Aylesbury Waterside – until Saturday 4th February 2023

Reviewed by Julia Spargo

3.5***

North Dublin in the late 1980s. Jimmy Rabbitte is a young music fan, approached by two of his friends who ask for advice on what songs they should perform as a synthesizer duo. Jimmy advises them to ditch modern songs and pick soulful, ageless ones instead. He holds auditions and puts together The Commitments, “the hardest working band in the world”, who reach success within Dublin before imploding due to infighting and ego-clashes.

Roddy Doyle’s jukebox musical is thin on plot, but exploding with great hits. It begins with a Christmas party scene, the cast performing Proud Mary in a drunken karaoke, but what followed was a frenetic twenty minutes of farcical action and very little dialogue. It was almost dizzyingly rushed. There is no doubt the score is fantastic; a collection of Motown and Memphis Soul hits, but for me the female singers who appeared in the first rehearsal scene are what held the show together. Bernie (Sarah Gardiner), Natalie (Maryann Lynch) and the incredible Ciara Mackey as Imelda really captured my attention with the ease of their performance. “Chain of Fools” was outstanding. I couldn’t take my eyes off them. They looked like they were really enjoying themselves, and I felt this was missing from the rest of the cast. Yes, The Commitments is a musical based on in-fighting within a band, but I felt like the connection with the audience was missing. Hit after accomplished hit was belted out, but I was left wanting. The whole show could have done with more dialogue and fewer fight scenes, to ensure the audience understood and cared about the characters. Only during the encore did it all come together for me. James Deegan as Deco really allowed his personality to join him on stage. He was cheeky, funny; there was banter with the audience. The audience were on their feet and loving the favourites “Try a Little Tenderness” and “Mustang Sally”. The cast were performing as a cohesive band and their enthusiasm bounced off the stage.

The set throughout the musical was used to excellent effect; various doors opened to either reveal a bar, Jimmy’s house, or a band rehearsal in a garage. Only five extra musicians were involved; for the most part, all performers were playing their instruments live on stage. James Deegan impressively carried off one number while eating a bag of chips. Everybody left with a smile on their face. As a man in the lift after the show commented to me, “How else would you prefer to spend a Monday night?”

Yvonne Arnaud – until 1^st February 2023

Reviewed by Heather Chalkley

4****

Critically acclaimed writer John Godber has resurrected Teechers, originally written and performed in the 80s. A bittersweet comedy that carries a political message, sadly as relevant today as it was back then. Highlighting the divide between the haves and have nots in the UK education system, now amplified by the pandemic, Godber keeps you laughing by seeing through the eyes of three state school leavers and a teacher battling to keep drama alive as a valid subject. A poignant moment captured near the end is the fear and sadness in the faces of the students and drama teacher, as they finally leave Whitewall Academy, breaking the cocoon of their bond.

The players begin the show sat amongst the edge of the audience and running around the auditorium, in the high jinks you would expect from fully charged 16 year olds. Throughout the performance, they switch back and forth between different characters, sometimes being the person and other times being the student pretending to be the person! You will be forgiven for occasionally loosing track, in between the belly laughs. The music and dance performances gets you smiling and right into that moment in time.

Salty (Michael Ayiotis) is a great friend to Hobby (Terenia Barlow) and Gail (Ciara Morris), teaming up with them to fall in love with drama and the drama teacher Miss Nixon (Terenia Barlow). Ayiotis is hilarious in his caricature of Mrs Parry, the would-be thespian head teacher. Barlow slips in and out from Hobby to Miss Nixon with ease and clarity. Morris is fabulously funny in her portrayal of teachers Ms Whitham, Dr Basford and Jackie Prime, whilst her main character Gail manages to dodge the amorous advances of a fellow student. You will find the character of these teachers in every secondary school, warped by a system under siege, completely committed to their profession.

The creative space formed by Miss Nixon (Barlow) and the permission to expand and explore their imagination is an oasis for the students, giving them hope and confidence, possibly even dare to believe in themselves. The students realisation of the situation is brought right to the fore in the scene with Salty (Ayiotis) and Miss Parry (Barlow). Salty is expressing his frustration in his questioning of the fairness of a two tier education system. Godber has found a great vehicle in humour to convey a strong message, leaving the audience under no illusion.

PERFORMANCES ANNOUNCED FOR THE

23^RD ANNUAL WHATSONSTAGE AWARDS

WhatsOnStage today announce the initial line up for the 23^rd Annual WhatsOnStage Awards on 12 February 2023 at the Prince of Wales Theatre. The concert opens with a specially composed number by Alex Parker and Katie Lam, featuring choreography by Carrie-Anne Ingrouilleand performed by the hosts Courtney Bowman, Laurie Kynaston and Billy Luke Nevers.

The first half will look back on the best of 2022 with performances from Rodgers & Hammerstein’s Oklahoma, Bonnie and Clyde the Musical, My Fair Lady, and a special take on Billy Elliot; with the second half looking forward with a number from The Great British Bake Off Musical, a tantalising medley, and some exclusive performances to whet the appetite for what’s to come later this year.

Leading this year is My Neighbour Totoro with 9 nominations – Mei Mac for Best Performer in a Play, Best New Play, Best Direction for Phelim McDermott, Best Musical Direction/Supervision, Best Lighting Design, Best Set Design, Best Sound Design, Best Video Design and Best Graphic Design. The next best nominated straight play is Good with 5 nominations, including 3 acting nominations for David Tennant, Sharon Small and Elliot Levey.

