THE OLIVIER, WHATSONSTAGE & BROADWAY WORLD ‘BEST NEW MUSICAL’

BACK TO THE FUTURE THE MUSICAL

CELEBRATES 1 YEAR IN LONDON’S WEST END &

EXTENDS PERFORMANCES AT THE ADELPHI THEATRE

NOW BOOKING UNTIL 23 JULY 2023

Due to overwhelming demand, 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 BACK TO THE FUTURE The Musical’s performances at the Adelphi Theatre in London’s West End will extend to 23 July 2023 as it celebrates its first Birthday. Tickets on sale 14 September 2022. 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 will open on Broadway in 2023 with further plans to rollout internationally.

BACK TO THE FUTURE The Musical stars Tony Award-winning Roger Bart and Ben Joyce as ‘Dr 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 and Tavio Wright.

The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available 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, Dr 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 Dr 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    

LISTINGS INFORMATION

BACK TO THE FUTURE The Musical

Adelphi Theatre
Strand
Covent Garden
London WC2R 0NS

Current booking period to  23 July 2023

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 Friday 21 October, Wednesday 26 October, Tuesday 14 February, Monday 10 April and  Monday 29 May. There will be no weekday matinee w/c 10 October and no shows on Monday 31 October, Monday 13 February or Monday 20 February. The show on Monday 1 May will be at 2:30pm)

N.B  Sunday 2 October will be an audio described performance and Wednesday 9 November will be a captioned performance. Further access performances will be added in the new booking period. Please keep an eye on the website for more information.

Tickets: from £19.55

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

Booking line: 0203 925 2998

Christmas 2022/23 Performance Schedule

Sunday 18 December                     1pm & 6pm

Monday 19 December                     No performance

Tuesday 20 December                    2.30pm & 7.30pm

Wednesday 21 December              2.30pm & 7.30pm             

Thursday 22 December                  2.30pm & 7.30pm

Friday 23 December                        7.30pm

Saturday 24 December                   2.30pm

Sunday 25 December                     No performance

Monday 26 December                     No performance

Tuesday 27 December                    No performance

Wednesday 28 December              2.30pm & 7.30pm             

Thursday 29 December                  2.30pm & 7.30pm

Friday 30 December                        7.30pm

Saturday 31 December                   2.30pm

Sunday 1 January                           No performance

Monday 2 January                           2.30pm & 7.30pm

FULL CAST ANNOUNCED FOR

WORLD PREMIÈRE OF CHRISTOPHER ISHERWOOD’S

A SINGLE MAN AT PARK THEATRE

Troupe, in association with Park Theatre, today announce the full cast for the world première of Christopher Isherwood’s A Single Man, in a new adaptation from Simon Reade with direction by Philip Wilson. Theo Fraser Steele leads the cast as George, alongside Freddie Gaminara, Miles Molan, Rachel Pickup and Phoebe Pryce. The production opens in Park200 at Park Theatre on 21 October, with previews from 19 October, and runs until 26 November.

Troupe

in association with Park Theatre presents

the world première of a new adaptation of

A SINGLE MAN

Based on the book by CHRISTOPHER ISHERWOOD

Adapted by SIMON READE

19 October – 26 November 2022

Director: Philip Wilson; Set and Costume Designer: Caitlin Abbott;Lighting Designer: Peter Harrison;

Sound Designer and Composer: Beth Duke; Movement Director: Natasha Harrison

“I make myself remember. I am afraid of forgetting. I will have to forget if I want to go on living.”

California, 1962. College professor George is grieving the death of his long-term partner Jim. As a middle-aged gay Englishman living in the Los Angeles suburbs, he is an outsider in every way. Haunted by his past and unable to move forward, we follow him on one very ordinary day. But for George, this is going to be a day like no other…

A Single Man features in the Guardian’s 100 Best Novels Written in English, where it is described as “a work of compressed brilliance”. Known to many through Tom Ford’s film, Christopher Isherwood’s masterpiece is now given a wry and compassionate retelling in Simon Reade’s new adaptation for the stage.

