Beauty and The Beast produced by Martin Dodd of UK Productions, are well known for their musicals and pantomimes. This script I thought was weak, the ‘current’ jokes were not very funny, with the audience barely raising a laugh at a couple of them. There were a lot of sexual innuendo, of course usually in pantomimes, but for me, it was too frequent.
The creative team of Lexie Ward – Director, Cameron MacDonald – Choreographer, Abigail Warne – Wardrobe Supervisor all deserve a mention for excellent designs, along with the many support staff, to many to list, making this pantomime look impressive.
The cast were excellent, a few first night nerves to begin, but quickly over, and funny recoveries from stage ‘mishaps’ all added to the production.
Belle played by Olivia Birchenough was strong and confident from the start with great stage presence and an equal match with Shaun Dalton as The Beast who’s voice was strong and clear. With a long list of credits for both musicals and pantomimes he played an amazing Beast. When the Beast was released from his spell, he gave an impressive change to become the Prince.
Phil Atkinson, playing Hugo Pompidou, the arrogant young man who considered he owned the Village of Camembert and the best person for Belle to marry, kept me laughing throughout by his movements and agility. Perfectly cast in this role, a very versatile actor in both Stage and Television.
Mark James is becoming a fixture in Pantomime at Malvern Theatre, this, his fifth and always playing the fool, bought his own style of humor with the memorable songs and catch phrases re Jigged each year. This year as Louis La Plonk, the son of Polly, the Beasts cook, he was on great form and much loved by the audience.
Polly, played by Leon Craig is an amazing Dame, carrying off the costumes with grace. He is well practiced as a Dame, with over 15 Pantomime Dames to his name.
Melanie Walters playing Fairy Bon Bon and David Alcock as Clement, Belle’s Father gave good performances, unfortunately, a little hard to hear the words of their songs as the music overpowered their voices.
Villagers were Olivia Ferro, Chris Gray, Kathy Bancroft, Lily Dyde, Beau Prance, Talia Webby, all beautifully rehearsed supported by the children from Cecilia Hall Dance Centre who’s younger dancers bought the cuteness to the pantomime, and the older children were amazing dancers, a joy to watch.
The scenery was designed by Jon Harris and Jason Bishop. The scene changes were completed using mainly backdrop curtains with the Castle having structures on stage which were impressive.
Overall, I was saddened by the weak script to give this three stars, the actors performance was five star quality, lets keep pantomimes traditional, the cries of “he’s behind you” “ there’s a ghost” and Mark’s own “where’s me mates” are all good old fashioned traditional fun. Oh yes it is!
Troubadour Wembley Park Theatre – until 16 April 2023
Reviewed by Alun Hood
3***
Newsies, although based on a 1992 Disney live action movie that initially bombed at the box office, belongs to that small coterie of musicals that defies criticism. Paying customers love this show and story: there is something about Alan Menken’s bouncy, catchy tunes and the sight of more than a dozen athletic, waistcoated newsboys leaping tirelessly and unfeasibly high above a stage, that audiences just cannot get enough of. The original 2012 Broadway production, with a heavily revisionist book by Harvey Fierstein and buoyed up by a swaggering, star-making turn from Jeremy Jordan as chief agitator Jack Kelly, was initially intended to be a limited season but wound up extending repeatedly until it achieved an impressive 1000 performances.
This London premiere has already extended bookings until next spring and, if the ecstatic -verging on hysterical – first night reaction was any indication, it’ll be opening up ticket sales for beyond then fairly soon. One would imagine this was always the intention of principal producers Runaway Entertainment (in partnership with Disney Theatrical and a few others) who have clearly spared no expense in presenting this London Newsies. This is one of the largest casts you’ll see on any current stage, backed up a decent-sized band on an environmental set that turns the hangar-like Troubadour Wembley Park Theatre into an atmospherically grimy, iron-girders-and-dirty-glass vision of 1899s New York that recalls the all-encompassing scenic designs John Napier used to create for the Lloyd Webber blockbusters and the RSC in the 1980s. It’s a real eyeful.