The critically acclaimed Rodgers & Hammerstein’s Oklahoma!,  which transfers to the West End in February, leads the musical categories, with 8 nominations – Best Supporting Performer in a Musical for Marisha Wallace, Best Musical Revival, Best Director for Daniel Fish and Jordan Fein, Best Musical Direction/Supervision, Best Casting Direction, Best Lighting Design, Best Sound Design and Best Video Design. Other top nominees in the musical categories were both Almeida Theatre productions, directed by the company’s Artistic Director Rupert Goold – Spring Awakening with 6 nominations, and Tammy Faye, the most nominated new musical, with 5 nominations.

THE NOMINATIONS IN FULL:

BEST PERFORMER IN A MUSICAL sponsored by TICKX                                  

Courtney Bowman, Legally Blonde, Regent’s Park Open Air Theatre

Katie Brayben, Tammy Faye, Almeida Theatre

Divina De Campo, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

Jordan Luke Gage, Bonnie & Clyde the Musical, Arts Theatre

Frances Mayli McCann, Bonnie & Clyde the Musical, Arts Theatre

Charlie Stemp, Crazy for You, Chichester Festival Theatre

BEST SUPPORTING PERFORMER IN A MUSICAL sponsored by NEWMAN DISPLAYS                         

Jocasta Almgill, Grease, Dominion Theatre

Lauren Drew, Legally Blonde, Regent’s Park Open Air Theatre

Paul French, Grease, Dominion Theatre

Natalie McQueen, Bonnie & Clyde the Musical, Arts Theatre

John Owen-Jones, The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Marisha Wallace, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST PERFORMER IN A PLAY sponsored by SINE DIGITAL                                           

Jonathan Bailey, Cock, Ambassadors Theatre

Jodie Comer, Prima Facie, Harold Pinter Theatre

Carrie Hope Fletcher, The Caucasian Chalk Circle, Rose Theatre Kingston

Mei Mac, My Neighbour Totoro, Barbican Theatre

Rafe Spall, To Kill a Mockingbird, Gielgud Theatre

David Tennant, Good, Harold Pinter Theatre

BEST SUPPORTING PERFORMER IN A PLAY sponsored by EDWARDIAN HOTELS LONDON (Official Hotel Partner) 

Jade Anouka, Cock, Ambassadors Theatre

Gwyneth Keyworth, To Kill a Mockingbird, Gielgud Theatre

Elliot Levey, Good, Harold Pinter Theatre

Natasha Magigi, The Clothes They Stood Up In, Nottingham Playhouse

Sharon Small, Good, Harold Pinter Theatre

Greg Tannahill, Good Luck, Studio, Mercury Theatre, Salisbury Playhouse and Yvonne Arnaud Theatre

BEST TAKEOVER PERFORMANCE sponsored by TANDEM MARKETING                                                 

Lauren Byrne, Matilda The Musical, Cambridge Theatre

Erin Caldwell, Heathers: The Musical, The Other Palace

Joel Harper-Jackson, Cock, Ambassadors Theatre

Lucie Jones, Wicked, Apollo Victoria Theatre

Reuben Joseph, Hamilton, Victoria Palace Theatre

Ben Joyce, Back to the Future: The Musical, Adelphi Theatre

BEST PROFESSIONAL DEBUT PERFORMANCE sponsored by AKA                              

Tomisin Ajani, The Play That Goes Wrong, Duchess Theatre

Joe Locke, The Trials, Donmar Warehouse

Oliver Nicholas, Back to the Future: The Musical, Adelphi Theatre

Aharon Rayner, The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Nadine Shah, A Midsummer Night’s Dream, Shakespeare North Playhouse

