Cambridge Arts Theatre, Cambridge – until Saturday 11th March 2023

Reviewed by Steph Lott

4****

When Roy Grace, wife Cleo and their baby Noah, plagued by poor directions, terrible weather and darkness falling, arrive at their dream holiday destination, the Chateau-sur-L’Eveque, all is not what it seems. Tired and late, with no-one to greet them, no phone signal or wifi, they decide they will rest and re-assess the situation in the morning. Unfortunately, the dingy chateau holds more mysteries and threats beyond the sinister gloomy decor and mangy animal heads on the wall. Who is the mysterious Madam L’Eveque who begrudgingly greets them and why does she speak with such an odd accent? Why is there a large painting of the Crucifixion of Christ hanging in the Honeymoon Suite? Is there someone in the suit of armour?!

Peter James’ Wish You Were Dead is the latest stage play by the author featuring Detective Roy Grace. It’s been adapted for the stage by Shaun McKenna and is directed by Jonathan O’Boyle. This witty romp is a mixture of domestic drama, a gothic murder mystery and entertaining farce, all in one. The story is rather weak in my view, but the excellent script and superb acting make it a lot of fun.

The stage design, by Michael Holt, is very clever and encompasses both the bedroom and the living room. The lighting, by Jason Taylor, creates a very atmospheric and haunting environment which draws the audience in from the start. It’s definitely more haunted house than French château!

This stage adaptation of Peter James’ novella Wish You Were Dead contains all the ingredients for a good night out at the theatre. This is an enjoyable production with an engaging story. The tensions begin and build in a pacy Act One. I haven’t read any of the Roy Grace series so there were a few twists that had me wondering what would happen and how Grace and his family would escape. There isn’t a lot of attention paid to developing the characters or back story as the main characters are already established favourites with a lot of the crime and thriller fans in the audience I would imagine. As a story it is quite far-fetched. However, the acting is what really makes this show. It has a star-studded cast featuring Casualty regular George Rainsford playing Roy Grace, with Giovanna Fletcher, playing wife Cleo Grace. They provide an excellent contrast to the undoubted stars of the show for me – the baddies, who get all the best lines! Clive Mantle, who played Consultant Mike Barrett in Casualty and has a string of other theatre, radio credits to his name, plays bad guy Curtis with great aplomb. Rebecca McKinnis playing Madam L’Eveque is fantastic. And I thought Callum Sheridan-Lee was suitably menacing as Brent.

Overall, Wish You Were Dead is a thoroughly enjoyable crime thriller which doesn’t fail to entertain. The talented cast have an absolute ball with it and consequently so do the audience.

New Diorama Theatre – until 1st April 2023

Reviewed by Ben Jolly

4****

Section 28 … a musical? Not something that first comes to mind in this, the “golden age” of the Hollywood/jukebox musical.

This piece, produced by Breach and commissioned by New Diorama, dares to go where not many shows do these days. Billed as a “documentary musical” and based around the controversial Section 28 law that was passed in 1988 under the Thatcher’s Conservative government, we hear the voices of real people who lived their lives during this time, seeing the effects and impact this law had on the country’s people and society.

I’ll admit it, for the first thirty seconds of the piece, once the auditorium lights came down, the music launched and our troupe of performers walked onstage in unison, pounding their fists in time to the beat of the music, angst and rage emulating from them… I had a moment of panic, “what have we let ourselves in for here?” My thoughts were immediately diminished as the next two hours had me captivated from beginning to end.

With a hugely gifted creative team behind the scenes, the show is informative, engaging and hugely entertaining; cleverly borderlining respect with passion without coming across overly negative and preachy. It has been written by Ellice Stevens and Billy Barrett (who also directs) with fantastic music by Frew (the music is the beating heart of the show) and simple yet effective choreography by Sung Im Her.

The small but mighty cast of four, whose heart and dedication to the project are evident throughout, bring something unique to showcase their talents. Ellice Stevens’ fantastic rendition of Margaret Thatcher was a particular highlight for me and any monologue recited with vulnerable indignation by EM Williams never failed to provoke emotion within. What I appreciate most of all is the fact that these performers are clearly actors first and foremost, they can sing, they can move but it all comes from their organic, raw and rooted performances.

