Jekyll & Hyde – The Musical

• PRODUCERS LAMBERT JACKSON ANNOUNCE THAT A WORKSHOP WILL TAKE PLACE IN APRIL 2022 FOR A BRAND-NEW PRODUCTION OF LESLIE BRICUSSE AND FRANK WILDHORN’S JEKYLL AND HYDE 
• THE WORKSHOP WILL BE DIRECTED BY JONATHAN O’BOYLE WITH CHOREOGRAPHY BY SARAH GOLDING AND SET DESIGN BY MORGAN LARGE
• AUDITIONS WILL TAKE PLACE FROM TUESDAY 11TH – FRIDAY 14TH JANUARY 2022 WITH RECALLS LATE JANUARY

“In each of us, there are two natures: Good and Evil. For it is the curse of mankind that these polar twins should be constantly at war…”

Producers Lambert Jackson have announced a workshop for a new production of Leslie Bricusse and Frank Wildhorn’s iconic 1990’s musical Jekyll and Hyde loosely based on the 1886 classic novella Strange Case of Dr Jekyll & Mr Hyde by Robert Louis Stevenson. Originally conceived for the stage by Frank Wildhorn and Steve Cuden, it features iconic music by Frank Wildhorn and a chilling book by Leslie Bricusse.

Lambert Jackson said:

“We’re thrilled to be bringing a new version of this classic musical to life. This workshop process will explore a darker, grittier side to the story, with the aim to reflect London as it is now – a place with a rich, diverse and enigmatic history. There could not be a better time than now to bring a show to London’s West End which is so intrinsically connected with the city itself and explores the effect that the court of public opinion can have on the divisions between us.”

Lambert Jackson, alongside original composer Frank Wildhorn and scriptwriter Alexander Dinelaris (Academy Award Winner for Birdman) are workshopping this masterpiece with the following creative team: Jonathan O’Boyle (Director), Annabel Mutale Reed (Associate Director), Leo Munby (Musical Director), Sarah Golding (Movement Director/Choreographer), Morgan Large (Set Design), Jonny Dickie and Joshua Robins (Sound Design) and Emma Norman (Casting).

Jekyll & Hyde – The Musical is an evocative tale of the epic battle between good and evil. Based on the classic story about a brilliant doctor whose experiments with human personality create an evil and murderous counterpart. Convinced the cure for his father’s mental illness lies in the separation of Man’s evil nature from his good, Dr. Henry Jekyll unwittingly unleashes his own dark side, wreaking havoc in the streets of late 19th-Century London as the savage, maniacal Edward Hyde.

With the blessing of the legendary writer-composer Leslie Bricusse, the team will be working on an almost-complete revision of the book, a re-structuring of the storyline, modernising the much-loved orchestrations, and reworking the ending. With some of musical theatre’s most renowned songs, this new version will be presented in a workshop in April 2022.  

Auditions will take place from Tuesday 11th – Friday 14th January in London with recalls at the end of January. For more information about auditions and casting please visit Spotlight on Friday 26 November. JEKYLL & HYDE are actively committed to representation and inclusive casting. The production is proactively seeking applicants without regard to disability, race, age, colour, national origin, ethnic origin, sexual orientation, gender identity, or any other basis.

Casting will be announced following the audition process.

Nottingham Theatre Royal – until Saturday 27 November 2021

Reviewed by Louise Ford.

5*****

Who let the dog(s) out ?

I must confess to being more than a little partial to a mystery and Sherlock Holmes is one of my favourite Detectives; so I was really looking forward to a reworking of Sir Arthur Conan Doyle’s Hound of the Baskervilles. It’s a great story, which has stood the test of time, with all the requisite elements for a mystery, deer stalking detective, solid side kick, mysterious death,  shady strangers, unconvincing disguises and beards, inheritance, the moors, escaped prisoners, a giant hound and a little bromance!

The current production is a collaboration between Original Theatre Company and Octagon Theatre Bolton, which is continuing its UK Tour having premiered in Bolton this summer. The story has been adapted for the stage by Lotte Wakeham and is directed by Tim Jackson.

The adaptation is ingenious for a cast of just three actors. Jake Ferretti plays Mr Sherlock Holmes, the world famous (second best) detective as well as Stapleford, Stapleford’s “sister” and a host of other characters, Dr Watson is played by Niall Ransome and Serena Manteghi plays Sir Henry as well as various yokels. They are all excellent.