Size isn’t everything however and the question is …. just how good actually IS Newsies? Well, I suspect your reaction to it may depend on what you want from a night of musical theatre. It was always a pretty simplistic take on actual historical events (a bunch of New York newspaper sellers declaring a strike after publishing magnate Joseph Pulitzer raised the price of their bundles of papers by ten cents in the summer of 1899) with a romantic subplot shoe-horned in …. and a ton of dance breaks. Owing to the sheer size of the venue, subtlety and nuance are pretty much non-existent, a problem exacerbated further in Matt Cole’s production by having many of the scenes performed so far upstage, mostly on a towering tenement block set piece, that it dwarfs the actors, making it impossible to connect with the characters.
The highly inconsistent sound design doesn’t help either, flattening all, save Simon Hale’s lush orchestrations, in it’s wake, and rendering most of the words unintelligible. During the dialogue scenes it’s often hard to tell who’s speaking yet still possible to note that some of the accents are a bit ropey, and during the choral sections the voices are frequently far too low in the mix. Mark Henderson’s lighting proves frustrating as well: while it’s often gloomily evocative of the mean streets of old New York, there are moments – particularly when the cast are racing all over the auditorium – that it feels over-chaotic and it’s hard to know where you should be looking.
Michael Ahomka-Lindsay captures hero Jack’s mixture of bravado and desperation, even projecting some vulnerability across the wide open spaces, and meets the rangy vocal demands of the role with assurance. Moya Angela, formerly one of the knockout replacements for Amber Riley in the West End Dreamgirls, has too little stage time as Medda, the vaudeville performer-manager who takes Jack and his rebellious crew under her wing, but exudes charisma and vocal firepower that hits right to the back of this massive venue. Bronté Barbé has a fabulous voice but, perhaps understandably, struggles to make coherent the poorly fleshed-out dramatic arc of the young journalist he falls for, being required to go from abrasive to yearning in a couple of indifferently written scenes.
If however, you’re here for the dance and prepared to look on this more as Newsies – The Arena Spectacular rather than a coherent musical, then Cole’s dance-driven extravaganza is a triumph. His choreography -sharp angles and clenched fists giving way to breathtakingly clean lines and acrobatic athleticism- may recall Christopher Gattelli’s Tony-winning contribution to the Broadway version which in turn homaged Kenny Ortega’s iconic work in the original film, but has a dynamism and vitality that sends an electric charge through the theatre. One could only wish that the old adage “less is more” had occasionally been applied to the staging though: filling every spare corner of the space at every available opportunity with a couple of twirling, somersaulting “newsies” threatens to the diminish of the genuinely heart-stopping ‘Seize The Day’ massed company number that comes late in the first act.
Still, as these superb dancers/acrobats slice through the air like human dynamos, albeit astonishingly graceful ones, or congregate into a phalanx of youthful exuberance and sheer muscle power, it’s pretty hard not to be won over. There are several moments where all the elements cohere into unforgettable stage pictures, and then this Newsies really soars.
David Pugh is delighted to announce a new production of WILLY RUSSELL’S classic comedy SHIRLEY VALENTINE starring Sheridan Smith and directed by Matthew Dunster at London’s Duke of York’s Theatre from Friday 17 February 2023 for 12 Weeks. shirleyvalentineonstage.com
Shirley Valentine is the joyous, life-affirming story of the woman who got lost in marriage and motherhood, the woman who wound up talking to the kitchen wall whilst cooking her husband’s chips and egg. But Shirley still has a secret dream. And in her bag, an airline ticket. One day she may just leave a note, saying: ‘Gone! Gone to Greece.’
Shirley Valentine is the celebrated one-woman play written by Willy Russell, winning him his third Olivier Award. Sheridan Smith is a multi-award-winning actress with two Olivier Awards and a BAFTA. Matthew Dunster is a three-time Olivier Award nominated director whose work most recently has been seen on Broadway with Martin McDonagh’s Hangmen and in the West End with 2.22 by Danny Robins at the Criterion Theatre.
David Pugh, the five-time Olivier Award winning and Two-time Tony Award winning Producer said: “Back in 1986 I was lucky enough to see the first ever production of Shirley Valentine in Liverpool. I have begged Willy to one day let me produce a revival of Shirley Valentine when the casting was right. That day is now and both Willy and I believe that Sheridan Smith is the perfect Shirley Valentine.”