Djavan van de Fliert, Frozen, Theatre Royal Drury Lane

BEST NEW MUSICAL sponsored by TRAVELZOO                              

Bonnie & Clyde the Musical, Arts Theatre

The Great British Bake Off Musical, Everyman Theatre, Cheltenham 

Identical, Nottingham Playhouse and The Lowry Salford

Tammy Faye, Almeida Theatre

The Band’s Visit, Donmar Warehouse

The Osmonds: A New Musical, UK tour

BEST MUSICAL REVIVAL sponsored by CONCORD THEATRICALS                              

Billy Elliot, Curve, Leicester

Grease, Dominion Theatre

Legally Blonde, Regent’s Park Open Air Theatre

My Fair Lady, London Coliseum and tour

Rodgers & Hammerstein’s Oklahoma!, Young Vic

Spring Awakening, Almeida Theatre

BEST NEW PLAY sponsored by TICKETMASTER                                

A Different Stage, Duke of York’s Theatre and tour

Best of Enemies , Young Vic and Noël Coward Theatre

Eureka Day, The Old Vic

My Neighbour Totoro, Barbican Theatre

Prima Facie, Harold Pinter Theatre

To Kill a Mockingbird, Gielgud Theatre

BEST PLAY REVIVAL sponsored by AUDIENCEVIEW                                                      

Blues for an Alabama Sky, National Theatre

Cock, Ambassadors Theatre

Good, Harold Pinter Theatre

The Caucasian Chalk Circle, Rose Theatre, Kingston

The Crucible, National Theatre

The Seagull, Harold Pinter Theatre

BEST WEST END SHOW sponsored by DEWYNTERS                                       

Back to the Future: The Musical, Adelphi Theatre

Hamilton, Victoria Palace Theatre

Les Misérables, Sondheim Theatre

SIX, Vaudeville Theatre

The Phantom of the Opera, Her Majesty’s Theatre

Wicked, Apollo Victoria Theatre

BEST REGIONAL PRODUCTION sponsored by MUSIC THEATRE INTERNATIONAL                               

Billy Elliot, Curve, Leicester

Crazy for You, Chichester Festival Theatre

The Great British Bake Off Musical, Everyman Theatre, Cheltenham

Rodgers + Hammerstein’s Cinderella, Hope Mill Theatre

The Book Thief, Octagon Theatre, Bolton

The Osmonds: A New Musical, UK tour

BEST OFF-WEST END PRODUCTION                                                     

Anyone Can Whistle, Southwark Playhouse

But I’m A Cheerleader: The Musical, The Turbine Theatre

DIVA: Live from Hell!, The Turbine Theatre

Millennials, The Other Palace Studio

RIDE – A New Musical, Charing Cross Theatre

Ruckus, Southwark Playhouse

BEST CONCERT EVENT                                               

Chess, Theatre Royal Drury Lane

Jeremy Jordan, Theatre Royal Drury Lane

SIX in Concert, Hampton Court Palace

Stephen Sondheim’s Old Friends, Sondheim Theatre

The Witches of Eastwick, Sondheim Theatre

Treason , Theatre Royal Drury Lane

BEST DIRECTION sponsored by LOVETHEATRE                                 

Dominic Cooke, Good, Harold Pinter Theatre

Daniel Fish and Jordan Fein, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Nikolai Foster, Billy Elliot, Curve Leicester

Rupert Goold, Spring Awakening, Almeida Theatre

Phelim McDermott, My Neighbour Totoro, Barbican Theatre

Indhu Rubasingham, The Father and the Assassin, National Theatre

BEST MUSICAL DIRECTION/SUPERVISION                                                         

Daniel Kluger, Nathan Koci and Tom Brady, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Nigel Lilley and Tarek Merchant, The Band’s Visit, Donmar Warehouse

Stuart Morley, Georgie Francis and Elliot Mackenzie, Whistle Down the Wind, Watermill Theatre

Bruce O’Neil and Matt Smith, My Neighbour Totoro, Barbican Theatre

Ted Sperling and Gareth Valentine, My Fair Lady, London Coliseum and tour

Sarah Travis, Steve Sidwell and the company, Beautiful: The Carole King Musical, UK tour

BEST CASTING DIRECTION                         

Pippa Ailion and Natalie Gallacher, Spring Awakening, Almeida Theatre

Stuart Burt, The Seagull, Harold Pinter Theatre

Anji Carroll, Marvellous, New Vic Theatre, @sohoplace

Natalie Gallacher for Poppa Ailion Casting, Legally Blonde, Regent’s Park Open Air Theatre

Jacob Sparrow, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Anne Vosser and Jo Hawes, Identical, Nottingham Playhouse and The Lowry, Salford

BEST CHOREOGRAPHY                                

Fabian Aloise, Bring It On: The Musical, Southbank Centre

Maxine Doyle, The Burnt City, Woolwich Works

Ellen Kane, A Chorus Line, Curve Leicester

Lynne Page, Spring Awakening, Almeida Theatre

Susan Stroman, Crazy for You, Chichester Festival Theatre

Arlene Phillips, Grease, Dominion Theatre

BEST COSTUME DESIGN                                            

Evie Gurney and Richard Mawbey, The 47^th, The Old Vic

William Ivey Long, Crazy for You , Chichester Festival Theatre

Katrina Lindsay, Tammy Faye, Almeida Theatre

Melissa Simon-Hartman, Much Ado About Nothing, Royal Shakespeare Theatre

Gabriella Slade, The Cher Show, UK tour

Catherine Zuber, My Fair Lady, London Coliseum and UK tour

BEST LIGHTING DESIGN sponsored by WHITE LIGHT                                     

Neil Austin, Tammy Faye, Almeida Theatre

Nic Farman, The Book Thief, Octagon Theatre, Bolton

Jessica Hung Han Yun, My Neighbour Totoro, Barbican Theatre

Jack Knowles, Spring Awakening, Almeida Theatre

Tim Lutkin, The Crucible, National Theatre

Scott Zielinski, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST SET DESIGN sponsored by PREEVUE                                          

Jon Bausor, Into the Woods, Theatre Royal Bath

Es Devlin, The Crucible, National Theatre

Robert Jones, Murder on the Orient Express, Chichester Festival Theatre

Morgan Large, Sister Act, Eventim Apollo Hammersmith and tour

Tom Pye and Basil Twist, My Neighbour Totoro, Barbican Theatre

Ben Stones, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

BEST SOUND DESIGN sponsored by STAGE SOUND SERVICES                                   

Neil Bettles, Blood Harmony, Traverse Theatre

Annie May Fletcher, Hedwig and the Angry Inch, Leeds Playhouse and HOME Manchester

Tony Gayle, My Neighbour Totoro, Barbican Theatre

Paul Groothuis, Into the Woods, Theatre Royal Bath

Adam Fisher, The Band’s Visit, Donmar Warehouse

Drew Levy, Rodgers & Hammerstein’s Oklahoma!, Young Vic

BEST VIDEO DESIGN                                                   

Luke Halls and Zakk Hein, The Book of Dust: La Belle Sauvage, Bridge Theatre

Douglas O’Connell, Identical, Nottingham Playhouse and The Lowry, Salford

Finn Ross, Spring Awakening, Almeida Theatre

Finn Ross and Andrea Scott, My Neighbour Totoro, Barbican Theatre

Joshua Thorson, Rodgers & Hammerstein’s Oklahoma!, Young Vic

Max Spielbichler, Best of Enemies, Young Vic and Noël Coward Theatre

BEST GRAPHIC DESIGN sponsored by HEXAGON PRINT                               

AKA, Tammy Faye, Almeida Theatre

Bob King Creative, My Fair Lady, London Coliseum and tour

Felicity McCabe and National Theatre Graphic Design Studio, The Crucible, National Theatre