There is some really polished work shining through visually with this piece, almost like a fifth character performing on stage, the graphics elevate the narrative and help move the pace along, again without distraction and so a special mention to Zakk Hein feels greatly deserved.

A musical documenting the devastating effect of a law that was put in place to prevent the “promotion” of homosexuality – this team had quite the task at hand, but abseiling lesbians followed by an all singing all dancing Margaret Thatcher – who could ask for more?

The Mix, Theatr Clwyd, Yr Wyddgrug – Wednesday 8th and Thursday 9th March 2023

Reviewed by Julie Noller

5*****

Something About George is the latest touring show from producers Bill Ems, Jon Fellowes and Gary Edwards Jones collectively called Something About Productions a name that hopefully promises more offerings in the future.

On a snowy night in North Wales we gathered in Theatr Clwyds The Mix which to those who don’t know is a sort of outdoor yet indoor smaller dome shaped theatre. Usually it has a smaller audience giving the feeling of being closer to the stage setting and more in touch with the action.

I’m too young to remember most of George Harrisons life and career; to many he was simply the quiet Beatle, the baby of the group and dare I say the forgotten one. Something About George helped to readdress those issues and I came away more knowledgeable about a man who was not only incredibly talented but obviously a human being far ahead of his time.

How did the setting work? It felt like an intimate gig or even a live lounge environment, don’t expect conventional theatre acting but do expect humour, tales, joy, facts and plenty of musical entertainment. Daniel Taylor is just himself taking to the stage with his massive pearly smile and skinny jeans, he is not there to impersonate George Harrison but to share his passion for singing and help us on our journey into an understanding of the quiet one.

It’s not a one man show he is joined by fellow musicians Max O’Hara, Callum MacMillan, Tom Kinton and Joe Smithson. Daniel himself plays guitar throughout whilst singing those songs many of us love, some when I read the list I wasn’t sure I knew but nothing was stopping me and most inside the packed Mix head bobbing, foot tapping, hands twitching and clapping. I loved everything about this show from the music delivered with passion, head bobbing guitarists (mop top much a kin with The Beatles early days), watching the fast paced keyboard changes, the rifts, the gentle taps and booms of uptempo numbers; the stories and facts that I listened to bringing a deeper understanding of a man who struggled privately but ultimately absolutely stuck to his beliefs and fraught with passion yet still at times wasn’t afraid to jump head first without thinking, for he was passionate about his friendships)

Watching the people around me in deep enjoyment and lastly being able to if I wished just close my eyes and become lost in the music. Of course if you didn’t wish to close your eyes you could watch lots of moving and still footage along with abstract images shown above the performers I may not have said I liked the polished unfinished feeling it has that brings you closer to the stage and being part of a life that I knew nothing about.

Once heading home we were determined to spend time rewatching footage of George to compare the show and Daniels dancing moves but more importantly to listen to many classics that today go unlistened to by those far too young to have heard stories of the swinging 60’s but are far more loved.

George Harrison may have been the quiet one but he was no less talented as the other members of the fab four. It was lovely to be able to see Daniel on our way outside being congratulated by all with a huge beaming smile on his face, he deserved all the well done’s and I had to say Thank You for giving us such a brilliant night of non stop entertainment.

EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 11TH MARCH 2023

REVIEWED BY MIA BOWEN

5*****

It has been an enduring aspiration of Matthew Bourne, following Nutcracker! and Swan Lake to complete Tchaikovsky’s ballet masterworks. Sleeping Beauty has enchanted international audiences throughout the UK and across the globe, making it the fastest selling production in the company’s history. New Adventures is celebrating the 10th anniversary of this alluring dance-theatre production with a lengthy UK tour until April 2023. Bourne’s Sleeping Beauty has been brought back to life, with a new cast and emerging artist apprentices. New Adventures takes Tchaikovsky’s classic storybook ballet and goths it up, offering something beautifully unique.

