The Lowry, Salford – until 22^nd April 2023 

Reviewed by Matthew North 

3 *** 

To call The Beekeeper of Aleppo a story for our time would be an understatement. Christy Lefteri’s original novel is the epic, moving tale of a family escaping war-torn Aleppo at the outset of the Syrian civil war and embarking on the dangerous journey to safety – crossing multiple borders before finding safety in Yorkshire.  

We first meet Nuri, the outstanding Alfred Clay, at the end of his story – safe in the UK with his wife, Afra. Clay speaks to the audience in a way that feels he is speaking to you, and only you; his soft but direct tone making it impossible to pay anything but absolute attention. Along with Afra (a deeply moving Roxy Faridany), they begin to reveal the devastating stream of events which made the treacherous journey to safety the only possible option for this small, complex yet fiercely committed family.  

One only needs to look at the front page of a newspaper or scroll twitter for less than thirty seconds to remember that the subject of asylum seekers and our responsibilities to protect them are still at the forefront of the endless political ballgames we seem to be witness to on a daily basis. This adds an almost unbearable poignancy to the story unfolding – but also means The Beekeeper of Aleppo does exactly what any good story should do. It holds a mirror to the audience and demands they take a long hard look.  

This said, whilst the story itself and the performances onstage are unforgettable and linger long beyond the final bow – the production itself fails to make a real impression much beyond the house lights coming up. There are moments of real beauty (an extended scene in the second act set in a park in Athens was a real highlight) but Miranda Cromwell’s direction often feels somewhat chaotic and allows precious little time for the audience (and indeed the characters) to find their feet. This may well have been a stylistic choice to reflect the urgency of the journey taking place but the moments both audience and characters were able to just take a breath were where this production really took flight.  

The combination of design (Ruby Pugh), lighting (Ben Ormerod) and film design (Ravi Deepres) is a similar story. There are moments the three elements come together in incredibly effective fashion (the set suddenly being covered in projected images of the real Aleppo in ruin was perfectly judged and incredibly moving) but also left a real desire for the story taking place in front of us to be the centre of attention as opposed to what was, at times, a rather relentless stream of projections allowing for very little imagination to be put into play. Whilst the technical aspects of the production are genuinely impressive, well maintained and executed very well, it’s hard not to wonder if there was another way of realising the various settings and countries. 

Reservations aside, The Beekeeper of Aleppo amounts to pretty essential viewing – particularly during the tumultuous time we find ourselves currently living in. It has an urgency and a message which needs to be heard now more than ever, never shying away from the harsh realities of a situation all too close to so many people around the world.   

Festival Theatre, Edinburgh – until 22^nd April 2023

 REVIEWED BY RACHEL FARRIER 

5*****

This production, based on the novel by Neil Gaiman, magnificently combines a tale of very real world grief, pain and loneliness with a magical, spell-binding and occasionally horrifying adventure that travels through time and space. It would be impossible to summarise the plot, suffice to say that Neil Gaiman’s own programme notes reveal that he wrote the story to explain where he lived as child to his wife, and that although he does not trust emotions, he knows that she is fan, so he wrote it with this in mind. Over the course of the evening, the audience certainly travelled with the characters through a full range of emotions – it is by turns deeply moving, hilarious, terrifying and poignant.

The set design by Fly Davis is simply outstanding in drawing the audience into the tale. We move seamlessly from forest to farmhouse, and from family home to fantastical, liminal spaces, almost without blinking. The use of the ensemble cast throughout as a kind of constantly moving expression of the play’s energy and pace is incredibly clever and the puppet design (by Samuel Wyer) is spectacular and often deeply sinister. 

 From the outset, Kier Ogilvy is mesmerising as the boy around whom the tale is woven, managing to perfectly convey the energy, confusion, frustration, grief and joy of a twelve year old boy whose world has been turned upside down, in an absolutely stand out performance. The whole cast deserve a similar accolade though – every one of them held the audience captivated, with Finty Williams as Old Mrs Hempstock in particular commanding the stage with beguiling authority and humour. Millie Hikasa as her granddaughter Lettie Hempstock brings energy, grace and ferocity in equal parts, whilst Trevor Fox quite frankly broke my heart as the boy’s griefstricken dad (and also the boy’s middle aged self), trying desperately to hold his family together without being able to speak of the sadness that has riven them apart. 

