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.

Orange Tree Theatre, Richmond – until 4th February 2023

Reviewed by Bobbi Fenton

4****

Apparently, every heart has about Two Billion Beats in it. It beats two billion times, and then we die. This explains why smaller animals, such as hamsters that aren’t actually hamsters, whose hearts beat faster, die sooner than humans. This is the wisdom of year ten student Bettina (Tanvi Virmani). This play is a wonderful commentary on living in a world where you can’t create the rules, and what you actually do with your life. The character Asha draws on the life of B R Ambedkar, mirroring this with the Suffragettes, specifically the Marxist Silvia Pankhurst. This is very effective in creating a mirror between their struggles for rights, and the current socio-political climate and inequality based on race.

The play opens with Asha (Shala Nyx) a year thirteen student, and her younger sister Bettina (Tanvi Virmani) arguing about getting the bus home together. Shala Nyx and Tanvi Virmani are brilliant at quickly establishing the very familiar dynamic between an older sibling who finds their younger sibling incredibly irritating.

In the first scene, Asha describes a critical essay she has written about Gandhi and Ambedkar, getting 85% on this essay. And yet her teacher is outraged when Asha does the same thing with her idols, the Suffragettes. Asha comments on how Mrs L seems to be okay when Asha is critical of historical figures when they are “Brown dudes” but cannot stand anyone being critical about the Suffragettes and how Emeline and Christabel Pankhurst turned their backs on Silvia Pankhurst at the start of the First World War. This allows Asha to notice and acknowledge her teacher’s unconscious bias, and later enables her to explore this issue in wider society, when a boy is falsely accused of a crime and automatically assumed to be dangerous because he is a Muslim.

This play, expertly written by Sonali Bhattacharyya, is fantastic, and truly highlights how important it is to use your two billion beats wisely.

Aylesbury Waterside – until Saturday 28th January 2023

Reviewed by Julia Spargo

3***

Strange things are afoot in twelve-year-old Alfie’s town. As children lose their teeth and leave them under their pillows for the tooth fairy, instead of money they are finding squashed toads and bats’ wings under their pillows.

When Alfie’s dentist has a strange and unexplained “accident”, he is replaced locally by Miss Root. Miss Root arouses Alfie’s suspicions almost immediately, and after she removes all his teeth during his first visit, Alfie sets about trying to discover the truth about his town’s new dentist.

The first half of this production by Neal Foster is used to introduce the characters. Alfie (Sam Varley) lives at home with his dad (James Mitchell), a wheelchair-user with a progressive lung condition caused by working in the mines. A social worker, Winnie (the fresh and funny Misha Macolm) visits the house to assist Alfie and his dad, and ends up getting involved in slightly more than she bargained for. Alfie goes to school with Gabz who is categorically “not his girlfriend”, but is a great partner-in-crime, and played with verve by Georgia Grant-Anderson. Miss Root (the statuesque Emily Harrigan) is an over-the-top pantomime villain. At the end of the first half, Alfie unwillingly visits Miss Root for a check up at her surgery, where she also keeps a menacing white cat. All cliches are in place to indicate that this visit is not going to go well.

The second half warms up considerably with the introduction of the character Raj, played brilliantly by the scene-stealing Zain Abrahams. A set-piece of toilet humour involving Winnie and some chocolates had the children in the audience rolling around with laughter. The last twenty minutes, involving a chase into a mine, chandeliers made of human teeth, kidnap and death, could be frightening for younger children but my mini-reviewers were aged between 10 and 14 years and remained very engaged. Some very effective use of sound and lighting made them jump a few times, but I would say the production is geared for ages 8-11. There are a few songs, but apart from a touching duet between Alfie and his dad, none of them were particularly memorable, though were carried well by the cast of strong voices, particularly Alfie and Miss Root.

The second half of Demon Dentist was a lot pacier than the first, and considerably funnier. My young critics rated the play a 9 out of ten; more generous than me, but then I have odontophobia, and tooth removal features heavily in the first half, along with realistic and somewhat sickening sound effects!

Dominion Theatre – until 29th April 2023

Reviewed By Emily Cliff

5*****

I must admit when writing this review that it is not my first time seeing Dirty Dancing on the West End, I was lucky enough to witness the fantastic show last year. But my my, what a difference a year makes. I said it last year and I will say it again, the experience of Dirty Dancing on stage is an unmissable, fantastic and simply magnetic experience that you cannot skip out on.

Compared to last year’s production, it seems like there has been more content from the film added into the onstage productions. Small yet iconic scenes and interludes that we missed last year were included in this year’s stage production. For example, that iconic interlude of Baby Housman dancing over the bridge after a dancing lesson with Johnny was something we missed out on last year. Perhaps with the new producer on the project we can only expect this to get better and better.

