PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 12th OCTOBER 2024

REVIEWED BY MIA BOWEN

5*****

Sebastian Faulks’ sweeping tale of love and heartbreak is back on stage to celebrate the 30th anniversary of the beloved novel. The highly praised show is making a comeback in a fresh production for 2024. Birdsong, based on Faulks’s novel, delves into the themes of love and the devastating experiences of World War I. The play beautifully weaves together ideas of memory, loss, and how the horrors of war affects human connections.

I have watched films, documentaries, and plays, as well as listened to accounts about being a soldier during times of war. However, I have never felt the impact of it as intensely as when I was sitting in the audience, at the beautiful Playhouse Theatre, last night. The narrative raises crucial themes of existentialism, the futility of war, the depths of the human psyche under extreme conditions, and ultimately our ability to endure and find hope.

The set designed by Richard Kent is simple yet very effective. It gradually transforms as the action unfolds, mirroring the characters increasingly stripped-back lives. This shift puts the focus squarely on the characters. Jason Taylor and Dominic Bilkey’s skilful use of lighting and sound also darkens to match the mood of the play.

Taking place in the trenches and the French countryside, the story revolves around Stephen Wraysford as he deals with both love and the harsh realities of war. The incorporation of flashbacks to showcase his pre-war relationship enriches the narrative, emphasising the striking difference between the peacefulness of love and the tumult of war.

It’s difficult to single out one specific performance because I was truly impressed by all the actors last night. The entire cast delivered an outstanding performance that grabbed my attention right from the beginning.

The duration of the performance is 3 hours, which includes 2 intervals. The show contains content warnings for loud noises, violence, suicide and scenes with sexual content and nudity, thus making it suitable for audiences aged 15 and above.

Birdsong is a beautifully crafted play that combines poetic writing with strong performances, creating a poignant tribute to those who endured one of history’s darkest periods. It is a must-see for anyone intrigued by history, depicting a heartfelt portrayal of a war that was meant to, but unfortunately did not, end all wars.

Mayflower Theatre, Southampton – until 19^th October 2024

Reviewed by Sally Lumley

5*****

War Horse is the National Theatre’s acclaimed production based on the book by Michael Morpurgo. It tells the story of the eponymous Joey (Head – Rianna Ash, Heart – Chris Milford, Hind – Tommy Goodridge), from his early days in rural Devon bonding with young Albert (Tom Sturgess), before being sold by Albert’s father to the Cavalry at the start of World War One. The story follows the plight of both Joey and Albert, as he enlists to search for his best friend across the battlefields of Europe. 

War Horse is not for the faint hearted. It is, as it should be, unflinching in its battlefield scenes. The action takes us right to the Western Front and through Joey’s extraordinary journey we see the best and worst of humanity on both sides of the conflict. The impact of the brutal war on its innocent players is made clear and there are some very intense moments throughout. 

The staging is sparse and dark, with a single giant strip of torn paper suspended across the top of the stage. This is used to great effect to project Rae Smith’s line drawn images, representing those that might have been done by a soldier at the time. This allows the audience to travel with Joey and Albert through different seasons and locations, but also helps to set the scene and the mood. The greatest benefit of this simplicity is that the stage is left free for the wonderful horses to be used to their full advantage.

For all of the darkness of the war, this is a beautiful production. Core to this are the incredible life-sized horses from South Africa’s Handspring Puppet Company, breathed into life by the astounding puppeteers. The horses are so life-like, so nuanced in their movements, that it really doesn’t take long to forget that the puppeteers are there at all. The impact of two huge horses, rearing up towards the audience as they prepare to jump across enemy lines was absolutely breathtaking, and is one of those rare moments in a theatre that I know I will never forget. 

Sally Swanson as The Singer travels alongside the audience through Joey’s story, adding another layer to the story with beautiful folk inspired songs. What works really well in this production is the combination of multiple elements so that it is never too dark for the audience, never too intense. My ten-year-old son came with me to see War Horse, and although he understood the more serious parts, he did particularly enjoy the naughty goose, who had the audience laughing every time it came onto the stage. It is the balance between the moments of light and darkness that make War Horse such a memorable play. It transforms a tale set during some of the worst times of human history into a heartwarming beautiful story that can be enjoyed by audiences across the globe. 

I will, quite simply, remember War Horse forever. This is a captivating story that is both heart breaking and full of hope, delivered by truly exceptional creatives. It is quite unlike anything else that I’ve seen on a stage, and something that I truly believe everyone should experience.