The dancing from the whole cast is superlative and technically brilliant throughout, blending a variety of dance styles and bursting with energy; it looks like they are having so much fun on stage! Most of Bourne’s choice of dancers are largely trained in performing arts rather than ballet schools.

There are superb performances from Cordelia Braithwaite as Princess Aurora, who is pert and charming when awake and impressively inanimate in her sleeping state, she exudes grace. Leo the Royal Gamekeeper, her love interest is played by Stephen Murray and together they have a great chemistry on stage. There are also strong performances from the villains, Carabosse the Dark Fairy and her son Caradoc, Leo’s love rival, both performed breathtakingly by Ben Brown. Dominic North as the King of Fairies and Count Lilac makes an indelible impression with his strong dancing.

The original ballet score is long, but Bourne ensures that the timeless tale of good vs evil does not lose momentum and plays out in four scenes in two acts, rather than four lengthy acts. He captivates the audience with such detail, drama and humour, the way he choreographs his storytelling.

Sleeping Beauty is, of course, a love story and a triumph of good over evil. Described as a gothic romance, this story begins in 1890, the year Marius Petipa’s famous ballet was first performed in St Petersburg, Russia and takes us right up to the awakening scene in the present day.

Lez Brotherston’s beautifully enchanting set and spectacular costumes will transport you from the halcyon days of the late Edwardian era through to the modern day.

As always with Bourne’s work there is inventiveness. In this world full of magic, fairies, vampires, love and romance, he creates memorable theatre and characters.

New Vic and Told by an Idiot co-production

The Killing of Sister George

Written by Frank Marcus
Directed by Paul Hunter

Friday 21 April to Saturday 13 May 2023

New Vic Theatre, Newcastle-under-Lyme

RARE REVIVAL OF CULT 60S CLASSIC

THE KILLING OF SISTER GEORGE BROUGHT TO VIVID LIFE BY

NEW VIC THEATRE AND TOLD BY AN IDIOT

An in-the-round staging of an iconic black comedy

Directed by Told by an Idiot’s Artistic Director, Paul Hunter

Cast includes founder member of Told by an Idiot, Hayley Carmichael in the year the company celebrate their 30^th anniversary

The New Vic Theatre and renowned theatre company Told by an Idiot will collaborate for the first time this April on a rare revival of the cult ’60s classic, The Killing of Sister George.

Told by an Idiot Artistic Director, and director of the production, Paul Hunter said: “We are delighted to be co-producing The Killing of Sister George with the New Vic Theatre, in their glorious in-the-round space. At Told by an Idiot we have always been fascinated by inhabiting the space between laughter and pain, and always searched for the snarl beneath the grin. When we find ourselves drawn to a script it is often because we are looking for work that puts the audience in a place where they don’t know whether to laugh or cry. This was my reaction when out of curiosity I stumbled across this acclaimed 1960’s play, and I’m really looking forward to reimagining it with a fantastic cast in the Idiots 30th anniversary year”.

Artistic Director of the New Vic, Theresa Heskins, said: “As a long-time admirer of Told by an Idiot’s approach to theatre, I’m so looking forward to working with them for the first time as we adapt the landmark drama, The Killing of Sister George, to fit our unique space.”

Written by Frank Marcus, this acerbic comedy drama observes the life of June Buckeridge, who plays the role of kindly district nurse Sister George in fictitious radio soap opera ‘Applehurst‘; in reality June is a swaggering foul-mouthed loose cannon whose career and lifestyle is under threat. Set during the 1960s, a period of great social change, the play explores the volatile relationship between June and her partner Alice (Childie), and the effect the demise of her fictional character has on her. Famously adapted into a film in 1968 starring Beryl Reid, the play incorporates wicked humour with moments of surprising tenderness and is a thought-provoking look at the human condition and what happens when the world decides a woman is past her ‘sell by date’.