Muse Creative Communications, The Book of Dust: La Belle Sauvage, Bridge Theatre

Studio Doug, Prima Facie, Harold Pinter Theatre

Toshio Suzuki and Dewynters, My Neighbour Totoro, Barbican Theatre

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UK & Ireland premiere of Disney’s WINNIE THE POOH THE MUSICAL

Created and directed by Jonathan Rockefeller

Featuring music by The Sherman Brothers

with additional songs by A.A. Milne

Rockefeller Productions, in partnership with ROYO and in association with Disney Theatrical Productions, are delighted to announce the full cast for Disney’s Winnie the Pooh.

The UK and Ireland premiere will begin performances at London’s Riverside Studios (Hammersmith) from 17 March, with an official opening on 26 March. The show will then tour the UK and Ireland until September 2023. Tickets for Riverside Studios and the UK & Ireland Tour are now on sale.

Sharing the role of Winnie the Pooh in London will be the previously announced Jake Bazel (who originated the role in New York) and Benjamin Durham (Young Frankenstein). Benjamin will play the title role on tour. The much-loved characters of Eeyore, Piglet, Rabbit, Owl, Kanga and Roo will be brought to life by an ensemble of performers, including  Laura Bacon (Britain’s Got Talent, Star Wars), Harry Boyd (The Play That Goes Wrong, Buddy: The Buddy Holly Story), Alex Cardall (Evita, The Osmonds: A New Musical), Chloe Gentles (Mamma Mia!, Beautiful: The Carole King Musical), Lottie Grogan (Smurfs Save Spring: The Musical, The Lips for Puppets with Guys) and Robbie Noonan (Avenue Q UK Tour, Jack and the Beanstalk).

Deep in the Hundred Acre Wood, a new adventure is about to happen.  A.A. Milne’s beloved characters,Winnie the Pooh, Christopher Robin and their best friends Piglet, Eeyore, Kanga, Roo, Rabbit and Owl (and Tigger too!), will all arrive on stage in a beautifully-crafted musical stage adaptation.

In a new story from the Hundred Acre Wood, this fresh stage adaptation is told with impressive life-size puppetry, exciting new stories and featuring characters that have played iconic roles in the lives of children for generations. Accompanying the modern narrative is an original score by Nate Edmondson, featuring some of the Grammy award-winning songs written by the Sherman Brothers for the original animated features, including Winnie the Pooh, The Blustery Day, The Wonderful Thing About Tiggers and Whoop-De-Dooper Bounce, plus A.A. Milne’s The More It Snows (featuring music by Carly Simon) and Sing Ho in a new arrangement.

Winnie the Pooh: The New Musical Adaptation is developed and presented by renowned family entertainment creator Jonathan Rockefeller (whose spectacular puppetry is omnipresent in the acclaimed productions of The Very Hungry Caterpillar Show, Paddington Gets in a Jam and Sesame Street the Musical).

Inspired by the beloved books by A. A. Milne and the classic Disney featurettes, the production was welcomed in New York in 2021, where it broke theatre box office records for the largest advance, with rave reviews where it was called “Enchanting!” (Time Out); “Winnie the Pooh: The New Musical Stage Adaptation is magical, sweet as honey, and full of humor. It’s a wholesome, delightful, enchanting piece of theatre,” (BroadwayWorld); “A perfect reintroduction to live theater. It’s a captivating adventure with spectacular puppetry,” (Mommy Poppins); “Charming and whimsical stage show that Pooh surpasses every expectation I had for it,” (The Laughing Place); “Winnie the Pooh is delightfully first-rate,” (Theatre Pizzazz); “Irresistible. ‘Winnie the Pooh’ is sweeter than honey,” (DC Metro Arts); “An hour of bountiful joy,” (New York Theatre Guide); “Mesmerizing and lifestyle puppets and original Sherman Brothers tunes, the beautiful new Winnie the Pooh musical is must-see,” (Theatrely); “The wonderful thing about musicals is that musicals are wonderful things. The New ‘Winnie the Pooh’ Musical Is Sweeter than Honey,” (Toy Insider).

Website: winniethepoohshow.co.uk

Facebook: @WinnieThePoohShowUK

Twitter: @WinnieShowUK

Instagram: @WinnieThePoohShowUK

TO CLOSE ON 29 APRIL AFTER FOUR YEARS –

THE LONGEST RUNNING SHOW IN THE

200+ YEAR HISTORY OF THEATRE ROYAL HAYMARKET

TICKETS ON SALE FROM

ONLYFOOLSMUSICAL.COM

The smash-hit Only Fools and Horses The Musical is to close at London’s Theatre Royal Haymarket on Saturday 29 April after four incredible years – making it the longest running production staged in the Theatre Royal’s 200+ year history.

Starring comedy giant Paul Whitehouse as Grandad, the show has played over 1,000 performances to more than 750,000 people since opening in February 2019. Based on John Sullivan’s iconic and record-breaking television show, this home-grown West End musical spectacular – featuring cherished material from the TV series – is written by Whitehouse and John Sullivan’s son, Jim Sullivan.