 Richmond Theatre- until 12^th October 2024

Reviewed by Brooke Burlinge 

5***** 

Richmond Theatre brings Heathers The Musical based on the 1989 film involving a bunch of high school kids with all the usual cliques you would expect to see. There’s the three popular girls, Heather Chandler (Esme Bowdler), Heather Duke (Sedona Sky) and Heather McNamara (Daisy Twells) or, as they are known, the ‘Heathers’. There’s the typical loner boy who sticks out of the crowd and has plenty of grudges to hold and of course the arrogant jocks who can rarely think for themselves. However, this play is so much more than your everyday, average high school musical with plenty of little twists weaved in and out of the storyline, ultimately putting an end to a few characters within the show. Somehow the production is able to balance the comedy, plot twists and darker themes throughout perfectly, giving us as the audience a perfect amount of suspense and a sort of thrill whilst  watching the show. 

The cast are absolutely phenomenal, everyone’s character was portrayed flawlessly to the audience and not to mention everyone’s vocals were completely astonishing and well projected. All Heathers provided the faultless characteristics of a typical ‘mean girl’ in an American High School, during the song ‘Candy Store’ their harmonies blended exquisitely well together. Despite their completely obnoxious and unlikeable personalities and characteristics. 

Ram (Jason Battersby) and Kurt (Iván Fernández González) provided much comedic relief even during the darkest of scenes and are a truly magnificent double act with their fast-paced wit and physical comedy. I think it’s clear to say that everyone in the audience loved the innocent and caring Martha (Amy Miles) who’s performance of ‘Kindergarten Boyfriend’ was angelic and simply alluring, her vocals clear and smooth which truly hit the hearts of everyone within the theatre. The song provided everyone a small bit of relief and calmness compared to the fast pace of the eventful second half. 

Veronica (Jenna Innes) and J.D. (Keelan Mcauley) were most certainly the stars of the show. Keelan Mcauley play Jason Dean amazingly, especially towards the end, the way he held himself and how he communicated the character definitely gave the audience sinister, slightly psychopathic vibes which fits the character. Jenna Innes also portrays Veronica wonderfully, displaying to the audience Veronica’s instant likeability and her sincere, sweet personality. Both their vocal performances were out of this world alongside the music played by the extraordinary band. It was clear that they are strong and skilled singers, their voices blending satisfactorily together especially in their performances of ‘Our love is God’ and ‘Seventeen’. They certainly had us on the edge of our seats in suspension, particularly towards the dramatic conclusion of the production. 

The stage was simple and compact yet effective with parts of the set easily being pulled back and forth to produce a new and different atmosphere for each new setting. The costume design also was very effective, clearly pointing out what cliques each person was in and adding just that little bit more of depth to the characters and performance as a whole. 

Overall, Heathers was a truly captivating production which offered a compelling performance and a good entertainment factor. It is certainly a show you should go to see if given the chance. 

Hall for Cornwall, Truro – until the 12 October 2024

Reviewed by Kerry Gilbert

5*****

‘Sensational! – Evan’s powerful story grips and moves people’

The first new UK production of Dear Evan Hansen has come on tour, and I had the pleasure of seeing it at the wonderful Hall for Cornwall. It is presented by Ambassador Theatre Group Productions and Nottingham Playhouse and is directed by Adam Penfold.

Dear Evan Hansen, is a powerful musical performed by a talented cast. Evan (Ryan Kopel) is a 17 year old social outsider with anxiety and his therapist has tried to encourage him to become more positive by writing himself letters starting “Dear Evan Hansen, this is going to be a good day and here’s why”. But, one day one of these letters falls into the hand of another student, Connor Murphy (Killian Thomas Lefevre). When Connor later takes his own life, Evan gets drawn deeper into a web of lies and fabrications as that seems to be the way to find acceptance. Eventually, his lies begin to unravel when he is taken under the wing of the bereaved family, the Murphys. Parents, Cynthia (Helen Anker) and Larry (Richard Hurst) are looking for answers and Evan seemingly provides them. Daughter Zoe (Lauren Conroy) is initially sceptical, but over time Evan convinces her that his friendship with her brother was genuine.

The musical explores the feelings of the grieving family, teens wanting to be noticed and Evan Hansen finally fitting in. The use of the internet and social media is woven throughout. Enabling teens to reach others, but also helping to fabricate an alternative reality showing that the digital world can be harmful as well as good.