Fans of the Netflix series ‘Stranger Things’ will identify strong echos throughout this production, not only in the eighties-tastic synth-heavy musical soundtrack, but also in the moments of true horror that held the audience gripped  – there were several moments when I realised I was watching through my fingers. Charlie Brooks as Ursula is electrifying and terrifying in her portrayal of the seemingly delightful (but actually completely monstrous, in every possible way) lodger.

It sounds cliched, but this was theatre at its finest  – beautiful and elegant to watch, whilst taking the audience on a energetic yet deeply moving journey through a story which many will identify with. 

Hull New Theatre – until 22nd April 2023

Reviewed by Dawn Bennett

5*****

Hessle Theatre Company presented Our House The Musical at Hull New Theatre last night. Written by Tim Firth (Calendar Girls and Kinky Boots) with music and lyrics by the group Madness. I’ve always been a fan of the music of Madness but I did wonder how their music could be written into a musical. Well, the answer is it can and it was brilliantly performed by this very talented local theatre company who have been producing high quality theatre for over 101 years!

The story opens when Joe’s Mum, Kath Casey, (Katherine Fitzgerald) tells his dad (Neal Edlin) that she’s pregnant. We then fast forward to Joes surprise 16th birthday party. His Dad is no longer around (but we do see him in some very cleverly done flashbacks throughout the musical).

At Joe’s (Connor Wilson) party his two best friends Emmo (Joe Porte) and Lewis (Joe Spence) are there as well as his new girlfriend Sarah (Rachel Wheatley) and her two friends Angie (Elinor Kirby) and Billie (Megan Wilson).

After the party Joe takes Sarah to Casey Street which was built by his great, great Grandad. Trying to impress her he decides to break into a building site. The police are called and Joe has to make the decision to which path to take. The right path and give himself up or the wrong path and run away. The story unfolds with us watching both paths very well done by costume and scene changes.

Connor Wilson (Joe) played this role so well he was very believable in this role and is a very talented singer and actor. Rachel Wheatley (Sarah) plays her role with such sensitivity and her singing voice…just wow!!!

Joe Porte (Emmo), Joe Spence (Lewis), Elinor Kirby (Angie) and Megan Wilson (Billie) played their characters with excellent comic timing and brought a lot of laughs from the audience.

Hessle Theatre Company always put on a really good productions but this time they have really surpassed themselves. From the excellent band to the very slick ensemble and the rest of the talented cast everyone gave 100%. They are obliviously very well-rehearsed as the comic timing, singing, chorography, dancing and acting was flawless.

Our House was a pleasure to watch, it was an uplifting, joyful production and it would be “Madness” for people not to go and watch!!

EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 22ND APRIL 2023

REVIEWED BY MIA BOWEN

5****

Amid a nine-month UK and Ireland tour, The Commitments rolled into Liverpool last night and is playing the Empire Theatre until Saturday. Based on Roddy Doyle’s 1987 novel and the 1991 film adaptation, The Commitments premiered in 2013 at the Palace Theatre in the West End where it ran for over two years and was quickly recognised as a sensation. As we were taking our seats for the opening night, the theatre was full of anticipation and excitement, not least because many had been waiting a long time for this after it was delayed because of the pandemic.

Packed with Soul and Motown classics from the 50’s and 60’s, The Commitments is sold as a jukebox musical but the diegetic use of music makes it more of a play with music. The songs are performed by the band rather than being sung by characters to express an emotion and the narrative is driven solely by the book scenes.