Paul Whitehouse said: “It’s been an unbelievable four years for the whole cast of the Only Fools musical. We’ve consistently played to packed houses and received standing ovations night after night – the audiences have been incredible. I’m committed to six months filming from May onwards, so it felt the right time to say ‘Bonjour’ to Del and the gang… for now. But we are planning a UK tour – more details to be announced later this year – and we hope to bring the show back into the West End at some point in the future. But for now, there are just three months to get a ticket to see us at the Theatre Royal. Bonnet de douche!”

Directed by Caroline Jay Ranger, the show opened in the West End to an array of fantastic reviews from critics and fans alike: The Sun awarded five stars, hailing it “One Del of a show!”; the Daily Mirror said it was “a treat for Trotter fans” in their five-star review; The Sunday Times bestowed four stars and remarked that “Only Fools is a blast from our wide-boy past. A hearty stage adaptation of the 1980s BBC television comedy”. Evening Standard also awarded four stars, complimenting the “unashamedly British night out. A jubilant lovely jubbly!” While the Daily Mail urged its readers to “raise a glass of Tittinger to Del Boy and Rodney as Only Fools and Horses storms the West End!”

Starring alongside Paul Whitehouse in this hilarious show are Tom Bennett (Del Boy) and Ryan Hutton (Rodney). The cast also features many of the hugely popular TV characters: Ashleigh Gray plays Raquel; Nicola Munns plays Marlene and Cassandra; Craig Berry plays Boycie; Lee VG plays Trigger; Adrian Irvine plays Denzil; Danny Bayne plays Mickey Pearce and Danny Driscoll; Andrew Bryant plays Mike The Barman and Tony Driscoll. Completing the cast are Christopher Arkeston, Marion Campbell, Wesley Charles, Leanne Garretty, Ian Gareth Jones, Chris Kiely (also Resident Director), Danny Lane, Andy Mace, Melanie Marshall, Gemma Maclean, Darryl Paul and Mark Pearce.

So join the Trotter family for one last knees-up, as they take a trip back to 1989 where it’s all kicking off in Peckham. With musical contributions from Chas n Dave, the beloved theme tune as you’ve never heard it before and an array of brand-new songs full of character and cockney charm, you’re guaranteed to have a right knees-up! Only Fools and Horses The Musical is a feel-good family celebration of traditional working class London life and the aspirations we all share.

★ ★ ★ ★ ★

“One Del of a Show!”

The Sun

★ ★ ★ ★ ★

“Viva, Hooky Street. C’est Magnifique! A treat for Trotter fans”

Daily Mirror

★ ★ ★ ★

“Call it comfort food for our troubled times, this show serves up some lovely jubbly”

Metro

★ ★ ★ ★

“Only Fools is a blast from our wide-boy past.

A hearty stage adaptation of the 1980’s BBC Television comedy”

Sunday Times

LISTINGS INFORMATION

Theatre Royal Haymarket

Box Office: 020 7930 8800

Performances: Monday – Saturday at 7:30pm. Wednesday and Saturday matinee at 2:30pm

Website: OnlyFoolsMusical.com

Twitter: @OFAHMusical

FULL CASTING ANNOUNCED FOR

BONNIE & CLYDE

THE MUSICAL

AT THE GARRICK THEATRE

STARRING

FRANCES MAYLI MCCANN AND JORDAN LUKE GAGE

AS ‘BONNIE AND CLYDE’

OPENING

SATURDAY 4 MARCH 2023

DLAP Group are thrilled to announce the full casting for the BONNIE & CLYDE THE MUSICAL at The Garrick Theatre reuniting stars Frances Mayli McCann and Jordan Luke Gage as the titular pair alongside the Olivier Award winning Georgie Maguire reprising his role as ‘Buck Barrow’ and West End star Jodie Steele as Blanche Barrow, with Olivier Award nominated Cleve September returning as ‘Ted’ and Dom Hartley-Harris as Preacher. BONNIE & CLYDE THE MUSICAL opens Saturday 4 March 2023 for a strictly limited 11-week season. Tickets on sale now at www.bonnieandclydemusical.com.

The cast is completed Robbie Scotcher, Alexander Evans, Kit Esuruoso, Barney Wilkinson, Lauren Jones, Julie Yammanee, Pippa Winslow, Chloe Saunders, Charlie McCullagh, Sydnie Hocknell and Michael Cortez.

Frances Mayli McCann is an Olivier Award nominated actress, who originated the role of ‘Kylah’ in “Our Ladies of Perpetual Succour”. Her other West End credits include ‘Heather McNamara’ in “Heathers” at the Theatre Royal Haymarket, ‘The Mistress’ in “Evita” at Regent’s Park Open Air Theatre and ‘Eponine’ in the UK and International Tour of “Les Misérables”. On television Frances can be seen in BBC/ABC’s Silverpoint.

Jordan Luke Gage is best known for originating the role of ‘Romeo’ in the Olivier Award winning “&Juliet” at The Shaftesbury Theatre. His other West End credits include ‘Strat’ in “Bat Out Of Hell” at The Dominion Theatre and ‘JD’ in “Heathers” at Theatre Royal Haymarket. His television credits include playing ‘Adrian Barber’ in ITV’s Cilla, and ‘Luc’ in Cucumber on Channel 4.