Reprising their roles as Baby and Johnny, Keira Malou and Michael O’reilly shared the same electric chemistry they did last year. Making each scene widely sexy, stylish and sleek. Last year marked Kiera Malou’s West End Debut, and oh my god what a debut it was. Over 12 months you can really see the improvement in Keira’s dancing and acting, showing more strength in lifts and more confidence in owning the stage. As ever, Micheal O’reilly charmed and captivated the audience with his performance as Johnny Castle. With the amount of wolf whistles and screams the audience let out at that scene you would think we were at a One Direction show.

Now of course, the elephant in the room – THE lift. The pair made this extremely difficult dance lift seem so effortless I almost attempted it in my living room when I got home. It must have taken weeks of training rehearsing to get it perfect, sitting here talking about it now my mind is still completely blown away by the stamina and strength of the dancers on stage. All of the company numbers were performed with just the right amount of energy, and nobody seemed like they were trying too hard.

I think it is fair to say that this show has painted the town pink once again, dripping with sex appeal. You do not want to miss this show. From the amazing cast to the brilliantly self aware comedic scenes Dirty Dancing on stage is truly something special. Supported by a fantastic cast, and extremely talented on stage band and the most iconic and wonderful soundtrack, once again i am telling you to listen to your Hungry Eyes and trust me, you will have the Time of Your Life.

• YOU CAN DANCE, YOU CAN JIVE! NEW BOOKING PERIOD ANNOUNCED FOR MAMMA MIA! THE PARTY AT THE O2, LONDON

• LONDON’S PREMIER DINING EXPERIENCE IS EXTENDING TO 3 SEPTEMBER 2023

Due to extraordinary demand, MAMMA MIA! THE PARTY, London’s premier dining experience is extending to 3 September 2023 at The O2, London with tickets on sale now

The current cast performing at Nikos Taverna on the Greek island of Skopelos each night includes Javier Rasero as Nikos, Scarlet Gabriel as Debbie, Luke Friend as Adam, Noah Sinigaglia as Konstantina, Rosie Rowlands as Bella (at certain performances), Jamie Birkett, Caline Hampartzoumian, Robban Hogstrom, and Maison Kelley. They join Lorraine Chappell, who will continue in the role of Kate, Dawn Spence as Grandma, Allie Ho Chee as Bella (at certain performances), Claudia Bradley and Ellis Dackombe. Tamara Perks will play the role of Nina, and Oscar Balmaseda will play Fernando.

The musicians are John Donovan, Luke Higgins, Kathryn Tindall, Steve Rushton and Luke Roberts.

Created by ABBA’s Björn Ulvaeus, MAMMA MIA! THE PARTY is a unique and magical experience in a class of its own, bringing all ABBA’s hits to life more vividly than ever before! Over the course of four glittering hours, guests can immerse themselves in a spectacular musical extravaganza, a four-course Greek feast and an ABBA disco, all in one unforgettable evening of dancing, dining and singing!

MAMMA MIA! THE PARTY is set in a taverna on the beautiful Greek island of Skopelos, where most exteriors of the first MAMMA MIA! film were shot. Nikos and his wife Kate run this exotic and wonderful restaurant together with their family and friends. Told through dialogue and timeless ABBA songs, a warm, romantic and funny story evolves and unfolds during the evening, taking place around the guests as they enjoy a gourmet Greek meal. The evening ends with a 1970s disco, where audience members are welcome to stay to sing and dance to ABBA recordings.

Food is at the heart of the experience and a menu has been created that delivers the finest Greece has to offer, made from the best, freshest ingredients. Guests are served a traditional mezze followed by the iconic Greek salad of fresh tomatoes, cucumber and feta. The main course of confit lamb shoulder and slow-cooked beef is served with roasted garlic potatoes, courgette peperonata, romesco and aromatic jus. For vegetarian and vegan guests, there is roasted cauliflower with a lemon-herb dressing served alongside a tomato stuffed with lentil ragout. A sumptuous Greek lemon cake served with confit orange skin and citrus yoghurt is the perfect end to this delicious meal. Vegan guests are served traditional loukoumades, delicious dough balls accompanied by a sweet fig jam.

Guests can get the ultimate MAMMA MIA! THE PARTY experience with one of the available packages. The Platinum Package provides a Tier A ticket in a prime location, a cast meet and greet with a tableside photo opportunity, champagne on arrival, half a bottle of wine and a MAMMA MIA! THE PARTY merchandise party pack. Guests can also upgrade their existing booking by adding the VIP upgrade package, taking their experience to the next level with champagne on arrival, half a bottle of Nikos house wine and a MAMMA MIA! THE PARTY merchandise party pack. 