Powerful and sexy, A Single Man is a darkly amusing study of grief, love and loneliness from the celebrated writer of Goodbye to Berlin, the inspiration for Cabaret. 

Theo Fraser Steele plays George. He will soon be seen in the new series of The Crown as Timothy Laurence. For theatre, his credits include This Island’s Mine (King’s Head Theatre), Don Quixote (RSC/Garrick Theatre), Jeeves and Wooster in Perfect Nonsense, Sense and Sensibility, Single Spies (Theatre by the Lake), Doctor Faustus, The Alchemist, Tamburlaine The Great (RSC), Woman in Mind (Salisbury Playhouse), Bloody Sunday (Scenes from the Saville Inquiry) (Tricycle Theatre), Guantanamo ‘Honour Bound to Defend Freedom’ (Tricycle Theatre/Ambassadors Theatre), The Drowned World (Traverse Theatre/Bush Theatre), Outside Now, The Moment Is A Gift That’s Why it’s Called The Present (Paines Plough), The Importance of Being Earnest (Australian tour/Savoy Theatre), Skylight (National Theatre/Vaudeville Theatre), The Shallow End (Royal Court/Duke of York’s Theatre), A Week With Tony (Finborough Theatre) and Amphitryon (Gate Theatre). For television, his credits include Grantchester, Victoria, Genie in the House, The Thick of It, My Family, Keen Eddie, Hex, Close and True, A Christmas Carol, Shockers: The Visitor and The Prince of Hearts; and for film: The Golden Compass, Mad About Mambo, Before You Go and Mrs Brown.

Freddie Gaminara plays Male Paramedic/Mr Strunk/Alex/Nurse/Bartender. For theatre, his credits include Light Falls (Royal Exchange Theatre, Manchester); and for film: Red Joan and Brighton.

Miles Molan makes his professional debut as Kenny/Jim.

Rachel Pickup plays Charley. For theatre, her credits include Still Life (The Mill at Sonning), The Tempest, The Odyssey, For Services Rendered, Barefoot in the Park (Jermyn Street Theatre), Bedroom Farce (Rose Theatre, Kingston/Duke of York’s Theatre), Miss Julie, Love’s Labour’s Lost (Rose Theatre, Kingston), The 39 Steps (Criterion Theatre), A Midsummer Night’s Dream, Troilus and Cressida, The Two Gentlemen of Verona, Dr Foster, Paradox (RSC), Julius Caesar (RSC/Lyric Hammersmith), Hamlet (Birmingham Rep/EIF), King Lear (The Old Vic/UK tour), The Fall Guy, Time and the Conways (Royal Exchange Theatre, Manchester), The Sea, Fortune’s Fool (Minerva Theatre, Chichester/UK tour), Twelfth Night (Theatr Clwyd), Home Truths, The Three Sisters (Birmingham Rep), All’s Well That Ends Well (Oxford Stage Company), Way Upstream (Crucible Theatre, Sheffield), Present Laughter (St. James Theatre, New York), The Merchant of Venice (Lincoln Center Festival, New York/Shakespeare’s Globe/international tour), London Assurance, The Home Place, Breath, Play, Act Without Words, Dancing at Lughnasa, Airswimming (Irish Repertory Theatre, New York), Private Lives (Hartford Stage), King Lear (Theatre for a New Audience, New York), The Explorers’ Club (Manhattan Theatre Club, New York), Twelfth Night (Folger Theatre, Washington) and An Ideal Husband (Washington Shakespeare Theatre). For television, her credits include Sister Boniface Mysteries, The Beast Must Die, Grantchester, Madam Secretary, Elementary, Dietland, 50 Ways to Kill Your Lover, House of Anubis, Garrow’s Law, Small Island, Dogtown, Victoria and Albert, No Bananas, Jeffrey Archer: The Truth, Coupling and Relic Hunter; and for film: Wonder Woman, Schadenfreude, Chronic, AKA and Basil.