As you would expect Sherlock is played as a suitably aloof and superior detective  all pontification and pipe smoking. Dr Watson is the solid central character around who the action and actors change and move. He is suitably attired in country tweeds and bumbles along trying to make deductions and protect Sir Henry. The running joke that Watson fails to recognise Sherlock in even the most minimal disguise is very entertaining!  Sir Henry, fresh in from Canada, is played with energy and pomp, with just the right mix of upper class twit and lovesick bravery! It’s a very energetic performance with gymnastics and comic bounce. In fact all three actors move smoothly between their various characters even when the action speeds up and quick changes are called for.

The stage is dominated by the gothic presence of Baskerville Hall which is cleverly lit to cast a threatening glow over the scenes. The clever use of minimal props means that the various doorways, boxes and desks adapt them selves with little effort to move between Baker Street, a cab, a train, a sauna (?) and Baskerville Hall itself. The ever present dry ice adds to the air of mystery and threat.

The star of the show for me was the Grimpen Moor, the scenes where the various characters got stuck in the mire were just brilliant. Excellent comic acting and effects!

A great evening at the theatre on a decidedly chilly November evening, the game is afoot Watson!

THE LOWRY, SALFORD – UNTIL 4 DECEMBER 2021

REVIEWED BY ANGELOS SPANTIDEAS

4****

Matthew Bourne’s Nutcracker is a celebration of colours, fantasy and of course a lot of dancing with this rework of the original Nutcracker being reimagined for new audiences while maintaining the timeless and nostalgic effect of Tchaikovsky’s score.

For the first act, the story takes place at an orphanage with the choice of adult actors playing children paying off by the grand expressions and physicalities that transform the cast and convince the audiences of their youthfulness. Act 1 is dark and takes place on Christmas where the children are given gifts, the set is decorated in a depressive festive mood and the story is rich with subliminal messages of unfairness and mistreatment. Here we are introduced to our main two anti heroes, Sugar and Fritz who are the children of the owner of the orphanage. Both characters succeed at becoming instantly disliked, due to their spoiled behaviour and the way they are treating the other children. The main heroine, sweet and innocent Clara, finds a ventriloquist dummy nutcracker which by the end of the night comes to life and helps the children escape in a fantasy world, embarking their imaginary adventure at the frozen lake where the choreography is smooth, the stage is filled with snow and the dancers seem to be floating on stage. With Act 1 ending with Princess Sugar stealing the Nutcracker from Clara.

Although Act 2 is not as rich in story as Act 1, it is actually here where the audience can relish one of the most detailed and meticulously designed sets that changes constantly and is built upon layers of carefully constructed pieces that really bring the fantasy world to life. What can be compared to the brilliance of the staging is the intricate costumes, which embrace the characters and accentuate their characters without inhibiting the movement of the actors. The second Act is also filled with interesting characters that command attention from the second they get on stage, all inspired by sweets and candy, from the Liquorice Allsorts, to the over the top Knickerbocker Glory, the elegant Marshmallow Girls and the Gobstoppers. What is unfortunate, is that for Act 2, Clara who the audience has gotten to like and feel for, fades a bit to the background, with the exchanges of the Nutcracker, Princess Sugar and Prince Bon-Bon being in the spotlight. And while in the spotlight both Princess Sugar and Prince Bon-Bon are brilliant at giving a show stopping performance, with their facial expressions and their movements showing incredible versatility. With two little cupids helping Clara get to Sweetieland where the Nutcracker marries Princess Sugar, the fantasy comes to an end, the actors are brought back to reality where a happy ending brings Clara and the boy behind the Nutcracker to escape the orphanage.

Matthew Bourne’s Nutcracker is an unconditionally brilliant masterpiece that marries unconventional ballet with refined aesthetics, sexual innuendos and a Christmas spirit. With no moment being anything but impressive and with a breathtaking attention to detail by the production this Christmas classic is a blueprint for how long established pieces can be re-envisioned into modern concepts without losing any of the enduring qualities of the original.

Mayflower Southampton – until 27 November 2021 

Reviewed by Jo Gordon 

5*****

C.S Lewis The Lion The Witch and the Wardrobe has been enjoyed in many forms by generation after generation for over 70 years. From the original book in 1950, it’s been made into a TV series, several film versions, cartoons and re-prints. It has always been one of my personal favourites and I spent many an hour in the early 80’s, hidden in my wardrobe, shrouded in my Mothers best faux fur coat. Adding to the magic, I lived near a zoo who’s lion could be heard at my house …..my very own Aslan! 

