On manoeuvres… rehearsal photos are released from the brand new
production of Tim Rice and Stuart Brayson’s epic musical
‘From Here To Eternity’

Rehearsal photos are released today from the brand new production of Tim Rice and Stuart Brayson’s epic musical  ‘From Here To Eternity’, which  is getting its first London revival in a newly revised production at Charing Cross Theatre, from 29 October – 17 December.

The cast features Jonny Amies, Jonathon Bentley, Desmonda Cathabel, Leonard Cook, Kyerron Dixon-Bassey, Sarah Drake, Dominic Adam Griffin, Cassius Hackforth, Robin Hayward, Callum Henderson, James Mateo-Salt, Rhys Nuttall, Jack Ofrecio, Jaden Oshenye, Eve Polycarpou, Adam Rhys-Charles, Carley Stenson, Alan Turkington, Joseph Vella.

Creative team: Director Brett Smock, Set & Costume Designer Stewart J. Charlesworth, Musical Director, Orchestrations and New Musical Arrangements Nick J Barstow, Choreographer Cressida Carré, Sound Designer Chris Murray, Lighting Designer Adam King, Projection Designer Louise Rhodes-Brown, Costume Supervisor Lucy Lawless, Casting Director Jane Deitch, Production Manager James Anderton, Produced by Katy Lipson for Aria Entertainment, Bill Kenwright and Heartaches Limited, General Management by Chris Matanlé.

Set in the two weeks leading up to the Japanese attack on Pearl Harbor, ‘From Here To Eternity’ is a compelling portrait of humanity, love, duty and redemption set against the backdrop of a beautiful and conflicted paradise.

Adapted from the classic novel by James Jones, this breathtaking musical unites the writing talents of Tim Rice (lyrics), Stuart Brayson (music) and Donald Rice and Bill Oakes (book), and is directed by Brett Smock (Producing Artistic Director/The Rev Theatre Company).

LISTINGS INFO

Aria Entertainment,
Bill Kenwright
and Heartaches Limited
present‘From Here To Eternity’

Adapted from the classic novel
by James Jones

Lyrics Tim Rice, Music Stuart Brayson,
Book Donald Rice and Bill Oakes

Directed by Brett Smock

Charing Cross Theatre
The Arches
Villiers Street
London WC2N 6NL
www.charingcrosstheatre.co.uk
Box office: 08444 930650

29 October – 17 December

Performances:

Tuesday to Saturday at 7.30pm

Wednesday,  Saturday and Sunday
at 3.00pm

Prices:
£25.00 – £39.50
Premium seats £49.50 (includes a
programme and a glass of bubbly)

A booking fee applies to phone and internet
orders; no booking fee to personal callers
The box office is open from 2 hours
before curtain time on performance days for
personal callers

SOCIAL MEDIA

Facebook, Twitter & Instagram
@FHTEMusicalUK

CRAIG REVEL HORWOOD

TO STAR AS

‘MISS HANNIGAN’

IN THE UK TOUR OF

THE MUSICAL

ANNIE

OPENING AT LEICESTER CURVE

25 FEBRUARY 2023

Michael Harrison and David Ian are delighted to announce that Craig Revel Horwood will star as ‘Miss Hannigan’ in the UK and Ireland Tour of their smash hit production of the musical ANNIE, opening at Leicester Curve Saturday 25 February 2023. Craig will play the role in Leicester, Birmingham, Oxford, Dartford, Stoke, Llandudno, Aberdeen, Glasgow, Nottingham, Woking, Cardiff, Bradford, Southend, Bromley and Norwich. Full tour details below.  www.anniethemusicaltour.uk

As previously announced, Paul O’Grady will play the role of Miss Hannigan in Newcastle, Edinburgh, Southampton, Liverpool, Dublin and Bristol. 

Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom The Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act The Musical as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…

With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.

ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.

Grand Opera House York – until Sunday 16th October 2022

Reviewed by Michelle Richardson

5*****

The Grand Opera House in York was certainly buzzing last night, with the opening show of the phenomenon that is SIX. This is the global sensation, with excellent reviews, that everyone is raving about. Yorkshire has obviously heard of its reputation for a fabulous night out, it was a packed house, in fact every show of this York run has now sold out.