Phoebe Pryce plays Female Paramedic/Mrs Strunk/Maria/Doris. For theatre, her credits include: The False Servant (Orange Tree Theatre), The Night Watch, The Picture of Dorian Gray (UK tours), Cash Cow (Hampstead Theatre), About Leo (Jermyn Street Theatre), A Passage to India (Park Theatre/UK tour), The Tenant of Wildfell Hall (Octagon Theatre, Bolton/York Theatre Royal), The Merchant of Venice (Lincoln Center Festival, New York/Shakespeare’s Globe/international tour) and The Tempest (Shakespeare’s Globe).

Christopher Isherwood (1904-1986) was among the most celebrated writers of his generation. He left Cambridge without graduating, worked as a tutor and a secretary, briefly studied medicine and then published his first novels, All the Conspirators and The Memorial. Between 1929 and 1939, he lived mainly abroad, including four years in Berlin, which inspired his novels Mr. Norris Changes Trains and Goodbye to Berlin, on which the musical Cabaret is based.  He also wrote four plays and a travel book with the poet W. H. Auden. In 1939, Isherwood moved to America, where he settled in Hollywood, became a Hindu and wrote for the film studios. He took US citizenship in 1946. In America, he wrote five more novels, including Prater Violet, Down There on a Visit and A Single Man, and kept prodigious diaries. He collaborated with his spiritual teacher Swami Prabhavananda on a translation of the Bhagavad Gita and produced another travel book and a biography of the Indian mystic Ramakrishna. In the late 1960s, he turned to autobiography; in Kathleen and Frank, Christopher and His Kind and My Guru and His Disciple, Isherwood openly articulated the gay identity he had only implied in his fiction. Amongst his last work is October, one month of his diary with drawings by his partner from 1953 onward, American painter Don Bachardy.

Simon Reade’s work for theatre includes Private Peaceful (US tour/UK tour), David Copperfield (Barn Theatre, Cirencester), An Elephant in the Garden (Poonamallee Productions), A Pure Woman (Dorchester Arts), Sherlock Holmes: The Final Curtain, A Room with a View, Moon Tiger (Theatre Royal Bath/UK tours), Bliss/Mutluluk (Arcola Theatre), Pride and Prejudice (UK tour), Twist of Gold (Polka Theatre), Strindberg’s Apartment (New Diorama Theatre), Toro! Toro! (Salisbury Playhouse), Midnight’s Children (RSC/Theater Trier), The Scarecrow and His Servant (Southwark Playhouse), Not the End of the World, The Mozart Question, Aladdin and the Enchanted Lamp, The Owl Who Was Afraid of the Dark (Bristol Old Vic), Alice’s Adventures in Wonderland (TMA Award, Bristol Old Vic/Polka Theatre), Epitaph for the Official Secrets Act (RSC), and Tales from Ovid (RSC/Young Vic). Film and television credits include: Journey’s End, Private Peaceful and What You Will. Books include Dear Mr. Shakespeare: Letters to a Jobbing Playwright and Cheek by Jowl. He was previously Literary Manager at the Gate Theatre and the RSC, Artistic Director at Bristol Old Vic, Producer at Theatre Royal Bath Productions and Filter Theatre and Development Producer at BBC Television, Tiger Aspect Productions and Stolen Picture.