Set in 1940, during the London Blitz four siblings are sent to the safety of the countryside. Edmund, Susan, Peter and Lucy Pevensie find themselves now living with Professor Digory  Kirke a rather quirky fellow in his large Manor House. Exploring the Manor, Lucy finds an intriguing wardrobe, on entering she finds the Land of Narnia and her life and that of her siblings will never be the same.

The costumes and set are stunning. Clever use of lighting, props and beautiful puppetry transport the audience into a magical world, and you do get totally immersed into it, forgetting you are sat in a theatre on a cold November night. Songs are sung amongst the beat of drums, flutes, string instruments and forest creatures. Staying true to the moral of love wins over hate. 

It is possibly one of the most beautiful stage productions I have ever seen. From Mr Tumnus lamenting about spring, the amazingly clever Aslan puppetry, The White Witch and the outstanding cast. Folklore told as it should be, magically enchanting. 

New Victoria Theatre, Woking – until 27th November 2021.

Reviewed by Becky Doyle

5*****

WOW! An absolutely breath-taking story that had me and the rest of the audience gripped from start to finish. It is no reason therefore that the play has the reputation of the “standing ovation musical”. I didn’t know what I was expecting, but what was delivered surpassed anything that I could have imagined.

The whole cast were amazing – with Alex Patmore (Mickey) and Joel Benedict (Eddie) Perfectly playing the transitioning life of two young boys growing up in different circumstances in Liverpool. Eddie wanting for nothing but friends from the “wrong” side of town where his best friend, and blood brother, Mickey lived unknowing that he had everything that Mickey wanted.

The musicality and choreography were a credit to all with Alex’s rendition of “I wish I was our Sammy” being the highlight for me which showed the vulnerability of Mickey and children like him. I think it is a credit to all who played children to just how much you were absorbed into the moment and really did believe that you were watching the growth of children and young teens as well as the effect of the people around influencing their growth and paths in life.

It would be wrong of me to write this without a mention of Lyn Paul (Mrs Johnson) who is returning to carryout her farewell tour. Her portrayal of a single Mother trying to do the best for her family with limited options was touching and her voice was fantastic. She will take a lot of living up to for her predecessor.

This show is a must see and has left a lasting impression

Festival Theatre, Malvern – until 27th November 2021

Reviewed by Courie Amado Juneau

5*****

A silence that speaks volumes!

The Lemon Table is adapted for the stage from two short stories by writer Julian Barnes. From the start you know you are in for something different with no fanfare greeting the actor’s entrance, a minimalism maintained throughout, packing a powerful punch.

The show is really two scenes, each with its own central (onstage) character and many offstage ones, all brought to life vividly by the wonderful Ian McDiarmid. The first half concentrates on one man’s exasperation with his fellow concert goers and their percieved lack of respect during live concert going. The second half introduces Jean Sibelius, the aclaimed Finnish composer, in old age. This was no quiet reflection recounting past glories though. Instead, we are treated to a rhapsody on loneliness and the desperate ways one attempts to mitigate its effects as he faces his mortality.

Although there is only one actor it is a multi character show. To produce such a range of characterisation using just a subtle gesture, a change of vocal inflection or a mere glance was pure genius, showing an actor totally in command of his craft. I found myself marvelling at the transformation produced by buttoning a coat, adjusting a tie and popping on a subtle prop coupled with a change of posture – a testament to all involved in the production, including Directors Michael Grandage and Titas Halder.

I evidently was not the only one engrossed in the on stage action. I have never heard such a quiet auditorium, with the audience hanging upon every word. The use of silence (a central theme running through the spine of the show ) as an emotional punctuation was particularly moving and was almost symphonic in it’s impact. If one can achieve pitch perfect silence, there it was!

Apart from loneliness, the show explores many other emotions such as mortality, alienation and, especially poignantly, the loss of a partner’s love. Given the subject matter there is a surprising amount of humour . Perhaps it is because of the universal feelings explored that the humour resonates so deeply, being something we can all recognise in ourselves.

The lighting (designed by Paule Constable) was employed sparsely, as was the staging (by Designer Frankie Bradshaw), and was all the more effective for it – helping to focus the attention on the story so that changes produced maximum dramatic effect. I’ve never seen such a telling effect wrought by changing the angle of a chair to introduce a non seen character before! There was particularly clever use of the table of the title, embodying both a physical (and mental) mountain.