The performance by Ryan Kopel was exceptional and realistically portrayed teen angst, anxiety, shyness and that sweaty hand feeling teens get when in the presence of a girl they like. From the moment he finishes his first big song, ‘Waving Through a Window’, the audience erupts, and i knew we were in for a stellar performance. He is totally convincing, from his posture to the way he moves, his vocals, facial expressions and projection were truly astounding.

It’s not all deep and emotional, and lighter moments are added by Tom Dickerson as Evan’s friend Jared who gets drawn in by doing Evan a favour, and fellow student Alana (Vivian Panka) who’s desperate to jump onto the bandwagon.

As a mum I resonated with the pain of the mothers: one who has lost a child and another who is trying her hardest as a single parent to give her son (Evan) the best opportunities in life. The characters played by Helen Anker and Alice Fearn are very different, but both women made my heartache for the characters who love their children and want to do the best for them. Alice Fearn’s rendition of ‘So Big/So Small’, one can empathise that there is no ‘map’ to follow.

The staging is simplistic yet technologically current to highlight the overwhelming and damning effect of the internet and social media. Using one piece of main set, surrounded by screens showing different social media updates, allows you to focus on the story being told without distractions.

Music and Lyrics are by Benj Pasek and Justin Paul are really upbeat and inspirational. With pop-rock elements suitable for audiences of all ages, some of which show hints of character growth (Requiem) and windows of light (Disappear), despite the mostly sobering (Waving Through a Window) and pointed, angry lyrics (Good For You). The musicals end of Act One song (You will be Found) is its most popular and soul-stirring and its lyrics full of hope and resilience.

You don’t have to be a teen to appreciate this impressive show. It’ll make you emotional, it’ll make you uncomfortable, it might even make you angry as events spiral, but it’s something that you will most likely remember for a long time to come.

Kings Theatre Portsmouth – until 13th October 2024

Reviewed by Emma Barnes

5*****

Roald Dahl’s timeless tale of a young boy’s extraordinary journey through a magical chocolate factory has once again enchanted audiences. The stage adaptation at Kings Theatre Portsmouth was a scrumdiddlyumptious treat that transported the audience into a world of pure wonder. With a mixture of classic songs made famous by the 1971 movie and new songs there was enough to excite both old and new fans. 

Ten-year-old Flynn Hughes delivered a heartwarming performance as Charlie Bucket, capturing the character’s innocence and earnest charm. His grandfather, Grandpa Joe, played by John Bettesworth, provided a comforting, supportive presence.

Timothy Quinlan’s portrayal of Willy Wonka was a standout. His enigmatic demeanor and subtle comedic timing gave the character a unique depth. While he didn’t directly channel Johnny Depp’s quirky portrayal, I did detect a smidgen of Gene Wilder.   Quinlan’s Wonka was compelling and had enough of a nod to both to have wide appeal.  

The entrance of the Oompa Loompas was a highlight, with their colourful costumes and infectious energy creating an unforgettable spectacle. The choreography was precise and visually stunning, adding to the overall excitement of the scene.

An unexpected highlight was also provided by the lady selling the vegetable’s who also had me in absolute stitches.  

All too soon the story came to an end,  with the visually stunning and enchanting great glass elevator finale which had Charlie and Wonka floated majestically above the stage.  I imagine that there wasn’t a dry eye in the house. 

The entire cast , which includes children, deserved the standing ovation they received, but special mention must go to Augustus Gloop (Jacob Bailey) and Mrs. Gloop (Andee Jordan). Their dynamic performances and comedic timing had the audience in stitches throughout the show.

It’s a testament to the talent and dedication of the Kings Theatre team that this amateur production could rival professional touring shows. “Charlie and the Chocolate Factory” is a Golden Ticket  for fans of Roald Dahl’s work and anyone seeking a fun and entertaining evening out. It’s a nostalgic journey through childhood filled with laughter, magic, and a touch of whimsy.

Theatre Royal, Nottingham – until Saturday 12^th October 2024

Reviewed by Chris Jarvis

4****

Bizarrely Bonkers! 

ART had me laughing throughout but left me feeling empathy for all 3 characters – Yvan (Seann Walsh), Marc (Aden Gillett) and Serge (Chris Harper) as the friendship between these guys for over 15 years fell apart! It also gave me an insight into the dynamics of male friendships!!

The play begins with Marc in spotlight addressing the audience. He tells us that one of his oldest friends, Serge, who is very keen on art, has bought a large painting that is a totally white canvas. 