Director Philip Wilson’s work in theatre includesStarcrossed (Wilton’s Music Hall), The Boy with the Bee Jar (Hope Theatre), Perfect Nonsense,After the Dance (Theatre by the Lake), The Star, The Norman Conquests, Noises Off, Doctor Faustus, The Astonished Heart, Still Life (Liverpool Playhouse), As You Like It (Storyhouse, Chester), Beacons (Park Theatre), his own adaptations of Philip Pullman’s Grimm Tales (Oxo Tower Bargehouse/Shoreditch Town Hall), The Three Lions (St. James Theatre/UK tour), How Many Miles to Babylon? (Lyric Theatre, Belfast), Toro! Toro! (UK tour), Twist of Gold(Polka Theatre),Sixty-Six Books (Bush Theatre/Westminster Abbey), The Importance of Being Earnest, Travesties (Birmingham Rep), If Love Were All, In Praise of Love (Minerva Theatre, Chichester), The Found Man (Traverse Theatre, Edinburgh), Un Uomo Trovato (Teatro della Limonaia, Florence), Ain’t Misbehavin’ (Sheffield Theatres) and Breaking the Code (Northampton Theatre Royal). He was Artistic Director of Salisbury Playhouse from 2007-2011 where he directed The Game of Love and Chance, The Constant Wife, The Picture, Private Lives, Arsenic and Old Lace, The Winslow Boy, his own adaptation of J. L. Carr’s A Month in the Country, What the Butler Saw, People at Sea, Alphabetical Order and Corpse!; and directed and designed Blackbird, Faith Healer and Toro! Toro! – TMA Award nomination.

LIVERPOOL THEATRE FESTIVAL, BOMBED OUT CHURCH, LIVERPOOL – 11TH SEPTEMBER 2022

REVIEWED BY MIA BOWEN

4****

After returning for a third consecutive year, the Liverpool Theatre Festival ended with a big splash last night! Written and performed by Paulus, The Cabaret Geek and featuring Michael Roulston as the musical director, Looking For Me Friend is a charming, funny and touching tribute to the late great Victoria Wood. The audience sat in the pouring rain, all wearing ponchos (one of Wood’s favourite words), very British, just like a Wood sketch, reminiscing the Queen of Comedy.

Currently celebrating 30 years in entertainment, Paulus is best known as the sharp and forthright judge on BBC One’s talent show, All Together Now. He admitted that Wood’s skills in observational comedy and satirising aspects of social class, was an early influence on his own career. Much of Wood’s humour was grounded in everyday life and included references to activities, attitudes and products that are considered to exemplify Britain. It was in fact a ‘one liner’ from Wood that introduced Paulus and Roulston, and together they would quote snatches of classic lines from Victoria Wood: As Seen On TV, comedy series. Paulus also recalled how when he was struggling for work as a young actor, he wrote to several celebrities for help and advice and Wood send him £50, which he spend on Christmas decorations!

This show was so much more then a tribute show; it was kind, pleasant and very funny. Through Paulus’s interpretation of Wood’s songs; It Would Never Have Worked, Reincarnation and The Ballad of Barry and Freda (Let’s Do It), blended with autobiography and theatrical entertainment, we are reminded that Victoria Wood was indeed a National Treasure.

Paulus and Roulston together on stage prove that it takes two men to do the work of one woman!

The Leeds Playhouse – until 17 September 2022

Reviewed by Dawn Smallwood

5*****

This evening performance is started with a minute’s silence and the playing of the national anthem as a mark of respect with the sad passing of HM The Queen.

Northern Ballet brings Made in Leeds: Three Short Ballets to the Leeds Playhouse which features a trio of works by three choreographers. The choreographers explore the human condition and emotions, and they choreograph the storytelling on stage. The stories that are told differ greatly however the humanity themes remain the same.

The programme starts with Mthuthuzeli November’s Wailers. The work relates to the choreographer’s personal experiences and hardships growing up in a small South African town with the focus on giving thanks to life and to people, past and present, being part of it. The movement, dancing and recital in the programme are set to the choreographer’s musical composition. These are emphasised along with endurances and resilience and the eventual conquest of dealing with the hardships. The music, staging and costumes, courtesy of November, Yann Seabra and Steve Wilkins, is colourful and African themed with intimate and universal dancing that reflects the changing human condition and various emotions.