George Maguire is the winner for the Olivier Award for Best Supporting Actor in a Musical for his performance as ‘Dave Davies’ in “Sunny Afternoon”. He reprises his role as ‘Buck Barrow’ in “Bonnie & Clyde The Musical”, his other theatre credits include “35mm: A Musical Exhibition” at The Other Palace Studio, “Oliver!” at the London Palladium and the European tour of “Rent”.

Jodie Steele’s West End credits include ‘Heather Chandler’ in “Heathers” at Theatre Royal Haymarket and The Other Palace, ‘Sheila’ in “Hair” at The London Palladium” as well as “War of the Worlds” at the Dominion Theatre. On tour she has appeared as ‘Katherine Howard’ in “SIX”, ‘Elphaba’ in “Wicked” and ‘Sherrie’ in “Rock of Ages”. Her recent theatrical credits also include ‘Beth’ in “Rehab The Musical” at The Playground Theatre and ‘Kimberley/Hilary’ in “But I’m A Cheerleader” at the Turbine Theatre. On television she has appeared in BBC One’s “Eastenders” as well as ITV’s “Emmerdale” and “Professor T”. 

Cleve September reprises his role as ‘Ted’ in “Bonnie & Clyde The Musical”. He is perhaps best known for his Olivier Nominated performance as ‘Philip Hamilton/John Laurens’ in the original West End cast of “Hamilton” at the Victoria Palace Theatre. His other theatre credits include “Jesus Chris Superstar” at Regent’s Park Open Air Theatre, “Annie Get Your Gun” at the Crucible Theatre, “In The Heights” at Kings Cross Theatre and “The Last Days of Troy” at The Globe Theatre.

Dom Hartley-Harris most recently appeared in the West End as ‘George Washington’ in “Hamilton” at the Victoria Palace Theatre, his other West End credits include “Beautiful: The Carole King Musical” at the Aldwych Theatre and “Bat Out of Hell” at the London Coliseum. His other credits include playing ‘Curtis Taylor Jr.’ in the UK Tour of “Dreamgirls”, ‘Collins’ in “RENT” at the Hope Mill Theatre”, ‘Ratsey’ in “Moonfleet” at Salisbury Playhouse.

The crew is made up of Company Manager Rhian Thomas, Stage Manager Sam Rixon, Deputy Stage Manager Grace Currie, Assistant Stage Manager Kira Marks, Assistant Stage Manager Benjamin Mason-Foster, Sound 1 Harry Greatorex, Head of Wardrobe Ariane Nunan, Deputy Wardrobe Poppy Camden, Head of Wigs, Hair and Make Up Mark Lewitt and Deputy Wigs Hair and Make Up Katie Steel.

The band is comprised of Musical Director Nick Barstow, Assistant Musical Director Honor Halford Mcleod, Bass Guitar Annie Blake, Guitar Daniel Vildosola, Drums Zach Okonkwo, Violin Clodagh Kennedy and Woodwind Claire McInerny.

At the height of the Great Depression, Bonnie Parker and Clyde Barrow went from two small-town nobodies in West Texas to America’s most renowned folk heroes and the Texas law enforcement’s worst nightmares. Fearless, shameless, and alluring, Bonnie & Clyde is the electrifying story of love, adventure and crime that captured the attention of an entire country. The show features the songs “Raise A Little Hell”, “This World Will Remember Me” and “Made In America”.

When Bonnie and Clyde meet, their mutual cravings for excitement and fame, combined with a desperate need to lift themselves out of the endless banality and poverty of West Dallas, set them on a mission to chase their dreams. Their bold and reckless behaviour turns the young lovers’ thrilling adventure into a downward spiral, putting themselves and their loved ones in trouble with the law. Forced to stay on the run, the lovers resort to robbery and murder to survive. As the infamous duo’s fame grows bigger, their inevitable end draws nearer.

BONNIE & CLYDE THE MUSICAL has a book by Ivan Menchell (Blended [movie], The Cemetery Club, Death Note The Musical), a Tony Award nominated score by Frank Wildhorn (Jekyll & Hyde, The Scarlett Pimpernel), lyrics by Don Black (Tell Me On a Sunday, Sunset Boulevard, Mrs Henderson Presents), arrangements and orchestrations by John McDaniel (Patti Lupone: Live, Annie Get Your Gun). The production will be directed by Nick Winston (Director of the feature film Tomorrow Morning, MAME, The Royal Variety Performance) with Set and Costume Design by Philip Witcomb (Atlantis, Stones In His Pockets, MAME),Musical Supervision from Katy Richardson (SIX, Rent, Jersey Boys), Lighting Design by Zoe Spurr (Fantastically Great Women Who Changed The World, Hamlet at Theatre Royal Windsor), Sound Design by Tom Marshall (The Drifter’s Girl, Nativity The Musical, Curtains), Video Design by Nina Dunn (The Shark Is Broken, Lazuli Sky), Casting Director Jim Arnold CDG (Wicked, The Prince of Egypt), Production Manager Phil McCandlish (Curtains, Rock of Ages), Orchestrations and Copying Jen Green (Fantastically Great Women Who Changed The World, Dr Dolittle), Wigs and Hair Designer Darren Ware (The Rocky Horror Show, Matthew Bourne’s The Midnight Bell), Associate Director/Choreographer Alexzandra Sarmiento (42 Balloons, But I’m A Cheerleader, ICON: The K-Pop Musical), Associate Director/Choreographer Annie Guy (Michael Ball & Alfie Boe: Together, Bonnie & Clyde In Concert), Orchestra Fixer Rich Morris (American Idiot, Jesus Christ Superstar), Costume Supervisor Hayley Pursey and Props Supervision by Propworks (2:22 A Ghost Story, Pretty Woman).  

