Titanic The Musical has sailed its way into Blackpool and what a show it is.
I have to say that the 11 Academy Award-winning worldwide film directed by James Cameron is a huge favourite of mine and I have lost count of the number of times that I have seen it. Trying to recreate the story of Titanic and its final hours into a musical was something that I was interested in seeing and I can only say what a fabulous 5 times Tony Awards production created by Maury Yeston and Peter Stone it was.
The musical is about the maiden voyage of RMS Titanic from Southampton to New York and the collision with an iceberg that resulted in the sinking of the described “unsinkable ship” on the 14th of April 1912 which was one of the most tragic disasters of the 20th century with 1517 men, women and children losing their lives.
Based on real people who were aboard this legendary ship including J. Bruce Ismay of the White Star Line, Edward Smith the captain and Thomas Andrews the builder this musical is an impressive and stirring production which focuses on the hopes, dreams, and aspirations of her passengers who each boarded with stories of their own.
This production starred Martin Allanson as J. Bruce Ismay, Graham Bickley as Captain Edward Smith and Ian McLarnon as Thomas Andrews who were supported by an incredible cast. Their voices can only be described as out of this world and along with their acting talents created such a presence on stage in telling a truly remarkable story.
Special thanks are also needed to Thom Southerland the Director, Maury Yeston for music and lyrics, David Woodhead for creating such an adaptable set and for the authentic costumes, Andrew Johnson for sound, Howard Hudson for lighting and Cressida Carre for musical staging.
Please Note: Titanic the Musical is not a musical of the film. This is the Broadway musical
Having grown up listening to Whitney Houston’s music playing on the radio and watching The Bodyguard at the cinema in 1992, I was a little bit apprehensive about watching the show. Despite becoming an international, award-winning smash hit musical, I was chary of it turning out to be a Whitney Houston tribute act instead of a West End Show, but this musical made a significant impact from the offshoot. I was pleasantly surprised!
Let’s be honest, the real reason audiences love The Bodyguard is the incredible soundtrack featuring Whitney Houston. Stepping into the shoes of an icon must have been demanding for former Pussycat Doll Melody Thornton, but from the moment she appears on stage, belting out ‘Queen Of The Night’, she commands the audience and makes the role her own!
Whilst Thornton (Rachel Marron) might be the real star, Emily-Mae (Nicki Marron) as Rachel’s sister comes close to stealing the show. She is an excellent addition to the cast and shows off some awe-inspiring vocals in ‘Saving All My Love For You’, standing out as a highlight for me.
Youngster Iesa Miller who plays Rachel’s son, Fletcher is lovable with his charming smile and receives some of the loudest cheers of the night during act two and the encore when he shows off some surprising vocals.
There is some amazing choreography throughout by Karen Bruce and the dancers are full of relentless energy. Tim Hatley’s set and costume design makes the audience feel like they’re at an explosive, fiery live concert.
Ultimately this show is all about the music and with Musical Director Sam Hall and his five-piece orchestra delivering the score of emotional and lively numbers with such energy, the audience was desperate to get up on their feet and join in.
It is 11 years since the tragic death of Whitney Houston but her legacy lives on in The Bodyguard The Musical. Alexander Dinelaris (book) brings the story forward to the present day. The musical will conjure up feelings of nostalgia and you don’t have to be a Houston fan to appreciate how grand it is.
Park Theatre, Finsbury Park – until 8th April 2023
Reviewed by Bobbi Fenton
5*****
‘Leaving Vietnam’ is an absolutely amazing play, written and performed by the brilliant Richard Vergette, showing how our individual experiences shape our characters and political views. Set in a car garage in America, We listen to decorated Vietnam War Veteran, Jimmy Vandenberg, tell his life story. Joining the US Marines at an early age, influenced by the photo of his grandfather, Jimmy tells stories about his time serving in Vietnam, about his friends and acquaintances he served alongside. After returning, he works in a ford garage before opening his own garage specialising in Ford Mustangs, although the play takes place when he is reaching retirement and taking on one last job. Through his stories we see how such a traumatic experience can impact on someone’s memory, as Jimmy tells stories about Vietnam in a non-chronological order, and goes back to stories because he has remembered another part of it. As a whole, this play does an amazing job of portraying how war affects people, and how many soldiers coming back from war struggle to adjust to being back at home, feeling as though they never left the war. As a result of serving in Vietnam, and realising how unfair it was that he had served when other men had escaped the draft, as well as the beliefs of the majority that the Vietnam War was shameful, we see Jimmy lean towards a certain political figure and their beliefs to ‘Make America Great Again’, which speaks specifically to Jimmy’s resentment towards his sacrifices going unacknowledged.