We then join Serge in his home on the day of Marc’s visit where he is excited to show his latest art purchase. Marc is initially struck dumb when Serge shows him the 5’ x 4’ white canvas for which he has paid £200,000 and can’t believe how delighted Serge is with it. Initially there is tongue in cheek humour between them, but very quickly Marc loses control in and is vociferous in his comments about the painting he describes as ‘absolute shit’!

The white masterpiece becomes the trigger for events to come and Marc visits their mutual friend Yvan and shares with him what Serge has done. Yvan is a quiet man who seems keen to please those around him and is very distracted by his forthcoming wedding. He can’t understand why Marc is so upset about something that doesn’t really have any impact on anyone but Serge. 

As the play progresses one can only wonder how these three very different characters stayed such good friends for so long. They plan a lad’s night out and meet at Serge’s house for drinks. Yvan turns up very late and immediately launches into a hilarious monologue on why he is late involving the trials and tribulations of wedding planning. Hoping for a relaxed evening after his stressful day, Yvan finds himself in the middle of a volatile atmosphere about to erupt between Serge and Marc, stirring up intense emotion in himself and Serge with many dramatic tears shed, evoking in turn both pathos and hilarity. 

Although the painting is still the main discourse between them, it quickly becomes a slanging match with Serge being very offensive about Marc’s wife Paula. Serge performs a very funny and vivid mimic of Paula showing her displeasure at people smoking. Marc jumps up in defence of his wife and a fight follows with Yvan trying to intervene.

Yvan is then verbally abused by his two friends for being so weak-willed. Initially very upset by this, Yvan leaves but quickly returns and gives as ‘good as he got’!

Ultimately Serge hands Marc a blue felt pen and free rein to adapt the painting, and we are left wondering whether this is the beginning of the end of the friendship or whether it will become stronger.

Director Iqbal Khan has updated the original production in the 30^th Anniversary year to give us a very well written dialogue, cleverly combining the serious with the funny making for a very enjoyable and thought-provoking experience. I feel sure everyone will identify elements from it in themselves or others they have met through life. The set was very simple but worked well and the acting was excellent. 

Queen’s Theatre, Hornchurch – until 26th October 2024

Reviewed by Fozia Munshi-Nicholson

4****

Most will have seen an adaptation of this Henry James novel at some point. This performance is a perfect lead-up to Halloween as the days become shorter, especially if you enjoy a good creepy tale. The production had a few surprises; for example, you could smell cigarette smoke during the opening scene. It was so subtle that I had to check with my partner if he could smell it too.

The entire stage is set up to look bleak, with the only signs of active life being the children, played by James Akka as Miles and Lexine Lee as Flora. They are the focal point of Siubhan Harrison’s spiralling Governess. Although the play is set in a modern background, the novel’s 1840s setting lends an even more sinister note to the implications of what could be happening to the children.

The minimalist set design, with its stark and haunting visuals, effectively captures the eerie atmosphere of the story. The use of lighting and shadows plays a crucial role in creating a sense of foreboding and suspense. The director’s choice to incorporate modern elements such as TV sets that randomly turn on, while staying true to the original period adds a unique twist that keeps the audience guessing.

With only five actors, the play manages to convey the disturbing mental decline of the Governess acutely. You can’t quite tell if she is mentally spiralling, if the house is haunted, if the children are possessed or driving her mad on purpose, if Michael Joel Bartelle’s Sackville purposely chose a mentally unstable woman as a governess for nefarious reasons, or if the housekeeper Mrs. Grose, played by Kristin Mcllquham, is as innocent as she seems. The tale moves quickly, and the Governess’s obsession keeps you on the edge of your seat until the climactic ending. The ending is chilling and leaves you with as many questions as the beginning.

The performances are compelling, with Siubhan Harrison delivering an unnerving portrayal of the Governess. Her descent into paranoia and fear is both believable and unsettling. James Akka and especially Lexine Lee bring a haunting innocence to their roles as Miles and Flora, making their characters’ actions and motivations even more ambiguous and disturbing.

The sound design also deserves special mention. The subtle use of background noises, such as animal noises and distant banging which could be footsteps, adds to the overall sense of unease. The occasional jarring sound effects punctuate the tension, making the audience jump at just the right moments.

In conclusion, this adaptation of Henry James’s novel is a blend of psychological horror and gothic mystery. It keeps the audience engaged from start to finish, with its clever use of sensory details, strong performances, and a gripping storyline. Whether you are a fan of the original novel or new to the story, this play offers a fresh and thrilling experience that is perfect for the Halloween season.