A triumph for all involved (both onstage and off) and one that will stay long in the memory. I could not recommend this highly enough.

As Sibelius recounts in the play: “music begins where words end”. I returned home wanting to listen again to the music of this wonderful composer, surely the greatest testament to how compelling this play is.

 The Grand Theatre, Leeds – until 27th November 2021

Reviewed by Katie Goldsbrough

4****

John Willards, The Cat and the Canary is a classic ‘Who done it’, a group of long-lost relatives gather on a stormy night for the reading of Mr. Wests will, 20 years after his death, they are there to discover who will inherit the manor and the family jewels. After learning who the heir is the group learn of an escaped, murderous mental patient from the local asylum, resulting in them spending the night in fear as mysterious things begin to happen and it seems there’s someone in the house who shouldn’t be there. There are plenty of surprises, twists, and turns and with an all-star cast this is one not to be missed. 

The cast is made up of lots of well-known names including former Bond girl Britt Eckland as Mrs. Pleasant, the housekeeper who has been living alone for the past 20 years and is in contact with the spirits of the house, who insist an evil is lurking. Antony Costa, who found fame in the boyband Blue who gives a fantastic performance as, Paul Jones a doddering vet. Other familiar faces include Coronation Streets Tracy Shaw playing Annabelle West who must learn to conquer her fears and fend of the advances of Harry Blythe (Gary Webster The Bill, Eastenders), who wants to rekindle an old romance and Charlie Wilder (Ben Nealon Soldier, Soldier) who has similar ideas. 

The lovely set is well used and at times you may find yourself jumping as the thunder rumbles and mysterious sounds begin to be heard through the manor. 

The show comes to a dramatic conclusion in the final act when the pace picks up and we learn of a plot to steal the fortune which, as it unravels will leave you guessing until the end. With comedy entwined with the drama this is an excellent production with a fantastic cast and an exciting story.

York Theatre Royal – 23 & 24 of November 2021

Reviewed by Sal E Marino

5*****

The stunning and heterogeneous choreography featured in 40 Years of Phoenix had one definitive universal element –  equality.  Some of the issues explored were: gender, power, racism, individual empowerment and interpersonal relationship dynamics.  Each dance commanded our attention to observe how we intersect with each other: as a tribe, family, broader society, with another individual or simply just as ourselves. Dane Hurst, Artistic Director, began researching the Phoenix dance archive during lockdown in order to put this spectacular programme of dance together.  He gave thanks to David Hamilton’s ‘genius’; who founded the Phoenix dance company back in November 1981.  

‘Signal’, choreographed by Henri Oguike, was danced to Japanese Taiko drumming and could not fail to immerse one totally into the rhythm and vibrations of the beat of the music and the movements of the dancers. As they shape-shifted into what felt like different states of consciousness, set to flames on stage, it was like a ritual or sacred ceremony was taking place and an honour to witness.   Primal, every arm and leg extension had power and purpose that was spellbinding and it felt as if the dancers were experiencing an awakening of some kind was taking place.  (Cast: Reynaldo Santos, Alabama Seymour, Natalie Alleston, Aaron Chaplin and Shawn Willis). 

‘Harmonica Breakdown’, a solo piece performed by the outstanding Yuma Sylla, who was taught this absolute masterpiece by Dr S. Ama Wray (Associate Professor of Dance at the University of California), represents the struggle of oppression. As Yuma falls to the floor but then realises her self worth, she stands and then struts with a brave defiance.   Yuma’s expressed opposition, which is aimed  towards her oppressor, who Wray confirms is the white middle-class man, is set in a time of turmoil in 1920s / 30s America.  A lot of ‘life’ is covered in such a short dance and throughout you feel the confusion, pain, moments of victory but also a sense of not knowing what to do next. 

‘Family’, choreographed by Joanie Smith and Danial Shapiro, embraces us into the comfort and discomfort of a family unit who share love, conflict, mischief and mayhem through their common bond. One can’t help but smile at the rough and tumble of child play and the continuous parental frustration of the never ending bickering.  ‘Family’ displays an incredible amount of skill by the dancers as they fall and envelope into one another, literally bouncing into each other’s arms. 