Sheridan Smith said “As a mum now myself I’m delighted to be playing theatre’s best-loved mum and I am honoured to be entrusted by Willy Russell to bring his Shirley to life once again in the West End. Now, to practice cooking chips and egg!”
SHERIDAN SMITH is an award-winning stage and screen actress, whose acclaimed West End credits include playing Elle Woods in Legally Blonde at the Savoy Theatre and Doris in Flare Path at Theatre Royal Haymarket, both roles garnering her Olivier Awards, and the latter the Evening Standard Award as Best Actress. She received further Olivier nominations for her performance as Audrey in Little Shop of Horrors at the Menier Chocolate Factory and Duke of York’s Theatre, and Fanny Brice in Funny Girl at the Savoy Theatre. Other notable performances include Hedda Gabler at The Old Vic, Titania in A Midsummer Night’s Dream at the Noel Coward Theatre, the Narrator in Joseph and the Amazing Technicolor Dreamcoat at the London Palladium, and her stage debut as Little Red Riding Hood in Into the Woods at the Donmar Warehouse. Amongst her prolific screen roles, Sheridan was Emmy-nominated and won a BAFTA as Mrs Biggs, and further BAFTA-nominated for The C Word and her titular role in Cilla, for which she was also Emmy-nominated. Big screen credits include Dustin Hoffman’s Quartet and most recently The Railway Children Return. She has released two albums, titled Sheridan and A Northern Soul, resulting in two Classic BRIT Award nominations.
WILLY RUSSELL is the multi-award-winning writer whose career spans over five decades. His plays and screenplays include Educating Rita, Shirley Valentine and the musical phenomenon Blood Brothers. Never a day goes by when something written by Willy Russell is not being performed somewhere around the world. willyrussell.com
MATTHEW DUNSTER is a theatre and film director and writer. He was born and raised in Oldham and now lives in South-east London. Previously an actor, he has directed or written over sixty shows, often with major national companies including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge, as well as directing on the West End, Broadway and internationally. He has been the Associate Director of The Young Vic and Shakespeare’s Globe. His most recent productions are 2:22 A Ghost Story which has been running in the West End since August 2021, and A Midsummer Night’s Dream, the inaugural Shakespeare production at the new Shakespeare North Playhouse.
SHIRLEY VALENTINE is written by Willy Russell, directed by Matthew Dunster, designed by Paul Wills, with lighting design by Lucy Carter, sound design by Ian Dickinson for Autograph and is produced by David Pugh.
LONDON CLASSIC THEATRE ANNOUNCE UK & IRELAND TOUR OF
MIKE LEIGH’S ABIGAIL’S PARTY
London Classic Theatre today announces a new UK and Ireland tour of Mike Leigh’s classic comedy Abigail’s Party. The production opens at Theatre Royal, Winchester on 1 March 2023 before touring to a further nineteen venues including Lowestoft, Chelmsford, Warwick, Doncaster, Newcastle-under-Lyme, Bromley, Derby, Lincoln, Southport, Perth, Inverness, Oldham, Cork, Eastbourne, Darlington, Exeter, Bury St Edmunds and Malvern, concluding in Wales at Venue Cymru on 15 July 2023.
Artistic Director of London Classic Theatre, Michael Cabot said today “We’re delighted to be launching our 2023 season with this iconic play. Abigail’s Party is a wonderful mix of acute social observation and laugh-out-loud awkwardness. Mike Leigh’s script, famously devised with his original cast, is an absolute treasure trove for actors and directors alike. The characters may seem larger-than-life but there is an extraordinary undercurrent of nuance informing their actions and behaviour. I’m currently in the early stages of planning with Bek Palmer, our set and costume designer, and it’s always terrific to see her vision for the piece take shape. The play is set in 1977, so we are spending a lot of time delving into the fashion and interior design of the period, which is a treat in itself!”
London Classic Theatre present
Abigail’s Party
by Mike Leigh
Directed by Michael Cabot; Designed by Bek Palmer; Lighting by Matthew Green
UK & Ireland Tour
1 March 2023 – 15 July 2023
It was 1977, the year of skin-tight polyester, the Queen’s Silver Jubilee and Saturday Night Fever. The Sex Pistols were storming up the charts, skateboarding was the latest craze and Angela Rippon danced with Morecambe & Wise.