The second work of the evening is Stina Quagebeur’s Nostalgia and set to Jeremy Birchall’s music. Quagebeur’s work focuses on bittersweet emotions and the condition of the human brain. The dancing interprets joy, longing and awareness from the past which formed memories and motivation for continuation. However, Nostalgia reminds how one’s memories can be clouded with pain and darkness. The importance of remembering the happy memories and recognising the unhappy ones as a motive for moving forward is remembered.

The final work is Ma Vie Live. Dickson Mbi’s work explores Giacomo Casanova and his human condition. This includes his passion for love, his estranged relationship with the church and undoubtedly his life downfall which is movingly danced and interrupted by the dancers. The visual pleasing atmospheric story is melancholy performed to Roger Goula ingenious and catchy score and Mbi’s is choreographically supported by Kenny Ho. This work is undoubtedly one of the programme’s highlights and it is evident how well received Ma Vie Live is.

Everyone resonates with the programme and shares how complex and fragile the human condition and emotions are. No doubt this is true particularly with the recent national events and the many individual and personal human experiences many have whether happy or sad. Made in Leeds: Three Short Ballets is humanly moving, stirring and unique and well put together by the Northern Ballet dancers and creators.

Festival Theatre, Malvern – 10th September 2022

Reviewed by Courie Amado Juneau

5*****

HMS Pinafore (1878), a Comic Opera which gave Gilbert &Sullivan their first international hit, is set aboard ship where the Captain’s daughter loves a lowly sailor, Ralph. Her father has other ideas, namely the First Lord of the Admiralty. Although Josephine tries to appease her father, it’s not long before she and Ralph declare their love and hatch an elopement plan… Like several other Gilbert &Sullivan Operettas, the theme is social conventions and love across the classes.

Opening in surprising (and pleasing) fashion with the musicians on stage dressed as sailors (all the nice girls may love a sailor but I’m a sucker for watching musicians play), during the overture the cast quite literally made the set ship shape (or “ship shaped” since they assembled it before our eyes). An ingenious opening as it also introduced us to the dramatis personae so by the first song proper we were already acquainted with all concerned.

Every Gilbert &Sullivan Operetta has at least one hit known by all and this one has “I’m called Little Buttercup” sung wonderfully by Louise Crane who returns to equally good effect as Sir Joseph’s sister.

Our leading love interests, Ralph Rackstraw (Tim Walton) and Josephine (Georgina Stalbow) made a handsome and believable couple. Both have wonderful singing voices with great range and expression; equally affecting during the quiet passages as they were the soaring high notes.

Captain Corcoran (Matthew Siveter) was a hoot. Whether attempting to control his exasperation as his plans for Josephine unravelled or to keep his upper lip British stiff, his portrayal was an unalloyed triumph. I particularly enjoyed the “never… well, hardly ever” ongoing joke that was still doing the rounds 80 years later with Elvis in Blue Hawaii (proving the ongoing influence of Gilbert’s humour).

Sir Joseph Porter, KCB (Paul Featherstone) was hilarious from his first appearance. His drinking during “When I was a lad” had us in stitches. There’s nothing quite as funny as a jolly song and jig outstaying it’s welcome and his increasing frustration and reactions during the never-ending reprises of “Never mind the why and wherefore” was a doozy! Fantastic.

Ian Belsey gave us two memorable characters in Dick Deadeye (dastardly scoundrel of the piece) and Sir Joseph’s Aunt. I’m not sure who was enjoying his being a lady more, us or him, but I for one was loving it. Cousin Hebe (Lynsey Docherty) was wonderfully snooty but also stole our heart with some lovely asides (or is that out front’s?) with the word “Crushed!” which she employed to great effect.

So we were carried along on waves of emotion, towards the final rousing chorus and dance where all find love and even little Buttercup is redeemed. If only everything in life were so neatly wrapped up to everyone’s satisfaction.

I shall nail my colours to the mast and declare that I absolutely loved this show – wonderful tunes, fantastic comedic acting, pathos, a hissable villain, love triumphing and some seamen right out of the Carry Ons. This show ought to be prescribed on the NHS! Simply perfect from the Opera Della Luna company.