FROM COURTSIDE TO CENTRE STAGE: LEBRON FANDOM UNITES IN UK PREMIERE OF KING JAMES BY RAJIV JOSEPH DIRECTED BY ALICE HAMILTON

15 NOVEMBER – 4 JANUARY

Pulitzer Prize finalist Rajiv Joseph returns to Hampstead Theatre this autumn with the UK premiere of King James directed by Alice Hamilton. This remarkably moving new play about the friendship between two men thrown together by chance and their mutual passion for basketball and the great ‘King’ LeBron James plays Hampstead Downstairs from 15 November to 4 January.

The cast comprises Sam Mitchell as Matt, whose theatre credits include To Kill A Mockingbird (West End) and My Beautiful Laundrette (Leicester Curve) and Enyi Okoronkwo as Shawn, whose theatre credits include The Haystack (Hampstead Theatre) and Tartuffe (National Theatre) with screen credits including Renegade Nell and Giri/Haji.

“All the time we invested. In him. All the money. All the games we went to. The basis of our entire friendship… LeBron for the win. LeBron for the win…”

The fortunes of the Cavaliers are about to change: the great LeBron James, the biggest star in basketball, is coming to Cleveland. But when superfan Matt’s latest business venture turns sour, he has to sell his most prized possession – his pair of Cavs season tickets. The buyer, Shawn, just sold his first short story – so watching his team in the flesh for the first time will be a sweet reward. Now just to figure out what to do with that second ticket…

Thrown together by chance, the next 12 years prove as defining, dramatic, and sometimes heart-breaking for Matt and Shawn as they do for the Cavs – and for ‘King’ LeBron James.

Multi-award-winner Rajiv Joseph returns to Hampstead Theatre with a play-by-play look at how friendship and supporting a team intersect. His plays include Describe the Night (Hampstead), Guards at the Taj (Bush) and Bengal Tiger at the Baghdad Zoo (Broadway).

Alice Hamilton director says:

“King James is a story of male friendship and about how people can be united by sport even if they’ve nothing else in common. It both is and isn’t about basketball and we hope the uninitiated will find just as much to enjoy as die-hard fans. Rajiv Joseph brilliantly takes us on an emotional rollercoaster ride, capturing the highs and lows of fandom in a wonderfully moving play about forging human connections and lifelong friendships.”

As Hampstead Theatre’s Associate Director, Alice Hamilton’s credits include The Harmony Test, Out of Season, Every Day I Make Greatness Happen and Nineteen Gardens for HampsteadDownstairsas well as The Lightest Element, The Dumb Waiter and The Memory of Water on the Main Stage.

King James will feature design by Good Teeth, lighting design by Matt Haskins and sound design by Max Pappenheim.

CASTING ANNOUNCEMENT: Stellar cast announced for Royal Exchange’s festive musical production of legendary Northern story SPEND SPEND SPEND

A Royal Exchange Theatre production 

SPEND SPEND SPEND

A Musical by Steve Brown and Justin Greene

Book and Lyrics by Steve Brown and Justin Greene

Music by Steve Brown Inspired by the Life of Viv Nicholson

And the book by Viv Nicholson and Stephen Smith

Directed by Josh Seymour

23 November 2024 – 11 January 2025

A big festive musical treat for Royal Exchange audiences opens in November; SPEND SPEND SPEND brings the unique story of football pools winner Viv Nicholson to life this winter. Directed by Josh Seymour and with a cast helmed by Rachel Leskovac (Olivier Award-nominated for her portrayal of the young Viv in the original 1999 London production), this wildly funny and profoundly moving award-winning musical is an extraordinary rags-to-riches and back again story. This marvellous musical comedy with a huge heart runs at the Royal Exchange Theatre from 23 November 2024 to 11 January 2025.

Alongside Rachel Leskovac (WATERLOO ROAD, BBC; CORONATION STREET, ITV) as Viv, Rose Galbraith (CRUEL INTENTIONS, The Other Palace; SONDHEIM’S OLD FRIENDS, Sondheim Theatre) will play Young Viv, bringing the past to life. West End legend Rebecca Thornhill (SINGING IN THE RAIN, National Theatre; OPENING NIGHT, Gielgud Theatre) joins them to play Viv’s mother and Mrs Waterman.

Director Josh Seymour said,

“SPEND SPEND SPEND is packed with hilarious and heartbreaking songs which will explode with energy when delivered by our brilliant cast and band. Audiences can expect a bittersweet rollercoaster of a story as we follow Viv through the highs and lows of life. She’s a great character to spend an evening with – wild, witty and warm.”