And at Hampstead Theatre in London, Mike Leigh and his cast were putting the finishing touches to Abigail’s Party, ferocious black comedy and landmark of twentieth century theatre.
In her suburban living room, Beverly prepares for the arrival of her guests. She and husband Laurence will play host to neighbours Angela, Tony and Susan. As the alcohol flows and the ‘nibbles’ are handed around, Mike Leigh’s ruthless, achingly funny examination of 1970s British life begins…
Abigail’s Party was premièred at the Hampstead Theatre in 1977, with the role of Beverly being immortalised by Alison Steadman. A record sixteen million people watched its broadcast as Play for Today, launching its status as a true modern classic and national treasure.
Michael Cabot directs and is the founder and Artistic Director of London Classic Theatre. He has directed all forty-four LCT productions since their touring debut in 2000, including Boeing Boeing, Same Time, Next Year,Absurd Person Singular, No Man’s Land, My Mother Said I Never Should, Private Lives, Hysteria, The Birthday Party, Waiting for Godot, Absent Friends and Equus. His recent freelance work as director includes three collaborations with award-winning playwright Henry Naylor, The Collector (Arcola Theatre/UK tour), Angel and Borders (Edinburgh Festival Fringe, Adelaide Fringe & Brits Off Broadway).
York Theatre Royal – until Monday 2nd January 2023
Reviewed by Michelle Richardson
4 ½****
JM Barrie’s Peter Pan is the boy who never grows up. A mischievous free spirit, who spends his time in Neverland, having adventures with the Lost Boys and his best friend Tinkerbell, all whilst thwarting the dastardly actions of his arch enemy, Captain Hook. This pantomime is not that story, it is the All New Adventures of Peter Pan. It is the next chapter, reimagined and brought to York Theatre Royal by Evolution Productions, written by Paul Hendy, produced by Emily Wood and Directed by Juliet Forster.
It tells the story of young Elizabeth (Faye Campbell), who is the daughter of Wendy (Francesca Benton-Stace), the original girl in the original story, now all grown up. Elizabeth has her head full of stories about Peter Pan and Neverland, yearns to be whisked away and given the chance to fly out of her bedroom window, she really believes that the tales are true. Her dreams are fulfilled with the appearance of Peter (Jason Battersby) and Tinkerbell (Maddie Moate). Off she flies, through the streets of London, to the mysterious Neverland and the adventure begins.
In the alternate reality that is Neverland, Elizabeth’s father is now the villainous Captain Hook (Paul Hawkyard). His key lackeys are panto dame, Mrs Smee (Robin Simpson) and Starkey (Jonny Weldon), the housekeeper and butler in the real world. This devious trio create havoc with only one thing in mind, the demise of Peter Pan, though Mrs Smee and Starkey are really not that evil, I might even say quite loveable really. Amongst the other characters are the Lost Girls and Boys, the mermaids, the pirates, and of course we can’t forget the crocodile.
Campbell, after her wonderful turn as Cinderella last year, is memorising as Elizabeth. She is a joy to watch, full of unbridled enthusiasm. I adored her duet with Battersby of the Take That song Rule the World, whilst they are flying through the air, I do love that song. Battersby is a wonderful dancer, and boy all that spinning whilst up in the air made me dizzy, I don’t know how he managed.
Our first introduction of Moate as Tinkerbell is when we see her flying though the air, magnificent in her green fairy costume and sparkly Converse hi-tops, with a massive infectious grin on her face. She is a wonderful performer, who can sing, and act and the young audience loved seeing the CBeebies star on the stage.
The trio of Hawkyard, Weldon and Simpson are just hilarious together. There was one scene with a boat that was pure pandemonium and had them, the audience and me roaring with laughter. Hawkyard really relished playing the panto bad guy and played it to a tee. Weldon is certainly sparky, a right cheeky chap and he was so good at engaging the audience. Once again Simpson was a fabulous dame, with numerous outlandish costumes changes, I lost count. Look out for Caroline Bond, you won’t be left dangling, all the suffering, in the name of panto.
Brenton-Stace, as well as playing the mother, doubles up as Myrtle the Mermaid. She is hilarious as the cockney speaking mermaid, with a dazzling voice. The ensemble, busy changing from Lost Girls and Boys, to pirates, to mermaids and were all fabulous, talented dancers, who utilised the space on the stage to the max. I must also mention the wonderful acrobats, The Black Diamonds, just wow. Fire and limbo dancing are involved.