The Commitments follows the story of Jimmy (James Killeen), a working-class music fan who has big dreams. He takes on the task of pulling together a bunch of amateur musicians, into a sensational live act, with their own original sound and distinctive personalities. But tensions within the band threatens to ruin everything; Deco’s (James Deegan) increasing arrogance, the trio of female singers (Ciara Mackey, Eve Kitchingham, Sarah Gardiner) all getting off with Joe The Lips (Stuart Reid) and saxophonist Dean (Conor Litten) who has a dangerous leaning towards a jazz career.

A group of highly talented performers have been assembled for this production to bring soul to the masses. As well as act, many of the cast play instruments, ensuring that a good time be had by all. They don’t take themselves too seriously and poke fun at each other’s characters.

It’s not the story that the audiences flock for but the music! Packed full of fantastic numbers it features 22 full songs and other snippets, from the proud opening Proud Mary to the closing Try A Little Tenderness.

The set design by Tim Blazdell is impressive in what it achieves. Unfolding out to transform the set from various venues into Jimmy’s home without moving much.

If you are looking for a feel-good night out, this is undoubtedly the show for you! The Commitments is humorous, full of energy and filled with great music but most of all it is an uplifting dose of nostalgia.

Birmingham Repertory Theatre – until 22nd April 2023

Reviewed by Emma Millward 

5*****

“It is a truth universally acknowledged……” that all versions of Jane Austen’s literary classic Pride and Prejudice, whether on the stage, big screen or television, will always capture the imaginations of the public. This production is definitely no exception! From its first run at Glasgow’s Tron Theatre to an Olivier award winning run in the West End, the show has continued to pull in the crowds. Written and co-directed by Isobel McArthur, it takes the classic story and gives it a modern twist. All the characters, both male or female, are played by the small but powerful cast of five female actors. Lightning fast costume changes, set changes, karaoke (yes, you read that correctly!) and perfectly timed choreography keeps the story moving along. 

As the show begins, we meet five female servants, all clad in white petticoat dresses, Doc Marten boots and carrying dusters. They swiftly move into the audience and start to clean surfaces and audience members (my unsuspecting boyfriend had his shoes polished!). The ladies then take to the stage and explain they are the often ignored characters in the story. The people who are in the background keeping the stately homes clean and helping their masters in their pursuit of love (and clean bed sheets!) What follows is a fast-paced and hilarious rendition of the classic story, which both manages to stay true to Jane Austin’s original story-line, but also turns it on its head. We get to see Moët and WKD Blue swigging Bennett sisters, vase vomiting and lots of colourful-expletive filled dialogue.

We meet the Bennett family, led by Mrs Bennett (played with wonderfully frenetic energy by Dannie Harris) and her five daughters. One of these daughters must marry into money before the death of their father, Mr Bennett (played here by a silent chair with its back to the audience, with only a newspaper visible) or they will lose their inheritance and home. The daughters are dispatched to try to find husbands. Jane Bennett (Megan Louise Wilson) meets the friendly Charles Bingley (Lucy Gray) and there is an instant attraction. The much more cautious Elizabeth Bennett (played with a loud and often raucous Welsh accent by the wonderful Emmy Stonelake) meets the aloof Mr Darcy (Dannie Harris again). He doesn’t impress her much and she shows this with a show-stopping rendition of Carly Simon’s ‘You’re So Vain’ dedicated to him. She comes to realise there is more to Fitzwilliam Darcy than meets the eye. Although along the way, she has to endure excruciatingly awkward proposals from Darcy and the rather dull Mr Collins (Leah Jamieson, complete with a monotonous voice that definitely made the audience chuckle).

There is not enough space here for me to write about all the stand-out moments of the show. From the amazing co-ordination/timing of the small, but perfectly formed cast, to the clever use of layered costumes over the petticoat dresses (a tailcoat for Mr Darcy was especially effective) to differentiate between the characters. The props throughout the show are cleverly used for comic effect, especially a photo frame that was definitely, for me, one of the funniest moments in the show . The cast also make use of lots of musical instruments, including a piano, saxophone and flute to add to the musical interludes, which varied from songs by Pulp, Elvis Costello and even Chris De Burgh!