Upstairs at the Gatehouse, London – until 2 October 2022

Reviewed by Debra Stottor

3***

Remember Trump? How could we forget the era of deranged tweets, extreme nepotism and MAGA hats, when US politics appeared to have taken leave of its senses and the rest of the world looked on aghast. The Biden era seems dull in comparison.

This is a musical romp through the Trump years, played for laughs and employing many different theatrical genres to create the full effect of the chaos of the time. Drawing on surrealist influences, this is part cabaret, part circus and part queer theatre, with an equally broad range of music, from rap to pop and including a neatly adapted, storming version of ‘Putting (Putin) on the Ritz’ – there’s even a hefty nod to Dr Seuss in ‘Marvellous Me’, the show’s opening number.

Magritte’s apples are juggled between Bannon and Tillerson as they try and make sense of this strange, Trumpian world, and characters ‘melt’ if they say one forbidden word – unfortunately this is the one word that perfectly describes life under Trump…

Russian influence is brought to the fore, with Putin portrayed as a ruthless gangster, played to perfection by Sarah Louise Hughes, turning the screw, quite literally, on the hapless, clueless president as he fails to deliver his side of the Faustian deal. Vivek Sharma’s Trump bears no physical relation to the man himself, just a blond wig and a suit for visual identification, but the voice and mannerisms are well done, and the sense of a spoilt little boy lost is palpable.

But this isn’t just the tale of Trump’s election and eventual defeat, we also get the highly symbolic love-across-the-divide story of Demi (Tish Weinman) and Rip (Michael Mather), Democrat and Republican, finding each other irresistible, but loathing each other’s politics. Of course, love conquers all. It’s a slightly obvious and somewhat cheesy conclusion, as is the closing song, ‘Better Together’, which looks forward to life after Trump – maybe I’m just too cynical!

The songs not only carry us through the story, as you’d expect, they also contain their own visual illusions (this is the essence of ‘trompe l’oeil’ after all), with messages hidden within. These are revealed on the screen behind the band, but you’d be forgiven for not noticing as that’s at the far end of the long, narrow stage area and there’s always something happening on stage. It’s clever, but maybe a little too clever.

There’s never a dull moment as the multitasking, multi-talented cast sing, dance and tumble their way through this fast-paced show. All in all, this is an ambitious production, bringing together a huge variety of elements, and it’s to the credit of writer Henry Parkman Biggs, director Oli Savage and choreographer Blair Anderson that it all ties together into a highly entertaining evening.

Southwark Playhouse – until 1 October 2022

Reviewed by Claire Roderick

4****

Lazarus Theatre’s exciting new adaptation of Doctor Faustus imbues Marlowe’s spellbinding language with a twisted modern vision, creating a fascinating play that will probably divide audiences.

The story of John Faustus, arrogant and bored with mere earthly knowledge, finding delight in magic and selling his soul to the devil for unlimited knowledge and power is a familiar cautionary tale. Before the play begins, Sorcha Corcoran’s meticulous and eerie design sets the scene, with a wall filled with photos, scribbled notes and arcane symbols that any conspiracy theorist/serial killer would be proud of. Tucked away on the floor are large rolls of plastic – confirmation for anyone that has seen a Lazarus production before that things are about to get messy. Stuart Glover’s lighting and Sam Glossop’s sound add to the otherworldly atmosphere and the design choices make this already small auditorium fell increasingly claustrophobic as the story progresses.

Ricky Dukes’s masterful adaptation begins very slowly, keeping the audience off kilter, before Faustus begins telling his story. Jamie O’Neill is magnetic as Faustus, schmoozing with the audience as he expresses his disdain for traditional learning and then capturing the frantic highs and guilt-ridden despair of Faustus’s contract. In this play, hell is peopled with briefcase-carrying office workers with grotesque green clown smiles. David Angland’s mercurial Mephistopheles is wonderfully disinterested, vindictive and childish responding to Faustus’s various demands, and switches from smiling sarcasm to raging monster in the blink of an eye. The contract signing scene is unforgettable. Lucifer, or we can call her Lucy (Candis Butler Jones) is also a glorious modern take on evil – horns and tails no longer terrify, it’s calm, all-powerful malice delivered with a smile and a hair toss.