The set was impressive, and the flying sequences were quite magical and beautiful to watch. The costumes were terrific, the icing on the cake was at the show’s finale, all the cast had changed into cream and gold costumes, it was visually stunning.
Billed at 2 hours 30 minutes, with interval, it ran about 15 minutes longer than that, it could have been shortened by condensing the introduction of the reworked story at the start. I thought that it might have been a struggle for the younger members of the audience, but that wasn’t the case.
This panto is full of cultural references, corny puns, really corny puns and energy. You honestly can’t stop yourself joining in and laughing along, it really gets you into the festive spirit. Suitable for all, from 5 to 95 years old. It is running until 2nd January, make sure you get your tickets whilst you can. You can now also buy tickets for next years panto, Jack and the Beanstalk, from the same team, with the wonderful Robin Simpson returning as the dame.
RODGERS & HAMMERSTEIN’SOKLAHOMA! LEADS THE MUSICAL AWARDS
WITH 8 NOMINATIONS
Leah Harvey and Alfred Enoch today announced the nominations for the 23rd Annual WhatsOnStage Awards, the only major theatre prize-giving decided entirely by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 10 January), with winners announced at the annual Awards ceremony held on 12 February 2023 at the Prince of Wales Theatre.
WhatsOnStage’s Sarah Coleman said today, “Once again the public have done us proud, making this the most heavily nominated WhatsOnStage Awards in our history. It’s wonderful to see the breadth of nominees this year, with theatre around the country being represented across the major categories, making these awards truly representative of the theatre community as a whole. We look forward to joining the nominees in February next year to celebrate the brilliance, innovation and pure joy of the past year on stage.”
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 next year, leads the musical categories, with 8 nominations – Best Supporting Performer in a Musical for Marisha Wallace, Best Musical Revival, Best Director for Daniel Fish, 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.
In the Best Performer in a Play category Doctor Who faces off with Villanelle, as David Tennant is nominated for Good alongside Jodie Comer for Prima Facie. Jonathan Bailey for Cock, Carrie Hope Fletcher for The Caucasian Chalk Circle, Mei Mac for My Neighbour Totoro, and Rafe Spall for To Kill a Mockingbird complete the category. The Best Supporting Performer in a Play category sees Tennant’s co-stars Sharon Small and Elliot Levey face competition from Jade Anouka for Cock, Gwyneth Keyworth for To Kill a Mockingbird, Natasha Magigi for The Clothes They Stood Up In, and Greg Tannahill for Good Luck, Studio.
The Best Performer in a Musical category sees co-stars Jordan Luke Gage and Frances Mayli McCann from Bonnie & Clyde the Musical, up against Katie Brayben’s powerhouse performance as Tammy Faye, Courtney Bowman for Legally Blonde, Divina De Campo for Hedwig and the Angry Inch, and Charlie Stemp for Crazy for You. Best Supporting Performer in a Musical sees Bonnie & Clyde co-star Natalie McQueen up against Jocasta Almgill and Paul French from Grease, Lauren Drew for Legally Blonde, John Owen-Jones for The Great British Bake Off Musical and Marisha Wallace for Oklahoma!.
Up against Tammy Faye for Best New Musical are Bonnie & Clyde, The Great British Bake Off Musical, Identical, The Band’s Visit, and The Osmonds: A New Musical; whilst Best Musical Revival sees Oklahoma! and Spring Awakening up against Billy Elliot, Grease, Legally Blonde and My Fair Lady.
The heavily nominated My Neighbour Totoro will face A Different Stage, Best of Enemies, Eureka Day, Prima Facie and To Kill a Mockingbird in the battle for Best New Play; whilst in Best Play Revival Good takes on Blues for an Alabama Sky, Cock, The Caucasian Chalk Circle, The Crucible, and The Seagull.
Best West End Show sees firm favourites pitted against each other for the prize – Back to the Future: The Musical, Hamilton, Les Misérables, SIX, The Phantom of the Opera, and Wicked. This year also sees the return of the Best Takeover category, with nominations for Lauren Byrne for Matilda The Musical, Erin Caldwell for Heathers: The Musical, Lucie Jones for Wicked, Reuben Joseph for Hamilton, Ben Joyce for Back to the Future: The Musical, and Joel Harper-Jackson who rose to the occasion in Cock.