(cast: Reynaldo Santos, Alabama Seymour, Natalie Alleston, Aaron Chaplin, Mirabel Huang Smith, Matthew Topliss and Shawn Willis)

Both ‘Pave Up Paradise’ (choreographed by Ben Duke and Raquel Meseguer and performed by Shawn Willis and Natalie Alleston) and ‘Heart of Chaos’ (choreographed by Darshan Singh Bhuller with the cast: Reynaldo Santos, Alabama Seymour, Natalie Alleston, Aaron Chaplin, Alana Cowie, Mirabel Huang-Smith, Melina Sofocleous and Shawn Willis) highlight the dancers marked individual qualities along with their evident chemistry of partnering with the ability to showcase the best in one another.  We are taken on relationship journeys that test and try the characters  

Dance is one of,  if not the best way, to express and celebrate spiritual, cultural and individual human-rights regarding equality and 40 Years Phoenix showcases these issues with an intoxicating passion that touches you intensely and emotionally.  During and after the performance, you become even more aware of the body’s beauty and strength and a refreshed and newly respected regard for our physical embodiment is felt.  Seeing this once is not enough and it was a truly unforgettable performance for all the right reasons. 

FRANK WILDHORN

ANNOUNCES SPECIAL GUESTS

CHRISTINE ALLADO, KERRY ELLIS,

JOHN OWEN-JONES

NATALIE MCQUEEN AND KAYI USHE

TO JOIN HIM FOR

FRANK & FRIENDS

SUNDAY 16 JANUARY 2022

AT THE CADOGAN HALL

Fourth Wall Live and Frank Wildhorn are delighted to announce that West End stars Christine Allado, Kerry Ellis, John Owen-Jones, Natalie McQueen and Kayi Ushe will be joining the composing icon on stage for  FRANK & FRIENDS – The Music of Frank Wildhorn at the Cadogan Hall on Sunday 16 January 2022 at 6.30pm. Tickets on sale now www.fw-live.com/frank

Frank Wildhorn is delighted to be performing FRANK & FRIENDS for the first time in London. Presented by Fourth Wall Live FRANK & FRIENDS celebrates the breadth of renowned work from composer Frank Wildhorn, with selections from his pop, jazz, and theatre catalogues, including music from his musicals, Jekyll and Hyde, The Scarlet Pimpernel, Bonnie and Clyde, Wonderland and Dracula.

Frank Wildhorn is a Tony, Grammy, and Emmy Award nominated celebrated composer of both musical theatre and popular songs including having written the Number One international hit “Where Do Broken Hearts Go” for Whitney Houston. Throughout his career he has written songs that have been recorded and performed by artists such as Hootie & the Blowfish, The Moody Blues, Stix, Johnny Mathis, Patti LaBelle, Trisha Yearwood, Colm Wilkinson, Anthony Warlow, Michael Ball, Beverley Knight, Kenny Rogers, Sammy Davis Jr, and Natalie Cole, to name a few. Among his forty original shows around the world are Jekyll & Hyde, The Scarlet Pimpernel, The Civil War, Dracula, Wonderland, Bonnie & Clyde, Victor/Victoria, The Count of Monte Cristo, Carmen, Rudolf, Camille Claudel, Mata Hari, The Man Who Laughs, Death Note, Excalibur/Artus, and The Man Who Laughs. This Christmas, the Vienna Symphony Orchestra’s recording of an original composition by Wildhorn will be released, making him the first American to have a full-length symphony premiered by the World-renowned company.               

Christine Allado is best known for her award-winning performance as Peggy Schuyler/Maria Reynolds in the original West End production of Hamilton and for playing Vanessa in the Olivier Award winning production of In The Heights. Most recently she has been playing the role of Tzipporah in The Prince of Egypt at the Dominion Theatre.

Kerry Ellis is chart-topping recording artist and Broadway and West End star whose theatrical credits include originating the role of Meat in We Will Rock You at the Dominion Theatre and being the first British Elphaba in Wicked at the Apollo Victoria. Her other West End credits include Grizabella in Cats, Nancy in Oliver!, Eliza Doolittle in My Fair Lady, Ellen in Miss Saigon and Fantine in Les Misérables.

John Owen-Jones is Broadway and West End star and recording artist, whose credits include playing Jean Valjean in Les Misérablesand The Phantom in The Phantom of the Opera. He has now recorded six studio albums, with his most recent, Spotlight, having been released in February 2019.

Natalie McQueen’s West End credits include playing Doralee Rhodes in 9 to 5 The Musical, Lauren in Kinky Boots, Wicked and Murder Ballad.