DLAP Group is an Olivier-Award winning production company with West End and UK Touring works including “Bonnie and Clyde in Concert”, “Rock of Ages,” “Company,” “Fame,” “Curtains,” and “The Wedding Singer.”

The Mill at Sonning – until 11th March 2023

Reviewed by Jacqui Radford

5*****

The Mill at Sonning offers a double treat as standard; a pre-theatre dinner in an enviable setting with excellent hospitality and a show that is staged in a theatre that makes you feel you are part of an exclusive experience. The theatre has a comprehensive offer throughout the year and you could return a number of times without eating the same dinner twice. Anybody planning an afternoon or evening out should really consider this option. Sally Hughes, Managing and Artistic Director at The Mill has created a perfect dinner theatre mix.

‘We’ll Always Have Paris’, written by Jill Hyem is billed as a romantic comedy and doesn’t fall short. Set in a Paris apartment that has served as an escape for retired head teacher Nancy, the play focusses on the life and love differences of three old school friends – ‘Les Dames Anglaises’. Add in a handyman and landlady who bring a French dimension and the play fully embraces the comedy element with a slight ‘Allo, ‘Allo! feel.

All three ‘Dames Anglaises’ are recognisable to everybody, regardless of age. Flitting between childlike joy and steadying hand, Nancy has seemingly embraced France including the language, food, culture and friendship with her handyman (Charlot – played by Richard Keep). Anna has arrived in Paris after years of sacrifice and caring for her sick husband. Affected by sliding into the shadows because of her husband she is almost smitten by Paris and affectionately drawn to Charlot’s charm. Raquel is drawn to extreme gestures and excess. Despite their difference, they are united by their past shared experiences, longing for change and ultimately acceptance and long -lasting bond.

Convincingly portrayed by Elizabeth Elvin , Natalie Ogle and Debbie Arnold, the three friends who are bonded by their past and short time together in Paris draw the audience into their shared joy and liberation. There was a definite sense of shared experience and laughter throughout. The extra layer of nostalgic music left me feeling like a short trip to Paris should be top of my travel list (when I get to a certain age, of course!).

Forum Theatre, Malvern – 28th January 2023

Reviewed by Courie Amado Juneau

4.5****

Classic Rock! Guitars, guitars and more guitars – nice. The house lights dimmed, some shadowy figures wafted across a stage that was romantically bathed in the soft glow of the rear video wall and the very familiar strains of a track we all knew augured the promise of a live jukebox of hits.

And it was immediately apparent where the focus was this evening. The Who have released a multitude of growling, angry anthems such as “I Can’t Explain” and “My Generation” but here we had “Baba O’Rilley”, one of their epic, sweeping (more “proggy”) numbers.

Heart’s “Barracuda”, The Eagles “One Of These Nights”, Bad Company’s “Feel Like Making Love”, Fleetwood Mac’s “The Chain” all followed, pretty much note for note. Impressive playing, especially in the soaring lead vocals and tight as you like harmonies. The vocalists took turns rotating their front-person duties (two gentlemen and a lady) as well as excelling in combination and doing the backing vocalists strut (that side to side dance). Guitar and keyboard was also in their impressive repertoire.

There are moments that make you sit up and think “wow, I never realized how powerful that song is live” and “Burn” by Rainbow is just one of those songs. Oh, Geoffrey – what a riff! It also gave our two lead guitarists the chance to do the dual dueling guitar thing too – which is always thrilling when done right; and tonight it certainly was.

I loved the delicious irony that it was Quo’s “Down Down” that first got the crowd up on their feet. But once they had broken through the British reserve they were off, having a fantastic time bopping along and interacting with a band who knew how to whip up the crowd. There was the obligatory singer walkabout, passing the mic (showing there was no auto-tune being used tonight) and the guitarist got close and personal with the front row too. And two young fans who were hoisted up on the stage during Van Halen’s “Jump” proceeded to do just that, complete with air guitar and rock hand signs. A really lovely moment for them (and their parents) that I’m sure they will treasure the memory of forever.

The light show was fantastic, the sound was truly amazing (how did they get it so clear and loud?), there were guitars everywhere (did I mention the guitars?)… What’s not to love here?

There are those who will love the set that was given us by this extraordinarily talented band. Personally, I would have preferred a little more grit and a little less MOR. For me this was “70’s FM radio rock” with a few harder edged tunes sprinkled in. For the musicianship and crowd engagement I’d give the show a 5. For the choice of music it gets a 4 from me I’m afraid.

A very slick, glossy production that was unlikely to trouble the most delicate of sensibilities whilst bringing enormous pleasure to the vast majority. A great evening’s entertainment.

Phoenix Theatre – until 11 March 2023

Reviewed by Claire Roderick

4****

The 40th anniversary tour production of Michael Frayn’s classic comedy arrives in the West End with a sublime cast with enough energy to run the National Grid.

Frayn’s sharp but affectionate pastiche of the dull sex comedies of the 70s and 80s combines with hilarious backstage entanglements and power struggles of a company on a long tour to create an almost perfect farce.