The men in Viv’s life impacted her greatly. Alex James-Hatton (BONNIE & CLYDE, UK Tour; NEWSIES, Troubadour Wembley Park Theatre) plays her second husband Keith, who won the pools that day in 1961. Joe Alessi (GRENFELL: IN THE WORDS OF SURVIVORS, National Theatre/St Anne’s Warehouse; ANIMAL CRACKERS, Royal Exchange Theatre/UK Tour/Barbican/West End) joins the cast as her father George, and Lejaun Sheppard (42 BALLOONS, The Lowry; COME FROM AWAY, Phoenix Theatre) plays Johnny Love.

The multitalented ensemble are comprised of Jamil Abbasi (101 DALMATIONS, Regent’s Park Open Air Theatre; THE GREAT BRITISH BAKE OFF, Noël Coward Theatre), Abigail Brodie (THE ADDAMS FAMILY, London Palladium/UK Tour; GUYS AND DOLLS, Savoy Theatre/Phoenix Theatre), George Crawford (WAITRESS, UK Tour; NEWSIES, Troubadour Wembley Park Theatre), Ayesha Maynard (TO WONG FOO, Hope Mill Theatre; HAIRSPRAY, Kilworth House Theatre), Rachel Moran (&JULIET, UK Tour/West End; JUST FOR ONE DAY, Old Vic), Alfie Parker (SISTER ACT, UK Tour; JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, UK Tour) and Karen Wilkinson (STANDING AT THE SKY’S EDGE, Gillian Lynne Theatre; THE PHANTOM OF THE OPERA, His Majesty’s Theatre).

Josh continues… “In the materialistic, image-centred culture of today, Viv’s story feels more relatable than ever – we’re all at the mercy of the myth that money or fame will solve our problems. SPEND SPEND SPEND beautifully explores how it’s not expensive holidays or fancy cars that give our lives meaning, but the deep-rooted connections with family and community that will truly endure the test of time.

“I’m honoured that this production will be a tribute to the legacy of our composer Steve Brown, who sadly passed away this year and I know audiences will fall in love with his thrilling music.”

Josh Seymour trained as Resident Assistant Director at the Donmar Warehouse. Credits as Director include THAT FACE (Orange Tree Theatre); ROMEO AND JULIET (Cambridge Arts Theatre); SUDDENLY LAST SUMMER (English Theatre Frankfurt); THE NARCISSIST (Chichester Festival Theatre); MUSIK (Edinburgh Festival/Leicester Square Theatre); HOMOS, OR EVERYONE IN AMERICA and ADDING MACHINE: A MUSICAL (Finborough Theatre); ONE ARM (Southwark Playhouse); LITTLE SHOP OF HORRORS, PAINS OF YOUTH (LAMDA); PARADE, AMERICAN IDIOT and URINETOWN (Mountview); THE LARAMIE PROJECT (Curve Theatre). Credits as Associate Director include HELLO, DOLLY! (London Palladium); THE NORMAL HEART, FOLLIES (National Theatre); FAITH, HOPE AND CHARITY (Alexander Zeldin Company); A CHRISTMAS CAROL (Old Vic Theatre); RED (Wyndham’s Theatre); BEAUTIFUL – THE CAROLE KING MUSICAL (Aldwych Theatre); MY NIGHT WITH REG (Apollo Theatre).

The creative team for SPEND SPEND SPEND also includes Designer Grace Smart, Lighting Designer Jack Knowles, Sound Designers Richard Brooker & Nick Lodge, Choreographer & Intimacy Director Lucy Hind, Music Supervisor, Arrangements & Co-Orchestrator Ben Ferguson, Orchestral Manager & Co-Orchestrator Matthew Malone, Musical Director Livi van Warmelo, Voice & Dialect Coach Natalie Grady, Casting Director Jim Arnold CDG, Birkbeck Assistant Director Elizabeth Laurence and Associate Director Nickie Miles-Wildin.

Runtime 114 minutes | BBFC 12A

DONMAR WAREHOUSE’S CRITICALLY ACCLAIMED PRODUCTION OF MACBETH TO BE SCREENED IN

CINEMAS ACROSS THE UK AND INTERNATIONALLY

FROM 5 FEBRUARY 2025

Trafalgar Releasing, in partnership with the Donmar Warehouse today announces the cinema release of Macbeth, starring David Tennant and Cush Jumbo which is currently playing to sold out houses in the West End. The production will be screened in cinemas across the UK, US, Australia and selected international territories from 5 February 2025. The critically acclaimed production, directed by Max Webster was filmed live during its run at the Donmar Warehouse in London.