The story is a thoroughly modern retelling of the lives of King Henry VIII’s six wives. Written by Toby Marlow and Lucy Moss, it is a musical comedy presented as a pop concert. First presented at the Edinburgh Festival Fringe in 2017 it has gone on to conquer the West End and Broadway.

After an ensemble piece, “Ex Wives”, the wives of Henry VIII decide to compete, to see who has endured and suffered more at the hands of Henry. The winner will then be crowned the groups lead singer. Each Queen takes turns in telling their dramatic story, through song and dance, making digs at each other. This narrative gives The Queens a voice, a chance to tell their stories from their prospective. Who will be the ultimate winner?

Catherine of Aragon (Chloe Hart) was loyal to Henry but couldn’t produce a male heir. After over 20 years of marriage, he wanted an annulment and to ship her off to a nunnery. Divorced! Anne Boleyn (Jennifer Caldwell) complains about Henry’s infidelity, but after trying to make him jealous, is executed for her supposed infidelity. Beheaded! Jane Seymour (Casey Al-Shaqsy) dies just after giving birth to Henry’s only legitimate male offspring. Died! Anne of Cleves (Jessica Niles) is shipped over from Germany. Henry is not impressed, but still marries her before arranging an annulment, where she earns a very generous settlement. Divorced! Katherine Howard (Leesa Tulley) is very young when she catches the king’s eye. A short while after marrying she is accused of adultery. Beheaded! Catherine Parr (Alana Robinson) is the last of the wives, outliving the aged monarch. Survived!

All six queens were truly magnificent, each having a chance to shine, remarkable in their own way. Hart is a vocal powerhouse, owning the stage as she sings. Caldwell is hilarious, with her northern accent and interruptions about losing her head. Al-Shaqsy delivers an emotional, touching performance. Niles plays centre stage to the most bizarre, but glorious, Haus of Holbein, a right rave, very techno with florescent glasses and clothing, all delivered with German accents. Tulley is the pop princess, with her Scottish accent, full of 21st century sass. Robinson delivers the crowning stroke, giving a sense of female empowerment and solidarity. All the while The Queens are joined on stage by the amazing all-female band, Ladies in Waiting, they had the theatre bouncing with their explosive performances.

The costumes and hair were just spectacular, visually striking. Leather, studs, sparkles, and spikes everywhere. The costumes did have a look of Tudor but with a very contemporary twist, check out the little slots they had for their microphones, very inspired.

This show is energetic, full of sass, but poignant at the same time. At only 80 minutes long, there is no interval, it leaves a lasting impression. I learnt more about Henry VIII’s wives from this than I ever did at school, and it has encouraged me to find out more.

This is not your traditional musical, it has the feel of a concert, with amazing songs, set and costumes, with great powerful performances. An absolutely stunning show, the girls smashed it. DO NOT miss this one.

If this comes to a theatre near you make sure you book early. Like I have already mentioned, York is sold out for this tour, but it returns next June, so best be quick in buying your tickets, you will not be disappointed.

Blackpool Winter Gardens – until Saturday 15 October 2022

Reviewed by Debra Skelton

5*****

I am so glad that Willy Russell’s Blood Brothers is back in Blackpool, as I never had the chance to watch this highly acclaimed show before. Being able to attend the opening night was so exciting for me and I can truly say that I was not disappointed.

Blood Brothers is a musical about twin brothers separated at birth who grow up on opposite sides of the tracks and both never knowing the truth about their relationship until the very end. The story is set in Liverpool during the mid-eighties where working-class families struggled to make ends meet and unemployment levels were high. By presenting the way families had to live back then, this was crucial to truly understanding the life of Mrs. Johnstone and why the lives of both Mickey and Eddie differed so much. It showed the difference in schooling, their financial situations which defines their class which ultimately divides them and is a motivator for their demise.

The show covers themes from superstition to social class and the very different lives the two brothers were set to lead. Throughout the show, the Narrator (Richard Munday) remains on stage, watching and lurking in the background and keeps reminding the characters of the awful fate if the brothers ever discovered the truth. As the start of the show, we see the bodies of the two men being covered and a mother crying which forewarned the audience from the start that something forbidding is going to happen.