Holding a plate of sardines, Felicity Kendal totters onto the large middleclass house set (with lots of doors – doors and sardines are important!) like a younger Mrs Overall, gets confused and is interrupted by a voice from the auditorium – setting up act one as a tech run for “Nothing On”, a woeful comedy about tax evasion and estate agents that opens the next day. Dotty Ottley (Kendal) has put her savings into one last tour, and the company struggle through the run despite some of them having no clue what is going on after two weeks rehearsals. Director Lloyd (Alexander Hanson) rages and coaxes the cast through the play, building up a little sympathy as he deals with questions and interruptions, until his treatment of the younger women in the company and hapless stage manager Tim (a fantastically frazzled Hubert Burton) becomes more obvious. This first act is very funny as what we expect from a gentle comedy, establishing the characters quirks nicely.

When the curtain rises for the second act, the set has reversed and we are now backstage, midway through the tour. The tempestuous relationship between Dotty and Gary Lejeune (Joseph Millson) has led to jealous rages as he suspects she is interested in another man, and Dotty has locked herself in the dressing room as Tim and assistant stage manager Poppy (Pepter Lunkuse) call beginners. Further complications lead to frenetic and physical comedy as the “actors” valiantly continue the show, but we see the chaos raging backstage as they exit to go “onstage” to deliver their lines before reappearing to continue arguments and fights with a series of props that mimic the shenanigans with props in the fictional play. As this is backstage, and the company are professionals, the chaos is almost silent, with brilliant miming, grimacing and pratfalls, before all hell breaks loose and sabotage and revenge take over.

There is a short break to catch your breath before the brief third act begins – the final night of the tour where everything that can go wrong does go wrong, ramping up the physical comedy even more. The technicalities and intricacy of the play are incredible, and director Lindsay Posner uses Simon Higlett’s set brilliantly, and the cast’s timing and chemistry is a joy.

Felicity Kendal has extraordinary energy as Dotty, lots of fun as Mrs Clackett and hilarious making moves on hapless Freddie (Jonathan Coy) backstage. Coy makes poor Freddie more than the butt of jokes in this production – he has a charming world weary innocence that makes Belinda’s (Tracy-Ann Oberman) protection of him more maternal. Oberman is a delight as the peacekeeper who cannot help but gossip, and her exaggerated gestures and fake laughs as she tries to cover and get the plot back on track are masterful. Joseph Millson is phenomenal as Gary – throwing his body around and clowning brilliantly, but also nailing Gary’s verbal tic of never being able to finish a… you know, unless it is in a script. Brooke Ashton is fabulous as Vicki – wide-eyed and determined to say her lines in the correct order, no matter what is going on. Matthew Kelly effortlessly steals every scene as Selsdon, the old ham always on the lookout for a drink and launching into interminable stories at the drop of a hat – simply wonderful.

A lot of comedies from the 80s and 90s just wouldn’t work today, but Noises Off still sparkles on so many levels. The cleverness and intricacy leaves you in awe. The in-jokes about touring and the meta comedy elements will always appeal to theatre lovers, the tax avoidance jokes are very topical, and new audiences will just cry with laughter at the non-stop parade of gags – and we all need a laugh right now.

Noise Off is rightly hailed as a classic – a night of unabashed silliness and joy.

Festival Theatre, Malvern – until 28th January 2023

Reviewed by Courie Amado Juneau

5*****

I have always loved PG. Wodehouse’s books, especially the Jeeves & Wooster series. One of the stars of that ITV series was Robert Daws, star of tonight’s show. I didn’t know much about Wodehouse himself so I was intrigued to see this show.

This is a tour de force one man show in which we find our heroic author fresh from writing to his daughter Leonora. We, the audience, get to hear the author’s letters and thoughts out loud, learning all about his latest adventures including a recent visitor to the household who wishes to write his biography. This simple yet highly effective setup is the perfect vehicle for a very entertaining evening, kind of like being at an intimate dinner party where amusing anecdotes are shared by very popular demand. Mr Daws keeps us enthralled with a generous, affectionate portrayal of Wodehouse. We are regaled with background information on his life, including his working methods and how he progressed professionally in the early years. I never knew he had written lyrics to many popular shows for instance. This gives Mr Dawes the opportunity to regularly burst forth into song and he has a surprisingly melodious and characterful voice. These songs are gently charming as was the fashion back then – I particularly enjoyed the love song about sausages missing mash. I could almost see Jeeves raising an exasperated eyebrow at Bertie as he sat at the piano bashing the living daylights out of said ditty. If only there had been a banjolele to hand. There was plenty of mention of all things Wodehousian; Jeeves, Wooster, Blandings…. The recounting of the “Pig-hooey” attempts to get The Empress of Blandings appetite back was brilliantly portrayed with our lead showing off all his years on the stage and screen with some marvellous multiple characterisations effected with a vocal inflection, a leap of octave and a body swerve! Simply wonderful.

The set (by Lee Newby) is a cleverly furnished affair – his study, complete with comfy chair, writing desk, bar and music stand with score. Pretty much telling you everything you need to know about the man himself. I loved learning more about P.G. via the small domestic snippets (his adored Pekingese, martinis after his daily bath etc.). There was a surprising depth and emotion after the interval when the German Broadcasts saga was recounted along with a very personal tragedy that I won’t reveal so as not to spoil the surprise (but it was not something I had seen coming). A real tearjerker moment handled with care and admirable subtlety by all concerned including William Humble’s superb script, flawlessly directed by Robin Herford. This show is, simply, a joyous evening full of laughter, understated nuance, warmth and kindness. If you crave a lovely escapist evening of agreeable entertainment then I cannot recommend this show highly enough. A thoroughly fruity binge which even Jeeves could not offer an improving word towards.