars but also our new visitors to see them every night!“

Website: choirofmanwestend.com

Facebook: @thechoirofman

Twitter & Instagram: @choirofman

Aylesbury Waterside – until Saturday 17th June 2023

Reviewed by Julia Spargo

1*

Scott Hastings is a successful Australian ballroom dancer who brings his own moves to competitions. When his dance partner leaves him out of frustration, Scott pairs up with beginner dancer Fran, who comes from a Spanish family with a flamenco background. Scott’s mother, ambitious for her son to achieve what she never managed in the ballroom world, is determined that he should dance with a professional partner in order to win the Pan Pacific Championships title. Scott learns, through Fran and her family, to feel the rhythm of the music rather than just dance rehearsed steps, and he and Fran are able to break free of ballroom traditions, falling in love in the process.

Families from opposite sides of the tracks and dance partners becoming romantic partners are familiar tropes, featuring in Romeo and Juliet, West Side Story, Shall We Dance, Dirty Dancing and of course, the original Strictly Ballroom movie, directed by Baz Luhrmann. Here, Baz Luhrmann returns to co-write this musical (with Craig Pearce), and with choreography by Craig Revel Horwood and Jason Gilkison (both Titans of Strictly Come Dancing), I was expecting to be wowed. Sadly, I was left underwhelmed. Strictly Ballroom The Musical can best be described as chaos dripping in glitter. A large cast with troubling wigs and gaudy costumes whizz about the stage with no coherence. The lighting is frantic. The acting borders on hysterical. The humour falls short and there is no light and shade, both figuratively and literally. A musical about the superficial, messy world of ballroom would have been better served by highlighting the tackiness with slower, calmer moments of truth, but these were few and far between. Some scenes (including one with a not-subtle hint of fellatio and four male dancers in their Y-fronts) made no sense at all. More than once I wished everyone would just take a breath. Scene changes were quick. Dialogue was rushed. Kevin Clifton as Scott Hastings was competent as a dancer and singer but overshadowed by Faye Brookes as Fran, who brings verve to the role.

The climax of the first act is a great scene where Fran’s father, Rico, shows Scott how to dance. Stylianos Thomadakis as Rico shines above every other dancer on the stage with his incredible paso doble. The entire cast joins in a joyous celebration of Latin dance. It gave me hope for the second half.

Sadly, it was not matched again. I enjoy camp, glamour and comedy but this fell short for me.

Everyman, Cheltenham – until Saturday 17 June 2023

5*****

A return visit to Titanic, this time at The Everyman in Cheltenham.  Still hauntingly beautiful, still poignant and still incredibly sad, Titanic remains my favourite musical of all time.  Maury Yeston’s immaculate score tells the story of the doomed maiden voyage of the ship of dreams.  

We meet the characters who make the show so perfect. The owner J.Bruce Ismay (Martin Allinson), the designer Thomas Andrews (Ian McLarnon) and Captain Edward Smith (Graham Bickley).  The crew: Officers Murdoch (Billy Roberts) and Lightoller (Jack North), Wireless Operator Bride (Alastair Hill), Bell Boy Edward (Joseph Peacock), Stoker Barrett (Adam Filipe) and First Class Steward Henry Etches (Barnaby Hughes). And the passengers: Isador and Ida Straus (David Delve and Valda Aviks) in first class. In second class, Alice and Edgar Beane (Bree Smith and James Darch) and Lady Caroline Neville and Charles Clarke (Emma Harrold and Matthew McDonald). And in third class the Kates (Emily George, Niamh Long and Lucie Mae-Sumner) and Jim Farrell (Chris Farrell).  All of the 25 ensemble play multiple characters of crying crew and passengers.

In the first act, we lead up to the disaster, the  owner trying to impress the guests and get the boat to sail faster, the designer who errs on the side of caution and the Captain stuck between them both.  We follow the stories of everyone on board, investing in Peter Stone’s intricately written characters and in the second act we root for them to survive.