Brought to vivid life through Told by an Idiot’s physical theatrical style, with a sensational design by Lulu Tam, the 2023 recipient of the Naomi Wilkinson Award, The Killing of Sister George features Told by an Idiot co-founder and award-winning actor Hayley Carmichael (First Love Is The Revolution, Soho Theatre; The Prisoner, Les Bouffes Des Nord) as June Buckeridge;  Ada Player (The Cult of McIntyre presents: Other Worlds, Bristol Improv Theatre; Mr Burns, A Post-Electric Play, The Loco Club) as Alice “Childie” McNaught; Patrycja Kujawska (Bagdad Café, The Old Vic/Wise Children; The Grinning Man, Bristol Old Vic) as Mercy Croft and Rina Fatania (The Art of Illusion, Hampstead Theatre; Favour, Bush Theatre) as June’s neighbour, Madame Xenia.

The Killing of Sister George is at theNew Vic from Friday 21 April to Saturday 13 May 2023. For more information visit newvictheatre.org.uk.

Arcola Theatre – until 25 March 2023

Reviewed by Claire Roderick

4****

Tim Edges’ taut thriller establishes its tone immediately as four prisoners sit with sacks over their heads while the audience find their seats. A black rock hangs above the stage – the Black Mountain overlooking Belfast, and the shadow of the troubles that no one can escape. It is 1979, and there is a shift in power in the republican ranks as they move from old-school thuggery to more secure terror cells. Ceci Calf’s set ensures a cold, bunker-like atmosphere, even around the family table.

The Ryan family are the epicentre of the play – Niamh (Evanna Lynch) desperately trying to shield her brother from the violence of their father, Cashel (John Nayagam), where her tormented mother Sandra (Flora Montgomery) cannot. The fractures and betrayals of the family as Alan (Jordan Walker) becomes active in the movement to please his father cause devastation in the family and beyond, with Niamh eventually deciding to join on of the new cells. Montgomery and Lynch portray the emotional trauma in very different but equally gut-wrenching ways. Montgomery’s public railing against the community and the movement nears hysteria, while Lynch’s Niamh becomes blanker and blanker, seemingly numbing herself to the violence around her. Contrasted with the cold and pragmatic female leader of the republicans, they are the beating heart of the play, and the two actors give magnetic performances.

There is lots of dark gallows humour, with cleverly written characters that ap0pear stereotypes but Edges’ writing then suddenly pulls the rug from beneath your feet as they reveal what they have done in the name of loyalty or revenge. Fin’s (Jordan Walker) transformation from a kid too scared to pull the trigger of a gun into a shrewd bombmaker who sees dead bodies as scientific data in the quest for a more efficient bomb is chillingly funny.

The search for the traitor in their ranks gets gruesome, with a particularly uncomfortable torture scene but, again, all is not what it seems, and it is Joseph Ed Thomas’s lighting design and Ben Kavanagh’s sound design that ramp up the tension to excruciating levels. Kavanagh directs with impressive clarity and scene changes are choreographed to ensure the grievances between the characters are not forgotten, even when they are dead.

Under the Black Rock is thrilling and tense, making you laugh and wince in equal measure.

Upstairs at the Gatehouse – until Sunday 12th March 2023

Reviewed by Ben Jolly

3***

Just when you thought it was safe to go back to the theatre, Jumping the Shark, a brand new comedy hits the scene this week performing Upstairs at the Gatehouse…

The Golden Girls, Diff’rent Strokes, Only Fools & Horses…! I hear myself checking off theme tunes from the golden age of sitcoms being played through the sound system as we wait for an evening of entertainment; a lovely attention to detail which I do appreciate. 

Taking place at a seminar for television sitcom writing, instructed by one of the industry’s prominent and respected writers, Frank Donohue, five privileged and eager writer newbies gather in a conference room in Farnham to meet their prophet and soak up the knowledge he has to bear. While time passes, each individual’s personal lives are brought up and we slowly learn the backstories behind this complex cast of characters.

The phrase from which the title takes its inspiration has been used in the television ‘biz for years and defines that pinnacle moment when a TV show has hit its peak and thus in the face of declining quality uses cheap gimmicks and gags to keep the show afloat.

One by one, as our characters arrive at the conference room, we are introduced to our classmates; while each persona has been thoroughly thought out, they initially come across two dimensional and it takes until the second act of this play to really see another side to them.