Tickets will go on sale from 16 October at MacbethDonmarCinema.com.

The Donmar Warehouse’s Artistic Director Tim Sheader and Executive Director Henny Finch added, “We are delighted that our innovative production of Macbeth will continue to reach new audiences beyond the original run at the Donmar and in the West End. It’s so exciting to think that thousands of global audiences will now get to experience this brilliant cast and the intimacy of the Donmar in their local cinema.” 

Trafalgar Releasing’s CEO, Marc Allenby commented, “It’s great to be working with the Donmar Warehouse once again to bring their sold-out production of Macbeth to cinema audiences both across the UK and globally. Theatre continues to be a significant driver of cinema box office revenue and is a priority genre for Trafalgar Releasing as we grow our wide-ranging portfolio of cultural content captured especially for the big screen.”

David Tennant (Doctor Who, Broadchurch) and Cush Jumbo (The Good Wife, Criminal Record) lead a stellar cast in an ‘enthralling’ (★★★★★ Daily Telegraph) new production of Shakespeare’s Macbeth, filmed live at the Donmar Warehouse in London, especially for the big screen. Unsettling intimacy and brutal action combine at breakneck speed as Max Webster (Life of Pi, Henry V) directs this tragic tale of love, murder, and nature’s power of renewal. With staging ‘full of wolfish imagination and alarming surprise’ (★★★★★ The Guardian), the immersive 5.1 cinema surround sound places the audience inside the minds of the Macbeths, asking are we ever really responsible for our actions?

Moyo Akandé playsRoss. Her theatre work includesThe Special Relationship (Soho Theatre), Interference (National Theatre of Scotland), The Two Noble Kinsmen, Lightning Child, Macbeth (Shakespeare’s Globe), Flowers for Mrs Harris (Sheffield Crucible), Only the Brave (Wales Millennium Centre), Skins & Hoods (Institut Francais – Edinburgh Festival), The Witches, Sunshine on Leith (Dundee Repertory Theatre), Wallace (The Arches), White Christmas (West Yorkshire Playhouse), Thoroughly Modern Millie (The Watermill Theatre), The Lion, the Witch and the Wardrobe (Birmingham Rep), Peter Pan (Barbican/National Theatre of Scotland),and The Wizard of Oz (Royal Festival Hall). For television, her work includes Professor T, Crime, Inside No.9, The Wedding, Agatha Raisin, Annika, Back, Scenes for Survival – The Present, Guilt, The Demon Headmaster, Still Game, The Cry, Vera, Only an Excuse?, The Rebel, Porridge, Bob Servant Independent, and Lip Service; and for film, A.V. Van,Man & Witch, Tetris, Up on the Roof, Zebra Girl, Make Me Up, The Hurricane Heist,and 1745.

Annie Grace plays Musician and Gentlewoman. Her theatre work includes Macbeth (RSC), Anything that Gives off Light (NTS/The Team/EIF), Hello in there (Òran Mór), The Tale of Little Bevan (Pentabus), Hysteria! (Òran Mór/Traverse), The Winter’s Tale (Royal Lyceum Theatre), The Strange Undoing of Prudencia Hart, Blabbermouth, Five Minute Theatre, The Tin Forest, Peter Pan (National Theatre of Scotland), Threads (Stellar Quines), Dark Woods Deep Snow (Northern Stage), Ness, Hello in there, Thank God for John Muir, Cyrano de Bergerac, Poker Alice, Tir Na Nog  (Òran Mór/A Play, A Pie and A Pint), Pinnochio (Arches Theatre), Tam O’Shanter (Perth Theatre/Communicado), Homers (Traverse), Hysteria! (Òran Mór/Traverse), The Celtic Story (Wildcat Theatre), The Wedding (Rightlines Productions), The Stamping Ground (Eden Court/Raw Material), Fisherman’s Friends (Cornwall Playhouse), and The Last Ship (Northern Stage/USA tour/Toronto).