This play is a masterpiece. It expertly portrays how the men who returned from Vietnam were seen as the bad guys, and how these men felt betrayed by the very country that they had served. It is a reflection of how time and time again, people who feel disillusioned and excluded tend to turn towards populist politicians and views, voting for the same parties that are responsible for treating them so badly, such as mining communities in the UK voting for the same party in 2019 that was to blame for their demise in the 1980’s coal miners’ strike.
Throughout the play, the audience are on the side of Jimmy, feeling sympathy for him as he experiences such awful things, and a sense of disappointment on his behalf that he returned to a country that saw his and all the other men’s service as shameful. However towards the end of the play we are forced to shift our views of Jimmy as he becomes a Trump supporter, and we see how he exhibits some racist and homophobic views, although these views are challenged during a visit from the son of an old friend, which helps to repair the relationship with his wife as he reaches an understanding of why his views are seen as wrong by his wife. Everybody should experience this brilliant play.
We really did feel the love tonight, as TheLion King majestically made its way to Sunderland on its UK tour.
Confession time – I’ve never seen TheLion King, neither the films or the show! But I had my friend with me who loves TheLion King and had watched it repeatedly over the weekend in preparation for our trip.
Based on Shakespeare’s Hamlet,TheLion King tells the tale of Simba, the son of King Mufasa (Jean-Luc Guizonne) and his lioness mate Sarabi (Tanisha-Mae Brown). After Mufasa is killed, young Simba feels he is to blame and runs away. He is found by Timon (Alan McHale) and Pumba (Carl Sanderson) who take care of him whilst he grows into an adult. Simba’s evil uncle Scar (Richard Hurst), mistakenly thinking Simba is dead, assumes the throne. But whilst Musafa was worshipped and adored by the animals of the land, Scar is hated. Returning to Pride Rock as an adult, Simba (Kyle Richardson), helped by Timon and Pumba, his mother and childhood friend Nala (Nokwanda Khuzwayo), fight the Hyenas (Candida Mosoma, Jorell Coiffic-Kamall and Alex Bloomer) who protect Scar. Simba defeats Scar when he admits he killed Mufasa. Simba then becomes King and the Circle of Life shows us Simba showing off his new cub at Pride Rock.
The start of The Lion King is iconic, sitting in the stalls and watching the animals walk through the stalls by us. Giraffes, birds, zebras and even an elephant triumphantly parading to Pride rock to see Rafiki (Thandazile Soni) triumphantly display baby Simba to the world.
The staging of the show is outstanding. Julie Taymor’s direction, costume design, mask and puppet design; Elton John and Tim Rice’s music and lyrics; book by Irene Mecchi and Roger Allers; Gareth Fagan’s choreography; Richard Hudson’s scenic design; Donald Holder’s lighting design; Michael Ward’s hair and make-up and Steve Canyon Kennedy’s sound design all come together to make this yet another Disney spectacular. I particularly liked the movement of the actors as they prowled rather than walked and the way the actors spoke to the faces on the masks and not the actors actual face
Whilst its difficult not to name check all the performers, for me I thought the young Simba (Ro’jae Simpson on press night with Daniel Adesina, Miles Jabbie, Remirez Mais Jayden Salami and Jay’don Eastman sharing the role) and young Nala (Gabrielle McDonald on press night with Lacey Lansiquot, Nokutenda Mushuku, Harmoney Raine Riley, Lauren Simpe-Asante and Adreanna Steventon-Todd all sharing the role) were very talented and self-assured, definitely stars of the future. And a special mention to Matthew Forbes who shone as Zazu – I loved his sarcastic rendition of Let It Go.