Whether you are a die-hard Austen fan or not, with a generous helping of laughter, music, romance and microphones, this show has something for everyone!

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A SPOTLIGHT ON – A BRAND-NEW VIDEO STREAMING SERVICE LAUNCHES TODAY

ILLUMINATE YOUR CURIOSITY AND DISCOVER THE STORYTELLERS THAT MAKE THEATRE HAPPEN.

FROM TODAY, A SPOTLIGHT ON CASTS ITS LIGHT ON LOLITA CHAKRABARTI, SIMON RUSSELL BEALE, NATALIE MAY PARIS AND MICHAEL AHOMKA-LINDSAY

Theatre producers Chris Wheeler and Paul Morrissey are pleased to share a brand-new digital subscription platform, A Spotlight On.

This eagerly anticipated announcement took place today in the heart of London’s West End at the Prince of Wales Theatre. A Spotlight On is a brand-new subscription based streaming service aiming to shine a light on everyone who makes theatre possible.

However, the Co-Founders were keen to emphasise, A Spotlight On is more than a video streaming service. It is an entertainment hub and an educational resource. A place where you can get to know the storytellers, through masterclasses and never before seen interviews to unique concerts and much more besides.

Available from today, theatre enthusiasts from across the globe can celebrate their passion for theatre by subscribing.

Inspired by the UK’s theatre industry, A Spotlight On showcases its vital importance. Theatre is neither niche, nor non-viable and neither is the army of workers, creatives and fans.

A Spotlight On has launched with a selection of carefully curated interviews that will inspire, educate, and illuminate. Hosted by Radio and TV broadcaster Penny Smith, TV and West End theatre star Mel Giedroyc and deputy editor of The Stage, Matt Hemley. 

These candid, personal interviews break the fourth wall and place the spotlight directly on the artists working in theatre. Episodes streaming now: actress and award-winning playwright Lolita Chakrabarti OBE (Life of Pi, Hamnet), Sir Simon Russell Beale CBE (The Lehman Trilogy), Olivier nominated Queen Natalie May Paris (SIX) and currently starring in Newsies as Jack Kelly Michael Ahomka-Lindsay.

The joint founders and CEOs of A Spotlight On announced audiences will be able to access over 100 hours of never-before-seen content over the next twelve months, and with thirty-seven additional interviews to be announced, there will be something to pique the interest of every theatre lover.

The joint founders and CEOs of A Spotlight On said: 

“A Spotlight On is like Disney+ but exclusively for theatre. The service has everything you’ve come to know and love about Netflix and Amazon Prime. An elegant and simple design, easy to navigate libraries and collections, uninterrupted streaming technology and secure payment and data handling. However, A Spotlight On has a whole lot more. Within the platform, you have the ability to personalise and customise your experience. All of our content is presented in multiple ways. So, whether you want to sit back, cast to your smart TV, and binge our cinema-quality content in one go, or dive into our bitesize clips from time to time, with A Spotlight On, that’s all possible.

With our unique tagging features and soon to be released iOS and Android apps, you can build your own playlists, tailored to what you want watch. So, whether you are an early career writer wanting to collate inspirational tips from Patrick Marber and Lolita Chakrabarti or a super fan of musical theatre wanting to save your favourite anecdotes from Charlie Stemp or Natalie Paris – with A Spotlight On – you can.

With our community pages you can share, discuss, and celebrate our content and your passion with like-minded individuals. As a member of our community and subscriber to A Spotlight On, you will receive exclusive member benefits such as the chance to attend our filming sessions, discounts at partner organisations and meet and greets throughout the year.”

Not only will A Spotlight On bring you world leading actors, writers, directors, and designers, but through a partnership with blogger and writer Mickey Jo Boucher (Mickey Jo’s Theatre Blog), A Spotlight On will also shine the light on the unsung heroes of theatre, including Rebecca Pitt (Graphic Designer), John Bullied (Illusion Designer), Tome Levi (Injury Prevention Consultant) and Danny Kaan (Photographer).