Kayi Ushe’s theatrical credits include The Book of Mormon in the West End and the National Tours of Kinky Boots and Avenue Q.

Fourth Wall Live is an exciting new collaboration between boutique concert producer Club 11 London and theatrical producers DLAP Group. Having previously successfully produced Chita Rivera at Cadogan Hall together, the teams have now combined to bring audiences a plethora of international artists in concert at leading venues including the upcoming sold-out Bonnie and Clyde in Concert. Their most recent production, Eurobeat – The Pride Of Europe was loved by audiences and critics alike during its streamed season in May 2021.

www.fw-live.com/frank

Twitter: @F_W_Live

CELEBRATE YOUR INNER GRYFFINDOR, SLYTHERIN, HUFFLEPUFF AND RAVENCLAW

H A R R Y   P O T T E R   A N D   T H E   C U R S E D   C H I L D

HOUSE PRIDE NIGHTS

The internationally award-winning London production of Harry Potter and the Cursed Child will celebrate the Hogwarts houses early next year with four special performances dedicated to each house. Gryffindor, Slytherin, Hufflepuff and Ravenclaw houses are the four living and learning communities for Hogwarts students, named after the wizarding school’s four founders.

The first 50 audience members who arrive early on each Wednesday will receive early access to the theatre at 12.15pm, special access to the theatre bars and gift shop, and the opportunity to participate in Harry Potter trivia featuring Harry Potter and the Cursed Child cast appearances.  All audience members will receive a house-themed souvenir pin and have the opportunity to enter the house pride costume contest.

Wednesday 19 January 2022 Harry Potter and the Cursed Child will celebrate

Hufflepuffs – just, loyal and unafraid of toil.

Wednesday 26 January 2022 Harry Potter and the Cursed Child will celebrate

Ravenclaws – wise, creative and brimming with wit.

Wednesday 2 February 2022 Harry Potter and the Cursed Child will celebrate

Gryffindors – daring, chivalrous and brave at heart.

Wednesday 9 February 2022 Harry Potter and the Cursed Child will celebrate

Slytherins – cunning, determined and ambitious.

Tickets for these special performances have been priced especially for Harry Potter fans with the majority of stall seats being priced at £67.50 per part and can be purchased at www.HarryPotterOnStage.com  In addition tickets are available from £15 per part for all Harry Potter and the Cursed Child performances.

Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany.

Harry Potter and the Cursed Child features movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe. US Casting by Jim Carnahan, CSA.  Harry Potter and the Cursed Child is produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions.

Harry Potter and the Cursed Child is the most awarded play in theatre history, winning 24 major theatre awards in the UK becoming the most awarded show in the history of the Olivier Awards, winning a record-breaking nine awards including Best New Play.

19 years after Harry, Ron, and Hermione saved the wizarding world, they’re back on a most extraordinary new adventure – this time, joined by a brave new generation that has only just arrived at the legendary Hogwarts School of Witchcraft and Wizardry. Prepare for spectacular spells, a mind-blowing race through time, and an epic battle to stop mysterious forces, all while the future hangs in the balance.

The West End cast comprises Jamie Ballard as Harry Potter, Susie Trayling as Ginny Potter and Dominic Short who plays their son Albus Potter, Thomas Aldridge as Ron Weasley, Michelle Gayle as Hermione Granger and Phoenix Edwards as their daughter Rose Granger-Weasley and James Howard asDraco Malfoy and Luke Sumner as his son Scorpius Malfoy.  They are joined by Lola Adaja, Samson Ajewole, David Annen, Valerie Antwi, Sue Appleby, Phil Cheadle, Craig Connolly, Morag Cross, Robert Curtis, Tim Dewberry, Jim Fish, Thomas Gilbey, Jemma Gould, Rachel Hinds, Jordan Lang, Ronnie Lee, Katrina Lopes, Lucy Mangan, David Mara, Lucia McAnespie, Kathryn Meisle, Gordon Millar, Ian Redford, Thomas Royal, Tom Sturgess, Joshua Talbot, Mark Theodore, Emma-May Uden, Madeleine Walker and Wreh-asha Walton who complete the 43-strong company playing a variety of characters including seven children – Noah Alexander, Tom Quinn Alexander, Abby Barnes, Harley Barton, Chase Collard, Samuel Newby and Cici Smith – who will alternate two roles. 

Visit www.HarryPotterThePlay.com for more information and sign up for the mailing list to stay up to date with future ticket releases and the latest news and updates.

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