Disney theatricals have triumphed yet again. It is a long show at two and half hours; so if you are taking your children, maybe consider a matinee performance – there are three in Sunderland: Wednesday, Saturday and Sunday. This is a magnificent spectacle of a show and whilst I might not have seen it before, I definitely plan to see it again. Disney at its best – Hakuna Matata
HAMNET TO TRANSFER TO THE WEST END’S GARRICK THEATRE THIS AUTUMN
The Royal Shakespeare Company and Neal Street Productions, in association with Hera Pictures, today announce the West End transfer of Hamnet.
STAGE PREMIERE PRODUCTION OF HAMNET TO TRANSFER DIRECT FROM SELL-OUT STRATFORD-UPON-AVON RUN TO THE GARRICK THEATRE FOR 14 WEEKS
HAMNET RUNS FROM SATURDAY 30 SEPTEMBER 2023 – SATURDAY 6 JANUARY 2024 WITH TICKETS ON SALE TO THE PUBLIC FROM THURSDAY 6 APRIL AT 10AM
BASED ON THE BEST-SELLING NOVEL BY MAGGIE O’FARRELL, WINNER OF THE WOMEN’S PRIZE FOR FICTION, 2020.
ADAPTED BY AWARD-WINNING PLAYWRIGHT LOLITA CHAKRABARTI AND DIRECTED BY RSC ACTING ARTISTIC DIRECTOR ERICA WHYMAN
MADELEINE MANTOCK TO PLAY AGNES HATHAWAY
The stage production of Hamnet will transfer direct to London’s Garrick Theatre this autumn after selling out ahead of its world premiere at the newly restored Swan Theatre in Stratford-upon-Avon this April.
The production will run for a limited 14-week season from Saturday 30 September 2023 – Saturday 6 January 2024 with a press performance on Thursday 12 October 2023.
The RSC has worked in partnership with Neal Street Productions, one of the UK’s most respected production companies, producing film, television and theatre. The novel was first optioned by Hera Pictures who together with Neal Street secured the rights to bring Maggie `O’Farrell’s celebrated novel to the stage.
Maggie O’Farrell said: “It’s wonderful and welcome news that Hamnet will transfer to the Garrick Theatre later this year. I was astonished at how fast the Stratford-upon-Avon tickets sold and it’s lovely to know that more people will have the chance to see it in its new London home. It has been a joy from start to finish to work with the RSC, Hera Pictures, Neal Street Productions, director Erica Whyman and playwright Lolita Chakrabarti on bringing this adaptation into being. I have been lucky enough to attend rehearsals, and to have a glimpse into the creative process of transposing a novel into a play has been fascinating. The cast are fantastic, each and every one, and are breathing new life into the story for its stage version. The motivation, for me, in writing the novel was to give a voice and a presence to the only son of William Shakespeare, who died when he was eleven and has ever since been relegated to a literary footnote in his father’s biography. Although Shakespeare was born in Stratford-upon-Avon and maintained strong ties with the town throughout his life, choosing to return to his family there when he retired, London was of course the centre of his professional life. It feels particularly apt and moving, therefore, that a play which puts Hamnet centre stage will now move to the world of theatrical London.”
Lolita Chakrabarti said, “I am beyond excited that Hamnet is transferring, following the sell-out run at the Swan. It has been a real journey to adapt Maggie’s beautiful, deep novel, but this is a story of the joys and trials of family life, so it has been very familiar as well. This play is, in part, about William Shakespeare, but it is mainly about Agnes Hathaway, the wife who gave him three children. It is the imagined story of their life. It feels right that we bring Hamnet to London, to the streets he would’ve walked and the world he inhabited. The West End is no stranger to Shakespeare’s work, but I hope London audiences will come to see Hamnet to meet the entire Shakespeare family and discover more about the works they helped to inspire.”