When “all” the women and children have got on the lifeboats and the men remain, knowing the futility of what is about to happen our heart breaks.  When the husbands reassure their wives to go without them because they’ll collect them in the morning, it’s hard to imagine.  Would I be brave enough to get into a lifeboat into the unknown, leaving behind my husband of over 30 years or would I want to stop with him, together to the end?

There were quite a few understudies tonight, so apologies to anyone misnamed. But this only reinforces what a versatile and talented ensemble they are.

Yeston’s music is sensationally executed by the live band (Thomas Leate, Bridget Mansfield, Gemma Connor, Jack Cherry and Craig Apps) led by Musical Director Ben Papworth. David Woodhead’s set and costume designs are first-class.  Danielle Tarento has produced a thing of beauty

Sheffield Lyceum – until Saturday 17 June 2023

5*****

Tim Firth’s Greatest Days  is a new spin on what was previously The Band.  Following the lives of a group of teenage girls and their love for a band over a period of 25 years.

Set in the North West of England, the younger group of friends Emilie Cunliffe (Rachel), Mary Moore (Debbie), Kitty Harris (Heather), Mari McGinlay (Claire) and Hannah Brown (Zoe) are the biggest fans of the Band ever, watching Top of the Pops regularly to learn the lyrics and dance moves to practise at school the day after.  Luck brings them winning tickets to see their boys at a concert and what was the best night of their lives turns into tragedy and the girls all go their separate ways.

25 years later another competition brings the chance to see their band again, this time in Greece and the older group of Kym Marsh (Rachel), Rachel Marwood (Heather), Jamie-Rose Monk (Claire) and Holly Ashton (Zoe), now grown women, meet up again.

The Band (Kalifa Burton, Jamie Corner, Archie Durrant, Regan Gascoigne and Alexander O’Reilly) are excellent, singing and dancing along and a shout out must go to Christopher D Hunt as Rachel’s long term partner; steady dependable Jeff and Alan Stocks who is hilarious as several different cameo characters and billed as Every Dave in the programme

It’s a fabulous feel good show, although there are times when you need tissues.  Tim Firth is an excellent writer and proves yet again he can write well rounded multi dimensional characters and the music of Take That fits seamlessly into the show, moving the narrative along nicely.  Aaron Renfree’s  choreography works well and the live band ((Zach Flis, Josh Cottell, Gareth Lieske, Nathan Finn and Dave Stewart) play the music to perfection.  Lucy Osborne’s set design is ingenious, easily adapting to living room to bus to plane to school etc  

Greatest Days celebrates how music soundtracks our lives – and powerfully brings back memories while making plenty of new ones too.  Bursting with emotion, laughter and some of the most loved pop songs ever written. Laugh out loud jokes mixed with some heart-rending and tear-jerking moments, it takes the audience on a roller-coaster of emotions from the opening scene to the very last.

LIFE OF PI CONTINUES ITS AWARD-WINNING SUCCESS WITH THREE WINS AT THE

2023 TONY AWARDS

THE SPELLBINDING SHOW MADE ITS BROADWAY PREMIERE THIS SPRING

Opening to celebratory reviews on Broadway in March, Lolita Chakrabarti’s dazzling Olivier Award-winning stage adaptation of Life of Pi, starring an extraordinary life-size puppeteered Bengal Tiger, was last night celebrated at the Tony Awards, winning three of its five nominated categories: Best Scenic Design of a Play (Tim Hatley & Andrzej Goulding) and Best Lighting Design of a Play (Tim Lutkin) and Best Sound Design of a Play (Carolyn Downing).