Niki Colwell Evans (from The X-Factor) played the role of Mrs Johnstone to perfection showing how she coped as a single mother with little money and the love and affection for her children. Her amazing voice and presence on the stage was a true pleasure to watch.

Both Sean Jones (Mickey) and Jay Worley (Eddie) provided an entertaining performance of acting like children shooting guns, pulling their sweaters over their knees, and burying worms, to becoming adults which was truly believable.

The whole cast of this production are incredibly talented and showed their ability to be versatile by playing different characters.

The show also needs special thanks to Andy Walmsley for creating such an adaptable set, Dan Samson for the wonderful sound, Nick Richings for the lighting and Matt Malone for the marvellous music.

Hull New Theatre, Hull – until 12th October 2022

Reviewed by Anne Walker

5*****

For those of you who may be unfamiliar with this all-male, cross-dressing ensemble, The Trocks, as they are affectionately known, were founded by a group of professional dancers in 1974. The New-York based company is dedicated to presenting off-kilter but technically sound comic interpretations of ballet classics and modern favourites. To date, they have performed in more than 30 countries and 500 cities worldwide.

From the moment I sat down, before the curtain rose, I was chuckling to myself whilst looking through the program. The performers names and back stories were hilarious and gave us a glimpse of what was to come. The lights dimmed and a voice informed us, with some tongue in cheek humour, of some cast changes and reasons for these. They also reassured us that ‘all of our ballerinas are in a very, very good mood’. This show certainly did the same for me and I went away in a very, very good mood.

I have been lucky enough to have seen Swan Lake a few times, by different companies and was certainly interested to see The Trocks version. They did not disappoint. Tchaikovsky’s beautiful music started, the costumes and the choreography were not all that different. However, the expressions exaggerated, the comedy timing impeccable, the steps sometimes over done and subtle trips and stumbles are what gave this ballet its humour and comedy. Queen of the Swans, Vavara Laptopova (Takaomi Yoshino) was beautifully hilarous and Prince Siegried, Jacques d’Aniels (Joshua Thake) let us all know just how in love he was whilst also showing us how handsome and grand he was.

A highlight for us had to be ‘The Dying Swan’ played by Olga Supphozova (Robert Carter) performed with all the skills of a great clown. A few minutes of comedy genius, an aged ballerina with ego, drama, belching and the ability to be able to moult feathers at every step gave us a belly laughing, unique performance.

What a great evening of tutus, tantrums and technical brilliance that left us aching with laughter as well as in awe of the technical brilliance of these fabulous performers.

Lyric Theatre, The Lowry – until 15th October 2022

Review by Rebecca Hampson

3***

Based on the award winning novel by Alice Walker, this adaptation of The Colour Purple uses music and song to tell the story of two sisters Cecile and Nettie.

The vocals of both the actors and actresses in this musical were spectacular and their vocal range and harmonies sent chills down the spines of everyone in the audience.

Although based on the novel which explores dark themes including: rape, domestic abuse and violence, the musical dealt with these themes sensitively. I do feel that in some points of the story the emotion which I felt reading the novel did not transfer in this stage adaptation, however this could have just been me as others around me did get emotional during some dark scenes.

The Greek chorus style singers who narrated in quick snappy scene changes added comedy which was much needed in a play that explores such dark yet important topics.

I was mesmerised by Aaliyah Zhané who played the role of Nettie, and during the second act when Cecile began to read the letters from Nettie her vocals paired with the choreography of the ensemble made us believe we were seeing the very words of the letter and everything she was describing.

I did enjoy the musical but perhaps not as much as I enjoyed reading the book. The cast were outstanding and I do feel this is a musical that you should watch at least once in your life. Please do ensure you read all warnings before attending this musical as the subject may be difficult for some.

Sheffield Lyceum – until 15th October 2022

Reviewed by Sal E Marino

4****

High drama started a day before Derren’s show at the beautiful and always welcoming Lyceum theatre, Sheffield, with a cryptic message he sent via email and linked to social media.  This could have been missed by some if they do not have access to above but was certainly intriguing for those who do.