This new play based on the best-selling novel by Maggie O’Farrell, adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the story of the greatest writer in the English language and the woman who was the constant presence and purpose of his life.
Madeleine Mantock will play Agnes Hathaway, in her RSC debut. Madeleine made her West End stage debut in 2021 playing Elvira in Richard Eyre’s production of Blithe Spirit at the Harold Pinter Theatre. For TV, Madeleine recently played Macy Vaughn in CBS studios series Charmed and Miss Clara in the BBC’s The Long Song. Other TV credits include The Tomorrow People (Warner Brothers), Age Before Beauty (BBC) and Into the Badlands (AMC). Madeleine’s film credits include Breaking Brooklyn (Montage Films), The Truth Commissioner (BBC Films) and Edge of Tomorrow (Warner Brothers).
Warwickshire,1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family.
When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born.
Hamnet has sold over a 1.5 million copies worldwide and was named both Waterstones Book of the Year and winner of the National Book Critics Circle Award in 2020. The novel also saw Maggie O’Farrell named the winner of the 2020 Women’s Prize for Fiction; the UK’s most prestigious annual book award celebrating and honouring fiction written by women. As the No. 1 Sunday Times Bestseller in 2021, Hamnet was shortlisted for the Walter Scott Prize for Historical Fiction (2021) and British Book awards ‘Fiction Book of the Year’ (2021).
The production will feature Set and Costume Design by Tom Piper, Lighting by Prema Mehta, Sound by Xana, Music by Oğuz Kaplangi, Casting by Amy Ball CDG and Movement by Ayse Tashkiran.
Erica Whyman, Acting Artistic Director of the Royal Shakespeare Company said; “I have been overwhelmed by the response to Hamnet in Stratford and the palpable excitement about bringing this beautiful and important book to the stage.
We are having a rewarding and inventive time in rehearsals and I’m delighted that we will now be able to share this emotional rollercoaster of a story with audiences in London. It has meant the world to me to be collaborating with Neal Street and Hera Pictures who have supported the idea of this adaptation from the very beginning and are making this transfer possible.
The RSC is enormously proud of the new work we make and we are always seeking partners so that we can share our work in London, most recently the phenomenally successful My Neighbour Totoro with the Barbican, Improbable and Nippon TV and later this year The Empress will be at the Lyric Hammersmith.
Hamnet is a compelling story about love. It transcends 400 years of history – a history some of us may know – and speaks with total freshness straight to our hearts. It is a story of birth, death and hope which centres characters and lives who have been left in the shadows. It is also a hymn to the unique emotional wisdom of the theatre. Lolita’s brilliantly sharp adaptation carries us from the wildflowers of Stratford to the boisterous success of London theatre – and now the production will too!”
Caro Newling, Neal Street Productions said; “Maggie O’Farrell’s piercing account of Hamnet’s short life and his immeasurable legacy has found a perfect home at the Swan Theatre. To collaborate with the RSC, led by Erica and the creative team she has built to make this production, fulfils a long-held hope to make a stage adaptation rooted in the fullest possible appreciation of the story’s time, place and spirit. The appetite for this title has powered immediate plans for a move to London and we’re delighted to be arriving at the Garrick Theatre within weeks of the run at Stratford-upon-Avon.”
Wish you Were Dead is taken from a recent Peter James novella of the same name and features the by now well-known detective DS Roy Grace and his wife Cleo. Unusually for a Roy Grace story, the setting is not Brighton. Apparently inspired by a real holiday experienced by the author, we are transported to Northern France, where we are treated to an almost Agatha Christie-like single location thriller.
On holiday with their new baby, and accompanied by their nanny, Roy and Cleo arrive at what the advertising promised to be a dream location but instead turns out to be anything but.
Arriving late, due to SatNav navigation problems, they find themselves in a grand but creepy old French chateau with an exceptionally, even comically, grumpy hostess Madame L’Eveque (played with panache by Rebecca McKinnis) who complains about their tardiness and generally makes them feel unwelcome. Add to this the apparent lack of modern facilities like mobile phone reception and wifi, and their isolation sets the scene for the difficulties that are to come.