Life of Pi made its Broadway premiere at the Gerald Schoenfeld Theater where it opened on 9 March 2023. The show’s full list of nominations at this year’s Tony Awards was: Best Direction (Max Webster), Best Costume Design (Tim Hatley, Nick Barnes & Finn Caldwell, Life of Pi); Best Scenic Design of a Play (Tim Hatley & Andrzej Goulding) and Best Lighting Design of a Play (Tim Lutkin) and Best Sound Design of a Play (Carolyn Downing).

Producer, Simon Friend says of last night’s wins: “It is wonderful that the Broadway community has honoured Life of Pi as they have done. It has been an enormous privilege to take this show on the very long journey since we opened at the Crucible in Sheffield, and we’re particularly excited to bring it to audiences around the UK over the coming year.”

Life of Pi won five Olivier Awards in April 2022. As well as Best New Play, and Best Actor for Hiran Abeysekera (the original Pi); in an historic first for the Olivier Awards – the seven performers who puppeteer the Tiger ‘Richard Parker’ were collectively awarded Best Actor in a Supporting Role. The production also picked up awards for set (Tim Hatley, Nick Barnes and Finn Caldwell), and lighting design (Tim Lutkin and Andrzej Goulding).

Beginning its first-ever tour of the UK and Ireland at Sheffield’s Lyceum theatre this August, where it runs from 29 August to 16 September 2023, Simon Friend Entertainment recently announced that Divesh Subaskaran will make his professional debut in the central role of Pi.

He is joined by Antony Antunes, who performs as Tiger Hind / Cook / Father Martin, Adwitha Arumugam as Pi Alternate, Bhawna Bhawsar as Lulu Chen/Mrs Biology Kumar, Ralph Birtwell as Mamaji/ Admiral Balbir Singh, Kriss Dosanjh as Father, Sebastian Goffin as Tiger Head, Akash Heer asTiger Head,  Romina Hytten as Tiger Heart and Hind,  Katie Kennedy-Rose as Tiger Heart and Hind, Aizah Khan as Tiger Heart and Hind, Chand Martinez as Pandit-ji,  Keshini Misha as Rani, Goldy Notay as Amma, Sharita Oomeer as Lulu Chen / Mrs Biology Kumar, Kate Rowsell as Tiger Heart and Hind, Lilian Tsang as Mrs Okamoto/Zaida Khan/Ships Captain, Peter Twose and Tiger Head/Voice of Richard Parker/Cook/Father Martin. 

‘BREATH-TAKING. IT WILL MAKE YOU BELIEVE IN THE POWER OF THEATRE.

ROAR IT OUT: THIS IS A HIT’ The Times

Following its Sheffield engagement, the tour will then continue to Milton Keynes Theatre; Norwich Theatre Royal; Woking, New Victoria Theatre; Southend Cliffs Pavilion; Wales Millennium Centre, Cardiff;  Marlowe Theatre, Canterbury; Alhambra Theatre, Bradford; Chichester Festival Theatre; The Lowry, Salford;  Leeds Grand Theatre; Bristol Hippodrome; Newcastle Theatre Royal; Birmingham Hippodrome; GrandOpera House; Belfast, Bord Gais Energy Theatre, Dublin; Theatre Royal Plymouth; Curve Leicester; Churchill Theatre, Bromley; Hull New Theatre; Derngate Theatre, Northampton; Coventry Belgrade; Nottingham Theatre Royal; Wolverhampton Grand Theatre; Liverpool Empire; Severn Theatre Shrewsbury; Mayflower Theatre, Southampton; Hall For Cornwall, Truro; Everyman Theatre, Cheltenham; Glasgow Theatre Royal; and finally the Edinburgh Festival Theatre in June 2024.

‘IT WILL MAKE YOU BELIEVE IN THEATRE. A TRIUMPH.’

SUNDAY TIMES

Life of Pi, which concluded its West End run on 15 January 2023, first opened to critical acclaim at the Crucible theatre in Sheffield in 2019. International commitments for the show include its North American Premiere at the American Repertory Theater at Harvard University where it ran from 4 December 2022 to 29 January 2023, followed by its Broadway premiere at the Gerald Schoenfeld Theater where it opened on 9 March 2024. A European tour will follow the tour of the UK and Ireland and there are plans underway for a tour of Australia and Asia.