Without revealing any content of the show, I can say that it was full of intensity and there were some truly wow moments!  The audience were full of fun and up-for-a-laugh and ready to play any game or challenge that Derren suggested.   Personally, I found it a little confusing that certain restrictions and requirements were made on the volunteers who came up on stage and rather unnecessary in our current climate, especially when we all sat very happily together in a fully packed-out theatre.  Perhaps I missed the point and it was part of the ‘story’?   

Mr Brown’s delivery was slick, clear and amusing at times.  His use of a camera to share the ‘action’ so that we, the audience, felt nothing was hidden from us was genius and certainly gave more credibility to most tricks / acts.  Some audience members were invited up on to the stage to perform with Derren more than once which didn’t work for me –  as it seemed they were getting more susceptible and influenced by the ‘magic’ each time –  making it less genuine.  However, using the same people could mean they are more in rhythm with Derren’s energy and the story-line so that it makes it better for all.

I definitely recommend Derren Brown’s Showman tour to anyone from teenage years up as it  certainly does get the old grey cells working and the cogs turning if you enjoy mystery, drama and intrigue.  A really great night out – highly-entertaining!

Nottingham Theatre Royal – until Saturday 15 October 2022

Reviewed by Amy

5*****

If you want to see a show where the vocals are as powerful as the storytelling, then you’ve found the one to see, with ‘Girl from the North Country‘. Nominated for countless awards since it was first performed in 2017 and the winner of many more, including a double Olivier award for Best New Musical.

It’s certainly not your typical jukebox musical, as it switches up glittered costumes for gritty surroundings and murky emotions.

The scene is set in 1934 in Duluth, Minnesota, in what we soon learn is a struggling guest house full of lost souls and their long lost dreams. The rundown and struggling business is run by Nick (Colin Connor) and Elizabeth Laine (Frances McNamee) and their older children, troubled Marianne (Justina Kehinde) and Gene (Gregor Milne) who has developed a dangerous drinking habit. The key problem that they all face is debt and a looming foreclosure of their home and livelihood!

Much like the leaking and broken boarding house, Nick and Elizabeth’s marriage/relationship is suffering too. She’s tragically losing her mind and Nick, her kids and some guests struggle to look after her… when she allows it.

Frances McNamee as Elizabeth was a standout performance for me vocally and physically. She gets to take on some of Dylan’s best known songs throughout her complicated portrayal of a woman battling with dementia and confusion and she evokes a whole array of intense emotions throughout.

The depression era is well and truly alive as both long-term and short-term guests of the guest house squabble, brawl and drink their way through their own sets of problems. The setting brings together folks from different realms of society and reveals their problems, as it shows us brief and significant interactions within the group, thrown together due to difficult circumstances and many secrets.

The ‘action’ darts speedily between one potential disaster, to the next with the story not placing emphasis on one set person or couple for too long.

Strung together by brief monologues from Chris McHallem’s Dr Walker, a morphine addicted GP who has a soft spot for the ailed Elizabeth and her plight.

Happily the show features the band on stage throughout as Bob Dylan classics and lesser known songs of his are crooned and belted out, with various cast members switching lead on the vocals and drums.

Unlike with most musicals using songs from an artist, where they often advance the plot or let us glimpse into the soul and hope of a character…here they often feel jarring and out of place.

The set is stark and deliberately quite minimal, with a downtrodden look like the hope of the majority of the show’s characters. It echoes the story perfectly.

I did enjoy the show and it did move me to tears, but I can’t say I left the theatre with a smile on my face or in my heart. But it’s a show that deserves to be seen due mainly to its unique style and originality.

Filled with some utterly spellbinding performances that bring a new attitude to Dylan’s lyrics – a must see if you are a fan of the loneliness and longing his music provides.

Edinburgh Festival Theatre – until Saturday 15th October 2022

Reviewed by Ellen Searle

4****

Cher is an icon of the modern music era, with a unique voice and dozens of super high quality hits that really do stand the test of time.  She is critically acclaimed actor, with movies from Moonstruck to Mamma Mia Here We Go Again enjoyed by millions. But a crucial ingredient for any kind of biographical production to work and endure is a life story that is genuinely interesting. Cher’s most certainly is!

Add to all of this the talents of Jersey Boys writer Rick Elice, the directing and choreography of household names Arlene Phillips DBE and Oti Mabuse respectively, and you have a sure fire hit on your hands.