MAMMA MIA! THE PARTY has music and lyrics by Benny Andersson and Björn Ulvaeus (some songs with Stig Anderson), and a story by Calle Norlén, Roine Söderlundh and Björn Ulvaeus, with the English book by writer, comedian and broadcaster Sandi Toksvig.

The London version of MAMMA MIA! THE PARTY, which originally opened in Stockholm in January 2016, is co-directed and choreographed by Stacey Haynes and Roine Söderlundh, with set designed by Bengt Fröderberg, lighting designed by Patrick Woodroffe, sound designed by Gareth Owen, costumes designed by Annsofi Nyberg, music supervision by Robin Svensson and casting by David Grindrod CDG for Grindrod Burton Casting.

MAMMA MIA! THE PARTY is executively produced by Björn Ulvaeus and produced by Sally Davies for U-Live.

CORY ENGLISH

TO TAKE OVER ROLE OF

‘DOCTOR EMMETT BROWN’ IN

BACK TO THE FUTURE THE MUSICAL

NOW BOOKING UNTIL OCTOBER 2023

Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that celebrated theatre actor, Cory English, will join the cast of BACK TO THE FUTURE The Musical at the Adelphi Theatre, playing the role of ‘Doctor Emmett Brown’. The show will also extend its booking period until Sunday 22 October 2023. Tickets for the new booking period are on sale now.

The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical had its opening night in London on Monday 13 September 2021 and recently broke box office records at the Adelphi Theatre for the highest gross sales in one week. BACK TO THE FUTURE The Musical is nominated for three WhatsOnStage Awards in 2023 including Best West End Musical, Best Takeover Performance for Ben Joyce and Best Professional Debut Performance for Oliver Nicholas.

Alongside the extension of the booking period, the Adelphi Theatre’s co-owners, LW Theatres, have also partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances. Available now, the technology works by delivering individual closed captioning and audio description to the user’s own mobile device. This exciting new partnership accompanies other additions, such as dedicated relaxed, signed, audio described and captioned performances later in the year.

Cory English recently played the role of ‘Doctor Emmett Brown’ in the show from 23 November 2022 to 3 January 2023 and is now taking over the role permanently as Roger Bart heads to the Broadway production, finishing his run on 20 March 2023. Cory played Max Bialystock in the West End and UK Touring productions of The Producers, directed by Susan Stroman. His other credits include Sleepless at Troubadour Theatre Wembley Park, She Loves Me at the Menier Chocolate Factory, Igor in Young Frankenstein on Broadway and in the West End and Benny Southstreet in Michael Grandage’s West End production of Guys & Dolls.

BACK TO THE FUTURE The Musical currently stars Tony Award-winning Roger Bart and Ben Joyce as ‘Doctor Emmett Brown’ and ‘Marty McFly’ respectively, with Amber Davies as ‘Lorraine Baines’, Oliver Nicholas as ‘George McFly’, Jordan Benjamin as ‘Goldie Wilson’, Harry Jobson as ‘Biff Tannen’, Sophie Naglik as ‘Jennifer Parker’, Gary Trainor as ‘Strickland’, Will Haswell as alternate ‘Marty McFly’ and ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly’. Also in the cast are Amy Barker, Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Cameron McAllister, Alessia McDermott, Bryan Mottram, Laura Mullowney, Anna Murray, Jon Reynolds, Melissa Rose, Georgia Tapp, Justin Thomas, Charley Warburton, Tavio Wright and Rhodri Watkins.

The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available on all formats, including vinyl, and has had over 3 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode. 

BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by half a million people and the musical has broken box office records at the Adelphi Theatre.

Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Doctor Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.

BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Doctor Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.

Website: BackToTheFutureMusical.com  

Twitter: @BTTFmusical

Instagram: @BTTFmusical

TikTok: @BTTFmusical

LISTINGS INFORMATION

BACK TO THE FUTURE The Musical

Adelphi Theatre

Strand

Covent Garden

London WC2R 0NS

Performances:

Mondays, Wednesdays – Saturdays at 7.30pm, Thursday & Saturday matinees at 2.30pm, Sundays at 3pm

(Please note, there will be additional matinees at 2.30pm on Tuesday 14 February, Monday 10 April, Monday 29 May, Monday 28 August and Friday 20 October 2023. There will be no shows on Monday 13 February or Monday 20 February. The show on Monday 1 May will be at 2:30pm). There will also be a relaxed performance on 12 March, a signed performance on 2 April, an audio described performance on 23 April and a captioned performance on 14 May.

Tickets: from £19.55

Please book via the website: BackToTheFutureMusical.com – no booking fees  

Booking line: 0203 925 2998