There are some chilling moments in this production, but also lots of laughs. The wonders and torments shown to Faustus are portrayed as a grotesque freak show. These are the marmite sections of the play – I loved them! The introduction of the demons, an explanation of the solar system and the seven deadly sins all featured slightly tawdry and puerile, but wonderful, choreography, music and singing that were slightly “off.” This leaves you with an uneasy feeling for laughing and enjoying them so much but, just like Faustus, we want more, and when Mephistopheles channels Beetlejuice at the foul-mouthed pope’s banquet I was in heaven.

Curious and challenging for some, barnstorming and brilliant for others – Doctor Faustus will definitely get you talking. For me, another brave and thought-provoking production from Lazarus

Festival Theatre, Malvern – 9th September 2022

Reviewed by Courie Amado Juneau

5*****

This most sparkling of comic operas from the pens of Gilbert & Sullivan weaves a tale of the fairy Iolanthe who is banished from the fairy kingdom for marrying a mortal. Her son, Strephon, wants to marry Phyllis but so do the entire House of Peers…

After a rousing Overture with the orchestra displaying their prowess, the Fairy Chorus entered to “Tripping hither, tripping thither” and the first signs of how hilarious tonight’s performance was to be. Their running out of steam and enthusiasm at the end showed perfect comic timing and was nicely underplayed.

The calling of Iolanthe by the Queen of the Fairies (played by Amy J Payne with genial authority) to the fairy court had more than a touch of Wagner about it. The music showing Sullivan’s contemporary influences and just how wonderful a score he produced.

Iolanthe (Meriel Cunningham) had a beautiful tone and her acting was unsurpassed, especially in the scene where she pleads to the Lord Chancellor on her son’s behalf. A touching performance with every last ounce of emotion rung from her body language, expression and voice.

Our two lead lovers Strephon (Matthew Palmer) and Phyliss (Emily Vine) had a charm and innocence I found endearing. Both were a joy to listen to and watch.

The Lord Chancellor (Matthew Kellet) had the whiff of the always theatrical John Bercow (previous Leader of the House) about him and was simply sublime. A commanding baritone voice coupled with a set of impressively voluminous moustaches warmed my heart enormously. Spot on sir!

The second act was where the work really took off leaping straight into the funniest moment of the evening: Private Willis’s “When all night long a chap remains”. Matthew Siveter showed his comic genius by squeezing so much humour from such small gestures. A stunning portrayal that deserves it’s own spin off show!

The interplay between the Earl of Mountararat (Ben McAteer) and Earl Tolloller (Hal Cazalet) was another highlight. Crisp diction and impeccable acting kept the mirth taps fully open, as did the facial expressions of Celia (a fairy, captured perfectly by Catrine Kirkman).

The song “When Britain really ruled the waves” was worth the price of admission on its own! This song ought to be played to politicians daily before entering the chamber to keep them grounded. Never have truer words been spoken (or sung), showing Gilbert’s acerbic genius!

The undoubted highlight I have enjoyed most when seeing G&S works is revelling in the updated humour and this production didn’t disappoint with many current references producing lolworthy moments – tonight’s best involving a reference to the recently ousted PM’s bring your own booze debacle.

It was a real treat to see G&S played by a young cast of realistic age, giving the love interests a believable air and vibrancy. These Operettas are shockingly effective and enjoyable when done right and this professional company did everything right tonight. Book your tickets to see this company or you will be missing out on a terrific evening’s entertainment. An absolute triumph from all concerned in this stunning work from when Britain really ruled the stage

Seven Dials Playhouse – until 15th October 2022

Reviewed By Emily Cliff

4****

Who knew the end of the world could be so much fun? Help! We Are Still Alive is a musical comedy set in a post-apocalyptic world in the scarily not-so-distant future. Directed by OFFIE nominated Georgie Rankom, this delightful dystopian comedy looks at queer relationships, our relationships with each other and our relationship with the ever-changing world.