Perhaps I have been spoiled by reading some of the novels and seeing dramatisations of Roy Grace stories on television, but I have an impression of how Roy Grace presents himself to the world – an urbane and thoughtful older man with a difficult internal world – partly down to the rigours of his job and partly due to the mysterious disappearance of his first wife that has darkened his life.
In this production, George Rainsford (Casualty), plays Grace as a younger, more highly strung character – less frustrated by his situation and more desperate; although, to be fair, the plot does eventually take us to a fairly desperate situation. Cleo, played by Giovanna Fletcher (interestingly, in real life herself is a best-selling novelist) also appears somehow less glamorous and complex than the Peter James novels would suggest.
Clive Mantle (Casualty, Vicar Of Dibley) is perhaps more convincing as the near-psychopathic Curtis, with some nice throwaway comic lines laced into his Hammer Horror villain – style menace (“You’re no fun, Miss Marple”).
In some ways, the staging is the star in this show. The single set has multiple doors and locations including one that is only revealed half-way through, even though it has been in plain sight all the time. It provides plenty to look at and an effective background to the different emotional moods throughout the play. Clever tricks with the lighting add to the atmosphere and I rather liked the use of music to add tension, much as we often hear used in films and television.
I can’t help but wonder if Peter James is having a private joke with us, naming the villains of the play after a notoriously pungent French cheese. And like many strong French cheeses, the flavour is not as strong as the aroma might suggest. In the end, this is an enjoyable, if undemanding romp.
I had never had the privilege of seeing Malvern’s amateur orchestra, The Chandos Symphony Orchestra, before so was looking forward to this evening. Especially given some rather intriguing programming.
The evening opened with Rossini’s Overture to William Tell. This famous overture, portions of which have been used elsewhere (most notably as the theme from The Lone Ranger), is a real crowd pleaser. And right away the orchestra thrilled us with a full throttle reading, beginning with the opening section featuring the cellos. The rest of the orchestra burst forth soon enough, with some surprisingly muscular, rousing brass! Wonderful. It was to get better.
For me, the real draw was hearing a concerto for Jazz Harp. I wasn’t even sure what that even was before this evening; wondering perhaps if the composer meant harmonica (like it is sometimes called a Blues Harp). But no, to my delight it was an actual harp! Not just a harp though; an electric harp.
The soloist for tonight’s World Premiere (you don’t often get to be at those) was also the composer: Ben Creighton-Griffiths. His work was indeed very jazzy, with the inclusion of a full drum kit to complement the usual orchestral forces as well as many improvised sections. I was genuinely (and very pleasantly) surprised to discover we were to be transported to Latin America for a Samba, back in time for a 1930’s jazz/blues interlude, right up to date with a thoroughly modern opening in 5/4 and to enjoy a waltz courtesy of the Balkans. But it was the middle movement, the ballad, that was the emotional and figurative heart of the piece. I closed my eyes and saw James Bond cavorting around the French Riviera with his wife to the strains of this beautifully evocative movement. I was pleased to discover, upon meeting the composer himself in the interval, that he had exactly that in mind – so perfect was his conjuring of mood and filmic scene painting!
If that piece does not make his name with multiple performances everywhere then there’s no justice in the world. A stunning piece with range, wit, drama and passion. Accomplished playing too from Ben on that amazing harp! To be the standout piece in a program containing Rossini and Franck is a testament to the talent of this young composer who I’m sure will have a long and distinguished career ahead. A truly masterful achievement.
After the break came Cesar Franck’s Symphony in D minor. A romantic symphony that has more than a touch of Gershwin about it. Not one of my favourite pieces but this orchestra really brought it to life with some very exciting playing. Giving it their all, at the conclusion several members of the orchestra were puffing their cheeks, visibly drained. Special mention must go to their fabulous Conductor Michael Lloyd who gave the orchestra room to shine and wowed us with some athletic tempi to intoxicate the senses.
A joyous evening of wonderful music, I cannot wait to see Malvern’s finest again. Bravo!