The first act has a clever, monologue performed by David Schaal as Frank (our sitcom professor) who has the difficult task of playing a character who is clearly bored and performing his own well–rehearsed speech without coming across as, well, bored and over rehearsed in the performance he is giving us – he does carry this well and when things start to go off script later in the play, manages to heighten his performance accordingly.

There are some truly wonderful performances from Sarah Moyle as Pam and Robin Sebastian as Gavin. Sarah lifts the text off the page and adds her own comedy magic while expertly trading the line so as not to go overboard or take anything away from the dialogue. Sarah and Robin have great chemistry as Gavin and Pam and we instinctively warm to these characters.

The other half of the cast include Jack Trueman as Dale, Jasmine Armfield as Amy and Harry Visinoni playing the part of Morgan. These actors all have their moments to shine and do a wonderful job at keeping the energy up throughout.

I couldn’t help but feel that the structure of the play could be better organised, such a linear timeline didn’t help the slow pace of the first act, and when things started to heat up during Act 2, it really highlighted how much the first act had been dragging, I am sure that nothing more than a little restructure of the scenes and some more dynamic direction could fix this.

The writers, David Cantor and Michael Kingsbury (who also directs) have had extensive careers in the sitcom television world and this definitely shows with their industry terminology, fast paced jokes and instinctive knowledge of comedic timing. The piece currently works as though it is a 6 episode television series, as a play however, I think just a touch more theatricality could take it to the next level. That being said, at the end of the day, if you’re as big a fan of the classic sitcom format as I am, you won’t be disappointed by this charming piece of work.

Live Theatre Newcastle – until Saturday 25th March

Reviewed by Sandra Little

4****

This latest offering from Live Theatre is described as, “A knockout play about Labour, Love , and the Beautiful Game,” Having watched the play this is a description I would wholeheartedly agree with! The play was written by Rob Ward and has been produced in association with Emmerson and Ward. It is set in 1996 when Newcastle United were a successful Premier League team, managed by Kevin Keegan, and New Labour, led by Tony Blair, were gathering momentum. The play suggests that these two facts were significant signs of hope for the region in 1996 .

The stage setting is a very realistic representation of a Working Man’s Club of the time and much of the action takes place around a centrally placed pool table. This set is also imagined as different locations throughout the performance. The play begins with Michael (Dean Bone) playing pool and he is soon joined by his friend Len (David Nellist). It transpires that Len is a long term hard left activist and following information from Michael, he decides to run as candidate for the position of local Labour MP.

Unfortunately for Len things do not go according to plan when New Labour candidate Victoria (Eve Tucker) arrives from Manchester with the intention of standing for the same seat. Victoria brings with her the New Labour view on politics which clash markedly with Len’s traditional left wing views. Len feels threatened by Victoria’s election campaign to become the new MP; a situation that does not please him and causes a great deal of tension. Through the characters of Len and Victoria issues relating to the huge differences that occurred at the time between the views of traditional left wing Labour supporters and the New Labour policies of Tony Blair are aired.

The storyline in the play takes a range of gripping twists and turns along the way and there are a variety of themes explored alongside the football and political narrative. Relationships, loyalties that are tested and the impact of past experiences on the lives of the characters are all woven into the the dialogue and storyline.

I absolutely loved this play and I don’t think you would have to be a fan of politics or football to enjoy it and feel the passion and humanity of the themes explored. The serious political issues are peppered with a great deal of humour which provides a lighthearted take on otherwise serious subject matter.It’s quite fast paced with some very amusing moments however the underlying political issues provide food for thought.

Live Theatre is a small gem of a place tucked away on Newcastle quayside. It prides itself in nurturing new talent and working with the local community. It is currently celebrating its 50th birthday with some fantastic productions and talented artists lined up for the coming year.