The joint founders and CEOs for A Spotlight On also announced that production on an exciting new series of Industry Masterclasses will begin soon.

They are thrilled to be collaborating on a series of exclusive masterclasses with musical maestro Stephen Brooker (Les Misérables, London, Broadway, Motion Picture, Miss Saigon and Mary Poppins), writer, director, and acclaimed previous Artistic Director of Theatre Royal Stratford East Kerry Kyriacos Michael MBE, and the League of Independent Producers.

As well as a series of unique and original concerts and performances from the stars of the West End and Broadway, featuring Alexia Khadime, Christina Allado, Emma Hatton, Dan Koek, Carl Man and Ashley Stilburn.

A Spotlight On is available to stream, download and enjoy now.

FULL CAST ANNOUNCED FOR THE NATIONAL THEATRE’S ACCLAIMED PRODUCTION OF 

THE CRUCIBLE  

OPENING IN LONDON’S WEST END THIS SUMMER  

FOR A STRICTLY LIMITED RUN

The National Theatre today announced full casting for the highly anticipated West End transfer of director Lyndsey Turner’s acclaimed production of The Crucible.  With set designed by Es Devlin, this contemporary new staging of Arthur Miller’s gripping parable of power and its abuse will play at the Gielgud Theatre from 7 June until 2 September, with a press night on 15 June 2023. 

Brian Gleeson (Bad Sisters, Apple TV; Peaky Blinders, BBC One) as John Proctor, Caitlin FitzGerald (Succession, HBO; Masters of Sex, Showtime) as Elizabeth Proctor, Ron Cook (Hot Fuzz; Universal Pictures; Mr Selfridge, ITV) as Giles Corey join thepreviously announced Milly Alcock (House of the Dragon, HBO; Upright, Foxtel) as Abigail Williams.  They are joined by Christopher Birch, Lucy Brindle, Grace Farrell, Chyna-Rose Frederick, Miya James, Ebony Jonelle, Tama Phethean, Amy Snudden, Nia Towle and Samuel Townsend. 

Returning to the production following its sold-out run at the National Theatre are Fisayo Akinade (Romeo & Juliet, National Theatre; Heartstopper, Netflix)as Reverend Hale and Matthew Marsh (Dunkirk, Warner Bros; The Iron Lady, Pathé) as Danforth.  Completing the cast are David Ahmad,Zoë Aldrich, Stephanie Beattie, Raphael Bushay, Henry Everett, Nick Fletcher, Colin Haigh, Nadine Higgin, Gracie McGonigal, Alastair Parker, Joy Tan and Tilly Tremayne. 

A witch hunt is beginning in Salem. Raised to be seen but not heard, a group of young women suddenly find their words have a terrible power. As a climate of fear spreads through the community, private vendettas fuel public accusations and soon the truth itself is on trial.  

Olivier Award-winner Lyndsey Turner (Chimerica) is an Associate of the National Theatre.  Hercritically acclaimedproduction of The Crucible originally ran at the National Theatre in autumn 2022, receiving Olivier Award nominations for ‘Best Revival’ and ‘Best Lighting Design’ by Tim Lutkin earlier this year.  Other credits for the National Theatre include, Under Milk Wood, Top Girls, Light Shining in Buckinghamshire, There is a War and Edgar and Annabel.  Other productions include, A Number at the Old Vic; Far Away, Faith Healer and Fathers and Sons at the Donmar Warehouse; Hamlet at the Barbican; The Treatment and Chimerica at the Almeida (including the West End transfer); and Girls and Boys, Posh and Contractions at the Royal Court. 

Tony Award®-winner Es Devlin recent theatre credits include The Lehman Trilogy, currently playing in the West End and A Number at the Old Vic, also directed by Lyndsey Turner.  Other recent work includes, Come Home Again at the Tate Modern and Conference of the Trees at COP26 in Glasgow.  Devlin has also conceived stage sculptures with Beyoncé, The Weekend, U2, Kanye West, Saint Laurent, Dior and the 2021 and 2022 Super Bowl halftime shows as well as Olympic Ceremonies in London and Rio.  Upcoming theatre work includes The Motive and the Cue and Dear England at the National Theatre. 