Richard O’Briens cult classic Rocky Horror Show comes to Southampton and does not disappoint!
This exceptional cast starring Richard Meek as Brad, Hayley Flaherty as Janet, Stephen Webb as Frank’n’Furter and Kristian Lavercombe as Riff Raff is a treat for the eyes and ears! With their fabulous rapport on stage mixed with comedic timing to die for and brilliant voices,this is the best touring production you will find!
Narrated by Phillip Frank, you are taken on a strange journey that you will never forget! Phillip Frank is a comedy genius, expertly navigating the audience participation and creating an uproar of laughter! He is, quite simply, the driving force of this production. You can see how he thrives off the shout outs from the audience, and always brings something new to the stage with his witty remarks! Kristian Lavercombe is an exceptional actor and embodies RiffRaff perfectly. He has performed this role over 2000 times and it is evident how much pride he feels when performing. He has such pizzazz and stage quality that it is difficult not to watch him at all times! Stephen Webb is a great Frank N Furter, with sex appeal that tantalises the audience from the moment he steps on stage. His embodiment of the iconic Frank is superb – with his own little twist on the role, he has fully embraced the stockings, suspenders and heels to bring Frank to the audience! Richard Meek and Hayley Flaherty as Brad and Janet, are the perfect casting and both delight with their renditions of ‘Toucha Touch me’ and ‘Once in a while’. This is not my first time seeing Rocky Horror (actually my 30th!) and it was a joy to see how there have been some developments in songs, with an addition to ‘Once in a While’ with Janet singing alongside Brad in a wistfully longing manner. Both of these actors never falter and make for the perfect combination couple.
Sue Blane’s costume design is exquisite – with an incredible amount of sequins and stockings, it adds so much to the show. The incredible heels that the characters all wear are beautiful and it is a true testament to the men in the production that they are able to dance expertly in each pair!
This show is perfectly headed by the extensive creatives that help the show run smoothly-namely Simon Holmes, Rebecca Spiller and Charlie Bennett, who as Stage Managers make this production seamless and faultless.
This is an incredible show, one that I have (and will!) watch multiple times and never get bored! If you want sex, sequins and are in the mood to ‘Time Warp’ this is not to be missed! If I could rate it higher than 5 stars, there would be no question that I would!! I cannot wait to come back and see it later on this week – fully adorned in sequins, corset and feather boa! If there is only one show you see this year, this NEEDS to be the one you choose!!
TAKES ITS AUTUMN TOUR TO EDINBURGH, SHEFFIELD AND LONDON FROM 25 OCTOBER – 18 NOVEMBER 2023
“…shines iridescent in its music…” Guardian
“…exciting new piece of theatre…dynamite.” Reviews Hub
“You will hear the phrase “the British Hamilton” and with good reason as this could be a sensation.”
All That Dazzles
This Autumn will see the highly anticipated British musical premiere its first full production in select theatres across the UK. Kicking off with a bang on 25 October at the Festival Theatre, Edinburgh, Treason will continue to Sheffield Lyceum Theatre on 31 October and finally explode into London’s Alexandra Palace from 08 – 18 November.
Treason the Musical is an historic tale of division, religious persecution, and brutality, ending in an ambitious yet fateful plot to bring down both the monarchy and the government.
Set to blow you away with stunning original folk and pop songs, this one-of-a-kind show tells one of the most intriguing tales in Britain’s history as it’s never been seen before.
Garnering a global audience following its streamed Cadogan Hall concert in 2021 and two subsequent EPs on streaming platforms, last August saw the musical take to the stage in a ‘WhatsOnStage’ award nominated concert, starring Carrie Hope Fletcher and Bradley Jaden, which sold out Theatre Royal Drury Lane twice.
Earlier this year, the album Lighting The Fuse: Sparks From Treason In Concert was released, featuring a 19-track selection from the show which captivated further audiences. In its first month the album has surpassed 100,000 streams.
Double Olivier Award winner, four-time Olivier Award nominee and Tony Award nominee TRACIE BENNETT will star in ‘How to Succeed in Business’ Without Really Trying’ …and she’s playing the big boss J.B.Biggley!