Howard Panter for Trafalgar Theatre Productions, the National Theatre, Barbara Whitman

and Wessex Grove

in association with the Barbican

proudly present

THE PULITZER AND 2022 TONY AWARD-WINNING

BEST MUSICAL COMES TO LONDON’S BARBICAN THEATRE

A LIMITED ONE-TIME-ONLY SUMMER SEASON

The only chance to see the musical loved by stars and critics alike

Winner of every ‘Best Musical’ award in New York

“A dazzling ride. No measure of praise could be too much”

New York Times

“Explosively imaginative. Dazzlingly one-of-a-kind. Broadway’s best new musical”

Washington Post

“It made me want to go home and write.

I don’t have a better compliment than that”

Lin-Manuel Miranda

“Brilliant. Moving. Joyous. Original. The best original musical on Broadway”

Ryan Reynolds

“It’s very funny, thought-provoking, and really moving”

Whoopi Goldberg

“Above and beyond brilliant! An emotional, cultural revolution”

RuPaul

“A soul-baring, biting, brilliant, hilarious musical.

One of the most incredible things I’ve ever seen in the theatre”

Alan Cumming

BARBICAN THEATRE

17 JUNE – 9 SEPTEMBER 2023

TICKETS ON SALE MONDAY 20 MARCH FROM STRANGELOOPMUSICAL.COM

The smash hit Broadway musical sensation A Strange Loop will transfer from New York to London this summer opening at the Barbican Theatre on 17 June for a strictly limited one-time-only 12-week season. Tickets go on sale on 10am on Monday 20 March from Strangeloopmusical.com.

Nominated for 11 Tony Awards and winner of every Best Musical award in New York, Michael R. Jackson’s critically acclaimed Pulitzer Prize–winning, blisteringly funny masterwork exposes the heart and soul of Usher – a young, gay, Black writer who hates his day job, so writes a musical about a young, gay, Black writer who’s writing a musical about a young, gay, Black writer…a strange loop. Usher grapples with desires, identity and instincts he both loves and loathes, all brought to life on stage by a hilarious, straight-talking ensemble.

A Strange Loop is only the 10th musical to win the Pulitzer Prize for Drama with the previous winner being Hamilton, with the committee citing the show as a “metafictional musical that tracks the creative process of an artist transforming issues of identity, race, and sexuality that once pushed him to the margins of the cultural mainstream into a meditation on universal human fears and insecurities.”

The New York critics heaped plaudits on this sensational production: The New York Times said the show was a “dazzling ride” and “no measure of praise could be too much”. The Wall Street Journal described the show as “hilarious, intimate and personal” adding that “A Strange Loop is extraordinary in just about every way. It represents theater at its most daring and unexpected”. And Variety summed it up, hailing A Strange Loop as “the most furiously entertaining show on Broadway”.

Michael R. Jackson is a playwright, composer, and lyricist who is a rising star in the world of contemporary writing and quickly gaining recognition as one of the most innovative voices in American theatre. Born and raised in Detroit, Michigan, Jackson moved to New York to attend NYU (New York University), where he began his career as a writer and performer. His writing is already drawing comparisons to other literary greats, and he is quickly becoming recognised as an inspiring and transformative writer in his own right. His next musical, White Girl in Danger, a co-production between the Vineyard and Second Stage, is set to begin previews at the Tony Kiser Theater, New York on 15 March 2023.

Michael R. Jackson said: “I am absolutely thrilled to be bringing A Strange Loop to London. This show has been a true labor of love since my early twenties, and to have it continue its extraordinary journey from Musical Theatre Factory, to Off-Broadway, to Woolly Mammoth, to Broadway and now to London is a dream I never knew I had come true. I can’t wait to share the story of Usher and his thoughts with new audiences.”

Kate Varah, executive director for the National Theatre, said: “We are delighted to be supporting the transfer of this Pulitzer Prize & Tony Award-winning new musical into London this summer. A Strange Loop is a vital piece of new work by American playwright, Michael R. Jackson and we are so excited to be working with our producing partners to share this special story with UK audiences.”

Howard Panter said: “A Strange Loop is nothing short of a spellbinding masterpiece. When I saw it on Broadway I was transfixed and knew immediately that London audiences, like New York, would love this unique, moving and funny musical. Michael R. Jackson is a complete genius and we look forward to welcoming him to these shores for a very successful season at the Barbican this summer.”