Competing with Oklahoma!’s Daniel Fish, Spring Awakening’s Rupert Goold and My Neighbour Totoro’s Phelim McDermott for Best Direction are Dominic Cooke for Good, Nikolai Foster for Billy Elliot, and Indhu Rubasingham for The Father and the Assassin. With Best Professional Debut, seeing nominations for Tomisin Ajani for The Play That Goes Wrong, Joe Locke for The Trials, Oliver Nicholas for Back to the Future: The Musical, Aharon Rayner for The Great British Bake Off Musical,
Nadine Shah for A Midsummer Night’s Dream, and Djavan van de Fliert for Frozen the Musical.
In the Best Off-West End Production category, the nominations are Anyone Can Whistle,
But I’m A Cheerleader: The Musical, DIVA: Live from Hell!, Millennials, RIDE – A New Musical, and Ruckus; with Best Regional Production featuring Billy Elliot, Crazy for You, The Great British Bake Off Musical, Rodgers + Hammerstein’s Cinderella, The Book Thief, and The Osmonds. For the first time this year, the award feature a Best Concert Event catering to a new and welcome addition to the theatrical calendar with nominations for Chess, Jeremy Jordan, SIX in Concert at Hampton Court Palace, Stephen Sondheim’s Old Friends, The Witches of Eastwick and Treason.
THE NOMINATIONS IN FULL:
BEST PERFORMER IN A MUSICAL
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
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
AROUND THE WORLD IN EIGHTY DAYS (30TH JANUARY – 11TH MARCH)
WAITING FOR ANYA (27TH MARCH – 5TH MAY)
PRIVATE LIVES (15TH MAY – 24TH JUNE)
ONCE (3RD JULY – 12TH AUGUST)
SIN: A NEW MUSICAL OF REVENGE (18TH AUGUST – 16TH SEPTEMBER)
TREASURE ISLAND (20TH NOVEMBER – 6TH JANUARY)
The Barn Theatre in Cirencester has today announced details of their 2023 Built By Barn Season. The award-winning Cotswold theatre has announced six in-house productions, including three world premieres, with a seventh production in Autumn 2023 to be announced at a later date.
The season will open with a new production of Toby Hulse’s fast paced and playfully comic adaptation of Jules Verne’s epic adventure novel Around the World in Eighty Days from 30th January – 11th March. Joseph O’Malley, who previously directed the Barn Theatre’s productions of The Hound of the Baskervilles, The 39 Steps and Ben Hur, will return to direct the new production.
The Barn Theatre will then continue their creative relationship with Michael Morpurgo by debuting the first stage adaptation of Morpurgo’s 1990 Carnegie Medal shortlisted novel Waiting for Anya from 27th March – 5th May. The play, adapted by acclaimed Morpurgo adaptor and former Bristol Old Vic Artistic Director Simon Reade (Private Peaceful, An Elephant in the Garden), tells the story of Jo, his grandfather and a widow who help smuggle Jewish children across the border from occupied southern France into Spain during World War II. Morpurgo’s novel received a 2020 film adaptation starring Noah Schnapp, Angelica Houston and Jean Reno.
Noël Coward’s comedy of manners Private Liveswill receive a new staging from 15th May – 24th June. The new production will be directed by frequent Barn Theatre collaborator Bryan Hodgson (The Importance of Being Earnest, Murder For Two).
The Barn Theatre will stage two musicals as part of their new season beginning with a revival of the Tony and Olivier award-winning musical Once, which features the Academy Award-winning song Falling Slowly,from 3rd July – 12th August. Based on the critically acclaimed movie of the same name, written and directed by John Carney (Sing Street, Begin Again, Once), Once features music and lyrics by the Academy award-winning team of Glen Hansard and Markéta Irglová, and a Tony award-winning book by Enda Walsh. Set in Dublin, the musical follows the unforgettable story of an Irish street musician and a funny Czech woman, drawn together by their shared love of music.