The show stars three West End stars as Cher in different periods of her life:  Millie O’Connell (Babe), Danielle Steers (Lady), and the Olivier Award-nominated Debbie Kurup (Star).

Three leads playing the lead is a neat device for a narrative where the focus is squarely on one person.  It not only expresses literally how different Cher is at the different stages of her life, but also, as each of the Chers comment and advise the others, reveals her reflections and internal conflicts as she develops from a geeky, shy teenager to a global megastar.

Special mention must be made of the way in which Cher’s close relationships are portrayed, be it with her mother (Tori Scott), or her lovers, musician Greg Allman and aspiring actor Rob Camilletti (both played by Sam Ferriday) and of course Sonny Bono (at this performance played by understudy Guy Woolf).  The combination of quality writing and highly skilled acting beautifully depicts the complexity of those relationships, which brings an authenticity and sensitivity to the piece overall. And, by the way, they can all hold a tune brilliantly.

Although the dark, minimalist set provides a contrast to the lighting show elements and glittery outfits worn by the main cast, it is rather odd, a gloomy and somewhat cavernous backdrop to the more intimate scenes in particular. The generally monochrome costumes and props of the ensemble cast do little to relieve this. And while the feminist angle to Cher’s story is one of its most interesting and distinctive features, the material highlighting it could have been more subtle.

Any such quibbles will be far from your mind however by the finale, when you’ll be on your feet, feeling moved by Cher’s story,  uplifted by her absolute belters of songs, and exhilarated by great performances from a highly talented cast.

Theatre Royal Brighton  – until Saturday October 15 2022

Reviewed by Sue Bradley

4****

The writing team of Nick Newman and Ian Hislop first had the idea for this show when they realised that there is a generation of people who are entirely unaware of The Goons and, although perhaps aware of Spike Milligan via his later TV work, they do not know of his pivotal contribution to changing the nature of British comedy.

The comedy revolution that was The Goon Show started in 1953, still very much in he era of Radio as the prime source of entertainment for the public. Although this was now 8 years post-war,  Spike could not let go of ‘The War’ as a source of material, with constant lampooning of military characters and behaviour.

The Goons were viewed by the BBC as two ‘Talents’; Peter Sellers and Harry Secombe, and a ‘Writer’; Spike Milligan. If this show did nothing else (and it does do so much more) it helps us to see the visionary contribution that Spike made to what became a national institution. Effectively, no Spike – no Goon Show.

The term ‘Madcap’ often has a slightly derogatory connotation but in Spike’s case, it is entirely appropriate. His time as a soldier during the Second World War left him with what we would now recognise as PTSD and his experiences with the horrors of war and the ‘Officer’ classes left him with a fundamental disregard for authority and, indeed, organisation of any kind. Newman and Hislop have walked a fine line to allow us to see something of Spike’s mental health challenges without making it a show about a miserable funny man. This is a very funny show about a man who struggled not to be miserable.

If there is a stillness around which the storm of Spike whirls, it is Robert Mountfords’ Head of Comedy; an exasperated and exasperating character who couldn’t stand The Goons nor could he understand this new style of comedy. Robert Wilfort as Spike is engagingly eccentric with strong support from Jeremy Lloyd as Harry Secombe and Patrick Warner as Peter Sellers. Special mention too to Margaret Cabourn-Smith, playing the Sound Effects technician who opens both halves of the the show with entertaining demonstrations of the creation of various sound effects, which were an important part of the show.

Fast-paced and ever-changing, the show gives something of the sense of barely controlled chaos that underpins Spike’s work and relationships with those that worked, lived with and loved him. Even in the darker moments when we see something of Spike’s internal troubles, the laughs are never far away and we need never feel guilty about laughing along with him.

The deceptively simple set provided a constantly changing backdrop with full use of the stage – there are no centre stage soliloquies and the story keeps on moving.

One note of caution: Spike was very fond of explosions – it was almost a signature sound effect to close many many Goon Show episodes so it should come as no surprise that this production makes liberal use of them along with sudden black-outs and flashing lights. There is nothing gratuitous about this but those of a very nervous disposition might do well to be aware. But please do not deny yourself this very funny show! We loved it.