Barbara Whitman, originating producer of the Broadway production, said “I’m overjoyed to be bringing A Strange Loop to the Barbican, and I can’t wait to introduce London to the work of the singularly brilliant Michael R. Jackson. It feels so right to have this be the next step for this uniquely original musical.”

LISTINGS INFORMATION

BARBICAN THEATRE

Previews: From 17 June

Tickets: from £20

Performances: Monday – Saturday at 8pm, matinees on Thursday and Saturday at 2.30pm

Age guidance: 16+ (Contains explicit language, references to racism and scenes of an adult nature)

For access performances: please visit Strangeloopmusical.com

Running time: 1 hour 40 minutes with no interval

Website: Strangeloopmusical.com

Twitter: @StrangeLoopLDN

Instagram: @StrangeLoopLDN

Facebook: /StrangeLoopLDN

Complete Casting Announced for
the Mischief Production

By Henry Lewis, Jonathan Sayer, Henry Shields
Based on Peter Pan by J.M. Barrie
Limited 16 ½ week Broadway Engagement
First Performance March 17, 2023
Official Opening Night April 19, 2023
at the Ethel Barrymore Theatre

PanGoesWrongBway.com

Producers Kevin McCollum, Kenny Wax, Stage Presence, and Catherine Schreiber are pleased to announce complete casting for the Broadway premiere of Peter Pan Goes Wrong, the international comedy sensation from Mischief.

The cast of Peter Pan Goes Wrong will feature Bartley Booz as Dennis (March 17 – April 9), Matthew Cavendish as Max, Bianca Horn as Jill, Harry Kershaw as Francis, Chris Leask as Trevor, Henry Lewis as Robert, Ellie Morris as Lucy, Charlie Russell as Sandra, Jonathan Sayer as Dennis (starting April 11), Henry Shields as Chris, Greg Tannahill as Jonathan and Nancy Zamit as Annie. The company is completed by Ryan Vincent Anderson, Stephen James Anthony, Fred Gray, and Brenann Stacker.

Peter Pan Goes Wrong will begin performances on Friday, March 17th and open on Wednesday, April 19th at the Ethel Barrymore Theatre (243 West 47th Street) on Broadway for a limited 16 ½ week engagement.

Tickets are on sale now at Telecharge.com and in-person at the Ethel Barrymore Theatre Box Office. For groups call Broadway.com / Group Sales Box Office at 1-800-BROADWAY x2. Call now to guarantee disappointment.

This spring, brace yourself for an awfully big adventure as you finally get the chance to laugh again on Broadway. Co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is a highly physical comedy packed with finely-tuned and inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Drama Society’ back on stage battling technical hitches, flying mishaps and cast disputes as they attempt to present J.M Barrie’s much-loved tale.But will they ever make it to Neverland?

Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins, sound by Ella Wahlström, and original music by Richard Baker and Rob Falconer.

Peter Pan Goes Wrong is produced on Broadway by Kevin McCollum, Kenny Wax, Stage Presence, and Catherine Schreiber.

Peter Pan Goes Wrong made its premiere at the Pleasance Theatre in London in December 2013. After a UK Tour in 2014, the production transferred to the West End’s Apollo Theatre for a Christmas season run in 2015 and returned to the West End the following year for another Christmas season run from October 2016. The play was also adapted into a one-hour television special, which was broadcast on December 31, 2016, on BBC One. The play made its North American premiere in 2022 at the Citadel Theatre in Edmonton, Canada.

Peter Pan Goes Wrong was nominated for Best New Comedy at the Olivier® Awards and has joyfully wowed critics across the UK.

Mischief’s Tony® Award-winning Broadway hit The Play That Goes Wrong, opened in March 2017 at the Lyceum Theatre running longer than any other play that debuted in the 2017/2018 Season. After 737 performances the production moved to the New World Stages where the show continues to play to packed houses. The North American Tour was one the most successful Broadway play tours of the past twenty years. broadwaygoeswrong.com