The theatre will also present the world premiere of Richard Hough and Ben Morales Frost’s new one-woman musical of deliverance and revenge, Sin: A New Musical of Revenge, from 18th August – 16th September. Richard Hough and Ben Morales Frost recently debuted their new musical Our Man in Havanaat the Watermill Theatre as part of their 2022 season. Sin: A New Musical of Revenge will be directed by Charlotte Westenra (The Wicker Husband, Indecent Proposal), who reunites with Hough and Morales Frost having directed the world premiere of their musical The Sorcerer’s Apprenticeat Southwark Playhouse.
Described as a work of fiction at the borderlands of reality, Sin: A New Musical of Revenge is a political thriller following the emotionally-charged, scandalous life story of an extraordinary woman, Madeleine Hobart, who for thirty years was married to the infamous career politician Samuel Leary.
The season will close with a Barn Theatre tradition, the premiere of a new festive adaptation by Alan Pollock. His new adaptation of Robert Louis Stevenson’s classic story Treasure Island will run from 20th November – 6th January.
Virginia Woolf’s 1928 novel Orlando is so brimming with relevance, it could have been written in 2022. Set over four centuries, Neil Bartlett’s adaptation directed by Michael Grandage is a colourful collage of gender, time and place.
The play opens with a chorus of Virginia Woolfs on the stage, the “biographer” of the piece, ever present and guiding us through the eras; starting with the Elizabethan and Jacobean ages, on to 17th Century Turkey, and finally to Victorian London. Alongside the Virginias is Mrs Grimsditch (Deborah Findley), the dresser/chaperone/gal pal of Orlando. Pantomime-esque, bulldozing the fourth wall, and providing a lot of the laughs, Findlay ties much of the action together. The ensemble all take on multiple gender fluid roles, in particular Millicent Wong Orlando’s royal Russian lover Sasha, and Richard Cant as the veiled Archduchess Harriet.
Emma Corrin is a tour de force as Orlando, joyfully travelling through time and place, and bringing humour and heart to each iteration of the character. From the cocky adolescent boy right through to the confident Victorian woman striving for independence, Corrin plays each role with a deft hand, nimbly navigating the centuries.
The set and costumes by Peter McKintosh are beautiful and work perfectly in unison with the sound and lighting by Alex Baranowski and Howard Hudson respectively. Each element is another member of the ensemble. One of my favourite descriptions in the book is of The Great Frost of 1609, and this is illustrated simply and elegantly with light and a low mist.
90 minutes seems too brief to do the novel justice and to give the cast the chance to sink their teeth into the material. Having said that, it was a most enjoyable experience and one that freely explores gender and identity without toxicity. Goodness knows we need some joy and a true celebration of a life (lives) well lived, and Orlando certainly delivers on that front.
AT THE LONDON PALLADIUM ON SUNDAY 5 MARCH AT 3.00 PM
AS THEY CELEBRATE ONE BIRTHDAY
AND A SCORE OF GREAT THEATRICAL DAMES
JOINING GYLES & JUDI ON STAGE ARE:
DAME EILEEN ATKINS
DAME FLOELLA BENJAMIN
DAME SHEILA HANCOCK
DAME MAUREEN LIPMAN
DAME JOANNA LUMLEY
DAME SIÂN PHILLIPS
& MORE!
ALL IN AID OF THE GREAT ORMOND STREET HOSPITAL
CHILDREN’S CHARITY
To celebrate his 75th birthday, and as a fun fundraiser for Great Ormond Street Hospital, with his friend Dame Judi Dench, Gyles Brandreth is hosting a very special party at the London Palladium on Sunday 5 March, telling hilarious and revealing stories of all the great Dames he has been lucky enough to know – from Dame Olivia de Havilland to Dame Barbara Windsor – and inviting the great theatrical dames of our time on stage to share their favourite stories – and treat us to their favourite party pieces. Expect songs, sonnets and surprise star guests. This will be a not-to-be-missed once-in-a-lifetime event. (There will be Dames in the stalls as well as on stage)
All proceeds to GOSH: the Great Ormond Street Children’s Charity.
The line-up joining Gyles, alongside Judi Dench on stage, will includeDame Eileen Atkins, Dame Floella Benjamin, Dame Sheila Hancock, Dame Maureen Lipman, Dame Joanna Lumley, Dame Siân Phillipsand many more!