Lyndsey Turner and Es Devlin are joined by,costume designer, Catherine Fay; lighting designer, Tim Lutkin. Sound design is by Tingying Dong (content design); and Christopher Shutt (system design). Composer and arranger is Caroline Shaw; and music director and arranger is Osnat Schmool; with casting by Alastair Coomer CDG and Naomi Downham. They are joined by associate director, Blythe Stewart; associate set designer, Ellie Wintour; associate lighting designer, Max Narula; fight director, Bret Yount; lead intimacy director, Ita O’Brien for Intimacy On Set; intimacy director, Louise Kempton for Intimacy On Set; voice and dialect coach, Kate Godfrey; dialect coaches, Danièle Lydon and Hazel Holder; assistant music director, Alice Grant and resident director, Sophie Dillon Moniram. 

The Crucible in the West End is supported by American Express, the National Theatre’s Preferred Card Partner.

Yvonne Arnaud – until Saturday 22 April 2023

Reviewed by Heather Chalkley

3***

As a first attempt at playwriting Ian Hallard has pulled in all his experience, both lived and played, to bring us a story of friendship and love. We have a window into a closeness between two gay men of a certain age, who have this crazy idea to create an ABBA tribute band, with a twist!

It is a poignant moment hearing the late Paul O’Grady giving the introduction. Keeping it in is a fitting tribute. His warmth and words set the scene. We first meet fast talking Jodie (Rose Shalloo) who gives an impressive dialogue with apparently no breath taken for several minutes! Jodie brings a humour to the piece with her honesty and Shalloo is childlike, delivering some very funny grown up lines! Writer and main character, Ian Hallard, is the serious Peter, who is on a journey to fulfil a dream and has an unrequited passion for ABBA. James Bradshaw (Edward) gives a dry, slightly jaded humour that compliments Peter perfectly. They rub along like an old pair of slippers for a while, until ABBA super fan Christian (Andrew Horton) enters the room. The story gives us hope that true friendship can last forever, regardless of the devious nature of characters like Christian. Sally (Donna Berlin) is the glue that brings the play together, keeping it real and looking after everyone. Sara Crowe (Mrs Campbell) is the star of the show for me, with perfectly timed, straight faced gags that have you rolling with laughter. Crowe’s experience shines through and she is in her element with this character.

The costume, particularly in the finale, takes you straight back to the 70’s when ABBA won the Eurovision Song Contest. We finally hear one live ABBA song, as the two old friends repair their friendship, sitting on the settee gently singing together. Hallard’s first time out as a writer has many reflections of his own life and as a result has all the humour and passion of a touching human story.

The Barn Theatre presents

I’m Sorry, Prime Minister, I Can’t Quite Remember

Written and Directed by Jonathan Lynn

• FINAL CHAPTER IN THE MUCH-LOVED YES, PRIME MINISTER SERIES TO RECEIVE ITS WORLD PREMIERE AT THE BARN THEATRE
• WRITTEN AND DIRECTED BY JONATHAN LYNN THE PRODUCTION WILL PREVIEW FROM 25 SEPTEMBER AND WILL RUN UNTIL 4 NOVEMBER (PRESS NIGHT: 28 SEPTEMBER)
• CAST WILL BE ANNOUNCED AT A LATER DATE
• TICKETS ARE NOW ON SALE FROM WWW.BARNTHEATRE.ORG.UK
• THE PRODUCTION IS DEDICATED TO ANTONY JAY

The Barn Theatre in Cirencester is delighted to announce that the world premiere of I’m Sorry, Prime Minister, I Can’t Quite Remember will take place this autumn with the production previewing from 25 September and running until 4 November. Written and directed by Jonathan Lynn, the cast for this production will be announced at a later date.