Currently working on a film in New York, Tracie recorded a video saying: “I’m excited to tell you that I’m coming back to London to start rehearsing the 1960s satirical musical, ‘How to Succeed in Business Without Really Trying’. I’ll be playing a man. Yes, it was bound to happen some time, wasn’t it? With these very dulcet tones of mine! Looking forward to it very much. Lots of love for now and I’ll see you soon!”
Last seen in London as Carlotta in the National Theatre production of ‘Follies’, Tracie Bennett recently played Alice in ‘Hangmen’ on Broadway and starred as Mame in ‘Mame’ at Hope Mill Theatre.
She is also well known for playing the role of Sharon Gaskell in ‘Coronation Street’ from 1982 to 1984, returning to the role in 1999 and again in 2021.
Among her many musical theatre starring roles, she received two Olivier Awards for Best Supporting Role in a Musical for her performances in the musicals ‘She Loves Me’ and ‘Hairspray’ with additional nominations for her work in ‘High Society’ and ‘Follies’. She was also nominated for the Olivier Award for Best Actress in a Musical as Mrs Henderson in ‘Mrs Henderson Presents’, while her performance as Judy Garland in ‘End of the Rainbow’ earned her an Olivier nomination for Best Actress in a Play and a Tony Award nomination in the same category when the production transferred to Broadway.
Director Georgie Rankcom said: “Our approach to this wonderful show is to trust the brilliant original and let the satire shine. To find the best possible company to tell this story, we expanded our ideas of who can play and embody these roles. When you’re looking for someone with the charisma and power to be the high powered boss with a flare for the occasional musical number, Tracie Bennett quickly becomes the top choice. I’m honoured and excited to be working with her on bringing this new version of ‘How to Succeed’ to the stage.”
‘How to Succeed in Business Without Really Trying’ is a comic gem that took Broadway by storm in 1961, winning both the Tony Award for Best Musical and a Pulitzer Prize. It was revived twice on Broadway in acclaimed productions starring Matthew Broderick and Daniel Radcliffe.
A satire of big business and all it holds sacred, it follows the rise of J. Pierrepont Finch, who uses a little handbook called How to Succeed in Business without Really Trying (voiced in the Southwark production by Michelle Visage of ‘Ru Paul’s Drag Race’ fame) to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man”, the office party, backstabbing co-workers, caffeine addiction and, of course, true love.
‘How to Succeed in Business Without Really Trying’ boasts an exhilarating score by Frank Loesser – one of America’s great composer/lyricists, also responsible for ‘Guys & Dolls’ (currently a massive hit at the Bridge Theatre) – including ‘I Believe in You’, ‘Brotherhood of Man’ and ‘The Company Way’.
More cast to be announced.
Creative Team:
Director Georgie Rankcom (they/them), Choreographer Alexzandra Sarmiento (she/her), Musical Director Natalie Pound (she/her), Set and Costume Designer Sophia Pardon (she/her) Lighting Designer Lucía Sánchez Roldán (she/her), Sound Designer Joshua Robins (he/him), Orchestrator Stuart Morley (he/him), Stage Manager Waverley Moran (she/they), Production Manager Misha Mah (they/them), Casting Director Peter Noden (he/him), Producer / General Manager Jodee Conrad (she/her).
Big Con Productions and The Grey Area present
Frank Loesser and Abe Burrows’
HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
Music & Lyrics by Frank Loesser Book by Abe Burrows, Jack Weinstock & Willie Gilbert
Based on the novel by Shepherd Mead
Southwark Playhouse (Borough) 77-85 Newington Causeway, London SE1 6BD
12 May – 17 June 2023
7:30pm Mon-Sat 3pm Tues & Sat
Tickets £16 Previews £28 Concessions £35 Standard
Social Media:
Twitter/Instagram/ TikTok @SucceedLDN
Originally presented by Cy Feuer and Ernest H. Martin in association with Frank Productions
Presented by arrangement with Music Theatre International