Gyles Brandeth said “I was thinking of having a party to celebrate my 75th birthday in March and looking at the guest list I suddenly realised I knew all these amazing ladies – every one of them a Dame. So then I thought let’s make it a party everyone can come to. We can celebrate all the Dames I’ve been lucky enough to know -from Olivia de Havilland to Barbara Windsor – and invite the great Dames of our time on stage to share some of their stories.
Dame Judi Dench volunteered to be my co-host and, as this is going to be a once-in-a-lifetime event, we thought there’s only one place to stage it: the London Palladium.
We’re doing the show to raise money for GOSH because it’s a cause that’s close to my heart. When he was a baby, my youngest grandson spent almost a year at the hospital and I want to say thank you. It’s going to be an amazing afternoon, packed with laughter, stories, songs and quite a few surprises.”
Liz Tait, Director of Fundraising at GOSH Charity said: “We’re so grateful to Gyles and the fabulous Dames for putting on this incredible evening in aid of GOSH Charity. As an ambassador for GOSH Charity, Gyles has done so much to raise awareness and vital funds for the hospital and the seriously ill children it cares for. We couldn’t be more thankful for his support and we wish him a very happy birthday!”
Proceeds from ticket sales will be donated to GOSH Charity, to support seriously ill children from across the UK who travel to Great Ormond Street Hospital (GOSH) for specialist care. GOSH Charity helps to fund pioneering medical research, state of the art equipment, support services for children and their families like parent accommodation and the hospital’s dedicated play team, and the vital rebuilding and refurbishment of the hospital.
Cambridge Arts Theatre, Cambridge – until Sunday 8th January 2023
Reviewed by Steph Lott
5*****
Once again, it’s pantomime season! It was wonderful to join an enthusiastic and excited audience for Cambridge Art Theatre’s production of Dick Whittington and His Cat. This is a fun, vibrant and entertaining show, full of glitz, tradition and dodgy jokes. At the start of the show Dave Murphy, Chief Executive of the Cambridge Arts Theatre, and producer of the show, gave a heart-warming introduction to the performance and talked about the charities that have benefitted from funds raised from previous panto performances. He asked the audience to “go ballistic”, which we did, at the many opportunities to boo and cheer, to show our appreciation of a wonderful family show.
This production has a very strong cast who are skilfully directed by Michael Gattrell. The show ticks all the boxes for a great traditional piece of family entertainment.
Of course, we must have a pantomime dame and Matt Crosby as Sarah the Cook was superb, possibly even better that he was as Widow Twankey last year. He executes everything with perfect comic timing and a charming sauciness, clad in a splendid array of wigs and dresses, and a set of enormous eye lashes. Rolan Bell’s performance as King Rat is just as outstanding. He’s all velvet-voiced villain as he sings “Let’s Get This Party Started” with his fellow rats. He also has an excellent evil laugh! It’s no wonder that he won the award for “Best Villain” at the Pantomime Awards 2022.
A special mention must be made of Adrian Grove. I don’t want to say too much as I don’t want to give anything away but boy! I’ll just say that he earns his crust.
And we must not forget the ensemble. They really were excellent, bringing the stage alive in each of the full ensemble numbers, accompanied by music from a live four-piece pit band (Musical Director Dean McDermott). I was impressed at how well all the performers could sing play and dance, given that it was a pantomime!
I want to give another special mention to the script. Once again, writer Al Lockhart-Morley has done a fabulous job. What I loved about it was that it was really funny, with some innuendo for the adults but it didn’t ever become too knowing or smutty. We were given a never-ending stream of the worst best kind of puns, plays on words and Christmas cracker jokes, which really are my favourite. We didn’t stop laughing the whole way through, both at the script but also at some great slapstick. The scene in the ship’s galley, when Sarah the Cook and Silly Billie (played by Nichole Bird) are haplessly trying to make dinner had us crying with laughter at their antics. It’s also the anticipation at knowing what’s going to come that I think is a large part of the pleasure of pantomime.
I loved everything about this show. From start to finish it never ceased to entertain both myself and everyone else in the audience, both young and old. This show is brilliant entertainment for all the family, embracing every well-loved panto tradition. It’s slick and full of laughs and there are some seriously talented players. What better way to keep the dark damp evenings at bay and get ready for Christmas.