Following the sad passing of Antony Jay, his longtime writing partner, in 2016, Jonathan Lynn returns once more to the much loved characters Jim Hacker and Sir Humphrey Appleby in this final chapter of the series which sees the pair in their old age facing up to life after their exit from public service. Holed up in his new home at Hacker College, Oxford, Jim finds himself, as ever, in the midst of a set of problems mainly of his own making. Unsure of how to cope, he calls on his old and not so loyal Permanent Secretary Sir Humphrey Appleby. What ensues carries all the hallmark comedy of this classic partnership as well as being a touching portrait of two old sparring partners trying desperately to figure out the modern world and work out what their place is in it. In doing so they discover friendship and empathy as well as learning a few hard lessons about life.

Jonathan Lynn said of today’s announcement, “I wanted to write the final chapter about Jim Hacker and Sir Humphrey Appleby, now in their 80s, discarded, ignored, watching today’s world with utter bewilderment. An elegiac play about old age and loss – loss of power, loss of influence, loss of friends, loss of family. The only play I’ve ever seen on this theme is King Lear. This will be funnier.”

Yes Minister is a British political satire sitcom written by Antony Jay and Jonathan Lynn. Comprising three seven-episode series, it was first transmitted on BBC2 from 1980 to 1984. A sequel, Yes, Prime Minister, ran for 16 episodes from 1986 to 1988. A hugely successful stage play entitled Yes, Prime Minister was premiered at Chichester Festival Theatre in May 2010. The production transferred to the West End where it played at three different theatres and also toured the UK twice to great acclaim. 

Set principally in the private office of a British cabinet minister in the fictional Department of Administrative Affairs in Whitehall, Yes Minister follows the ministerial career of Jim Hacker, played by Paul Eddington. His various struggles to formulate and enact policy or effect departmental changes are opposed by the British Civil Service, in particular his Permanent Secretary, Sir Humphrey Appleby, played by Nigel Hawthorne. The series received several BAFTAs and in 2004 was voted sixth in the Britain’s Best Sitcom poll. It was the favourite television programme of the then Prime Minister of the United Kingdom, Margaret Thatcher.

Further information on cast and creative team will be announced at a later date.

LISTING INFORMATION

BARN THEATRE  

Address: Barn Theatre, 3 Beeches Road, Cirencester, GL7 1BN

Box Office (Phone): 01285 648 255 (M-F 10am-10pm, Sa 1pm-10pm)

Box Office (Online): [email protected]

Website: barntheatre.org.uk

YouTube: youtube.com/thebarntheatre

Twitter: @thebarntheatre

Instagram: @thebarntheatrecirencester

Facebook: facebook.com/thebarntheatrecirencester

THE UK AND IRELAND TOUR OF

HAMILTON

ANNOUNCES FURTHER DATES

SEASONS IN BRISTOL, BIRMINGHAM, DUBLIN, CARDIFF, BRADFORD, SOUTHAMPTON, LIVERPOOL, SUNDERLAND, PLYMOUTH

AND NORWICH NOW ANNOUNCED

THE LONDON PRODUCTION CONTINUES TO PLAY

TO SELL-OUT HOUSES AT THE

VICTORIA PALACE THEATRE

WHERE IT IS CURRENTLY BOOKING UNTIL 2 MARCH 2024

Producers Jeffrey Seller and Cameron Mackintosh are delighted to announce further dates for the UK and Ireland tour of the multi award-winning HAMILTON.

As previously announced the tour will open at Manchester Palace Theatre on Saturday 11 November 2023 for a 15 week season until Saturday 24 February 2024 followed by a run at the Festival Theatre, Edinburgh from Wednesday 28 February – Saturday 27 April 2024.

In the first few weeks of the show going on sale in Manchester and Edinburgh many performances are already sold out with both theatres seeing unprecedented levels of ticket sales.