When you first enter the theatre for this show, you really don’t know what to expect. A chandelier of torches, a Sainsbury’s shopping trolly, a shovel, and a large platform covered in newspapers. It’s about as apocalyptic as you can get really. The staging gave nothing but the promise of a black mirror-esque performance.

The first thing to comment on for this production has to be the quality of the writing. There was a perfect balance of comedy and seriousness. Told in a series of voice notes, the fast-paced humour in this show is what carried the dialogue. It is almost human nature to use comedy and humour as a defence mechanism when something like, I don’t know, the end of the world is happening and the writing of this production really captured the honesty hidden between the jokes. Sometimes when traumatic events occur, all we can really do is joke to cope with the situation, and the writing of this production does that brilliantly.

The songs in this show are equally as funny and charming as the dialogue. Almost reverting back to the first lockdown at the start of the pandemic when we would do anything we could possibly think of to just keep ourselves occupied. Finn and Jass are possibly the only two people left in the world, what is there to do when everything you know and love is dead? The chemistry between the two characters was impeccable, and as the show itself developed you could see the development in the characters, the longing in Jass to find other people and the contentment in Finn just to stay put.

Overall this show was a charming interpretation of the end of the world. Incredibly funny, but also serious and tense where it needed to be. Filled with charming songs, and brilliantly gelled harmonies, Help! We Are Still Alive kicked off the autumn season at Seven Dials Playhouse with a bang.

Soho Theatre – until 24th September 2022

Reviewed by Emily Cliff

5*****

After blowing away audiences and reviewers alike at this year’s Edinburgh Festival Fringe, Hayley McGee’s Fringe First award-winning five-star production Age is a Feeling is transferring to Soho Theatre for a sold-out run. Inspired by real-life interviews. Age is a Feeling is a story of one person’s life from their 25th birthday until the end: exploring the glorious and melancholy unknowability of human life, the joys and tragedies of getting older, and the sides of people we never get to know.

A completely unique production and never the same show, each performance is beautifully different. The audience chooses to hear six of twelve stories, dipping in and out of one person’s lifespan as it unfolds across the show. Depending on the audience’s choices, there are 180 different potential versions to be heard with different combinations of stories.

Upon entering the theatre the stage is set up beautifully. Surrounded by flowers each with the story postcard on and a chair in the middle. The set itself is simple but the lighting makes all the difference. The monologue starts by describing to you your 25th birthday. And after the celebrations, after the candles get blown out, your life begins and so does the path of the show. The audience begins by choosing two story lines and the stories that don’t get chosen are discarded never to be told – at least not this night.

Hayley McGee tells the story with a fire in her eye. The passion shines through each line and each word and 10 minutes into the monologue you are left completely captivated and in awe of her brilliantly beautiful storytelling. As I sat watching this play – this story unfold I could not get over how incredibly accurate it was. Hayley has this talent of taking common experiences and making you feel seen, making everyone feel as though you are in the same boat and on the same journey together. The only way I can describe that feeling is like when you are scrolling through Twitter and you come across a meme that hits a little too close to home. But in this show that feeling is almost validating, Hayley shows you that age is just a feeling.

I simply cannot express how many people need to see this show. Not just for its raw honesty but for how validating it can be. Watching this show as a 21 year old unemployed graduate really made me realise how precious life is and how everything happens for a reason. The show reminds you to stop and smell the roses and to cherish the time you have with your loved ones. I have never before seen a show that was as honest in its storytelling as this one was, as well as how validating it was to know that not everyone has to have their shit together by the time they reach 25.

Beautifully simple and honest this award winning show is a must see for your London theatre watchlist this autumn.