‘THE PUPPETRY IS OUT OF THIS WORLD’

DAILY MAIL

The production is directed by Max Webster, Set and Costume Designer is Tim Hatley, the Puppet Designers are Nick Barnes and Finn Caldwell, the Puppet and Movement Director is Finn Caldwell, the Video Designer is Andrzej Goulding, the Lighting Designer is Tim Lutkin, theSound Designer is Carolyn Downing, the Composer is Andrew T Mackay, Dramaturgy is by Jack Bradley, the Casting Director is Polly Jerrold, the Associate Director is Leigh Toney, the Associate Puppetry and Movement Director is Scarlet Wilderink, the Associate Set Designer is Ross Edwards, the Associate Puppet Designer is Caroline Bowman,  the Costume Supervisor is Sabrina Cuniberto and the Props Supervisor is Ryan O’Conner.  

Based on one of the best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a breath-taking new theatrical adaptation of an epic journey of endurance and hope.

After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen-year-old boy and a 450-pound Royal Bengal tiger. Time is against them, nature is harsh, who will survive?

Award-winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self (1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).  

‘EVERYTHING ABOUT THIS PRODUCTION IS AMAZING.’

OBSERVER

Life of Pi is produced by Simon Friend in association with Playing Field and Tulchin/Bartner.

PRETTY WOMAN THE MUSICAL ANNOUNCES EXTENDED DATES AT STOCKTON GLOBE

COMING TO STOCKTON GLOBE THURS 14TH DECEMBER – SAT 30TH DECEMBER 2023

PRETTY WOMAN: THE MUSICAL will stay on for an extra week of shows in Teesside making it the longest-running musical in the newly restored Stockton Globe since re-opening in 2021. The new dates, announced today, will see the smash-hit Hollywood rom-com run over the Christmas period and will be a must for Teessiders to catch across the festive season at renowned live entertainment venue, Stockton Globe.

Earlier this year producers of PRETTY WOMAN: THE MUSICAL announced  that the show would embark on a UK and Ireland Tour after a successful west end stint at the Savoy Theatre, London.

Arriving to Stockton Globe from Thursday 14th December – Saturday 30th December 2023, PRETTY WOMAN: THE MUSICAL is guaranteed to lift your spirts and light up your heart. The story is set in California, in the late 80s when Vivian meets Edward and her life is changed forever. Be swept up in their romance in this dazzlingly theatrical take on a love story for the ages – and get to know these iconic characters in a whole new way

Featured in the musical is Roy Orbison and Bill Dee’s international smash hit song ‘Oh, Pretty Woman’ which inspired one of the most beloved romantic comedy films of all time. PRETTY WOMAN the film (produced by Arnon Milchan – New Regency Productions) was an international smash hit when it was released in 1990.

PRETTY WOMAN: THE MUSICAL has scenic design by David Rockwell, costumes by Tom Rogers from the original Broadway designs by Gregg Barnes, lighting design by Kenneth Posner and Philip S. Rosenberg, sound design by John Shivers, hair design by Josh Marquette, and music supervision, arrangements and orchestrations by Will Van Dyke. 101 Productions, Ltd are the Global General Management Consultant.

PRETTY WOMAN: THE MUSICAL is produced by Ambassador Theatre Group Productions, Paula Wagner, Nice Productions, LPO, New Regency Productions, Gavin Kalin Productions, Kilimanjaro Theatricals/Joshua Andrews, Hunter Arnold, Caiola Productions & Co., Roy Furman, Edward Walson, deRoy Kierstead and Stage Entertainment.

The new dates added today will run from Thursday 14th December to Saturday 30th December. Tickets are available to purchase for all dates via www.stocktonglobe.co.uk