Following Manchester and Edinburgh, HAMILTON will visit Bristol Hippodrome (Tuesday 30 April – Saturday 22 June 2024), Birmingham Hippodrome (Tuesday 25 June – Saturday 31 August 2024), Bord Gáis Energy Theatre, Dublin (Tuesday 17 September – Saturday 16 November 2024), Wales Millennium Centre, Cardiff (Thursday 26 November 2024 – Saturday 25 January 2025), Alhambra Theatre, Bradford (Tuesday 28 January – Saturday 15 March 2025), Mayflower, Southampton (Tuesday 18 March – Saturday 26 April 2025), Liverpool Empire (Tuesday 6 May – Saturday 7 June 2025), Sunderland Empire (Tuesday 17 July – Saturday 26 July 2025), Theatre Royal, Plymouth (Wednesday 30 July – Saturday 6 September 2025) and Norwich Theatre Royal (Wednesday 17 September – Saturday 25 October 2025).

A brand new company for the UK and Ireland tour is currently being assembled from over 3000 hopeful artists. The cast for the UK and Ireland tour will be announced soon.

Sign-up at hamiltonmusical.com for access to priority tickets for future on-sales.

The Olivier, Tony, Grammy and Pulitzer Prize-winning musical opened at the newly re-built and restored Victoria Palace Theatre in London in December 2017 where it continues to play to sell-out houses and is currently booking until 2 March 2024. The production continues to play to record breaking houses on Broadway at the Richard Rodgers Theatre, throughout North America, in Toronto, Australia and Germany with forthcoming seasons in New Zealand an International tour also planned.

HAMILTON is the story of America then, told by America now.  Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. 

With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography.  The HAMILTON creative team previously collaborated on the Tony Award®-Winning Best Musical In the Heights.

HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe.

HAMILTON is produced in the UK by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Cameron Mackintosh.

LISTINGS

HAMILTON TOUR

SATURDAY 11 NOVEMBER 2023 – SATURDAY 24 FEBRUARY 2024

MANCHESTER PALACE THEATRE

atgtickets.com/palace-theatre-manchester

ON SALE NOW

WEDNESDAY 28 FEBRUARY – SATURDAY 27 APRIL 2024

FESTIVAL THEATRE, EDINBURGH

capitaltheatres.com

ON SALE NOW

TUESDAY 30 APRIL – SATURDAY 22 JUNE 2024

BRISTOL HIPPODROME

www.atgtickets.com/shows/hamilton/bristol-hippodrome

ON SALE 15 MAY 2023

TUESDAY 25 JUNE – SATURDAY 31 AUGUST 2024

BIRMINGHAM HIPPODROME

birminghamhippodrome.com

ON SALE 10 MAY 2023

TUESDAY 17 SEPTEMBER – SATURDAY 16 NOVEMBER 2024

BORD GÁIS ENERGY THEATRE, DUBLIN

bordgaisenergytheatre.ie

ON SALE 28 APRIL 2023

TUESDAY 26 NOVEMBER 2024 – SATURDAY 25 JANUARY 2025

WALES MILLENNIUM CENTRE, CARDIFF

wmc.org.uk

ON SALE SOON

TUESDAY 28 JANUARY – SATURDAY 15 MARCH 2025

ALHAMBRA THEATRE, BRADFORD

bradford-theatres.co.uk

ON SALE SOON

TUESDAY 18 MARCH – SATURDAY 26 APRIL 2025

MAYFLOWER THEATRE, SOUTHAMPTON

mayflower.org.uk

ON SALE SOON

TUESDAY 6 MAY – SATURDAY 7 JUNE 2025

LIVERPOOL EMPIRE

atgtickets.com/venues/liverpool-empire

ON SALE SOON

TUESDAY 17 JUNE – SATURDAY 26 JULY 2025

SUNDERLAND EMPIRE

atgtickets.com/venues/sunderland-empire

ON SALE SOON

WEDNESDAY 30 JULY – SATURDAY 6 SEPTEMBER 2025

THEATRE ROYAL, PLYMOUTH

theatreroyal.com

ON SALE SOON

WEDNESDAY 17 SEPTEMBER – SATURDAY 25 OCTOBER 2025

NORWICH THEATRE ROYAL

norwichtheatre.org

ON SALE SOON