Brian James O’Sullivan plays Donalbain/Soldier/Murderer and Musician. His theatre credits include Maw Goose – winner of Best Dame at UK Pantomime Awards (Macrobert Arts Centre), Uh Huh: The Janice & Frank Story Parts 1, 2 & 3 (Òran Mór), The Stamping Ground (Raw Material), Oscar; My Name is Sarah, and…, Meetings with the Monk (Glasgow Lunchtime Theatre), An Edinburgh Christmas Carol, The Arabian Nights, The Winter’s Tale (Royal Lyceum Theatre), Chic Murray: A Funny Place for a Window (Òran Mór, Glasgow/Winhill Productions/Fair Pley/BBC Scotland/Lemon Tree Theatre), McGonagall’s Chronicles (Òran Mór/Traverse Theatre), Twelfth Night (Royal Lyceum Theatre/Bristol Old Vic), The Resistible Rise of Arturo Ui (Dundee Rep), The James Plays (National Theatre of Scotland), The View from Castle Rock (Stellar Quines), and Oliver! (West End). He also hosts the popular Scottish theatre podcast, Putting it Together, which has released over 350 episodes since 2017.

Cush Jumbo plays Lady Macbeth. Her previous Donmar credits include Julius Caesar (also St Ann’s Warehouse, New York). Her other theatre includes Hamlet (Young Vic), Common, She Stoops to Conquer (National Theatre), The Taming of the Shrew (Shakespeare in the Park, New York), The River (Broadway), Fred’s Diner (Chichester Festival Theatre), Pygmalion – Ian Charleson Award nomination, A Doll’s House, As You Like It (Royal Exchange Theatre, Manchester), An Argument About Sex (Traverse Theatre, Edinburgh), Liquid Gold (Almeida Theatre), Brixton Stories (Lyric Hammersmith), and Love’s Labour’s Lost (Shakespeare’s Globe). As writer/performer, her theatre work includes Josephine and I (Bush Theatre/Public Theater, New York); and as writer, The Accordion Shop (National Theatre Connections). Her television work includes Criminal Record, Balestra, Stay Close, The Beast Must Die, Deadwater Fell, The Good Fight, Trying, The Good Wife, Vera, Getting On, Lip Service, Torchwood, and Harley Street; and for film, The Postcard Killings, City of Tiny Lights, Remainder, and The Inbetweeners.

Casper Knopf plays Macduff’s Son/Fleance/Young Siward, marking his professional stage debut. His television work includes Silent Witness, Rough Diamonds, Our House, Halo and The Small Hand; and for film, How to Date Billy Walsh.

Cal MacAninch plays Banquo. His theatre work includes The Judas Kiss (BAM/Ed Mirvish Theatre/Hampstead Theatre/West End), Peter Pan (National Theatre of Scotland/Barbican), The Mistress Contract (Tron Theatre), A Tale of Two Cities, A Whistle in the Dark, Enrico Four, Frankenstein, Hamlet, Oedipus Rex, ‘Tis Pity She’s a Whore (Glasgow Citizens Theatre), Anna Karenina (Shared Experience), Childminder (Traverse Theatre), How Like an Angel (Edinburgh Traverse Theatre), Macbeth (Open Act Theatre Co.), Not About Heroes (Heroes Theatre Company), Wee Andy (Òran Mór), The Bacchae (National Theatre of Scotland/Lincoln Centre, NY), The Cherry Orchard, The Philanthropist (Dundee Repertory Theatre), The Wood Demon (Playhouse Theatre), Under the Black Flag (Shakespeare’s Globe), and My Eyes Went Dark (Finborough/Traverse Theatre). For television, his work includes Mayflies, The Essex Serpent, Trigger Point, Vigil, Time, Des, Vera, The Small Hand, The Victim, Frontier, Crown Court, Scott and Bailey, Banished, DCI Banks, Mr Selfridge, Lake of Darkness, Rik Mayall – The Big One, Alive & Kicking, Angel Eyes, The Chestnut Soldier, The Riff Raff Element, The Advocates, Nervous Energy, Dangerous Lady, A Mind to Murder, Speak Like a Child, Warriors, Littlebird, Waking the Dead, Rockface, Best of Both Worlds, Silent Witness, Murphy’s Law, Ghost Squad, Sorted, Merlin, Strike Back, Garrow’s Law, and Downton Abbey; and for film, Nobody Has to Know, Intrigo: Dear Agnes, Intrigo: Samaria, Calibre, The Hamilton Trilogy 2, The Awakening, Screwed, Slapper, Doomsday, Rag Tale, Dear Frankie, The Point Men, Breathtaking, Truel, Best, The Lost Son, Sentimental Education, Splitting Heirs, The Woodlanders, and Doctor Reitzer’s Fragment.

Kathleen Macinnes plays The Singer and ensemble. MacInnes is a Scottish singer and actress who performs primarily in Scottish Gaelic. She won the Scots Trad Music Award for Gaelic Singer of the Year in 2006 and in 2012 her second album, Cille Bhrìde won Best Album. In 2010, she appeared on the soundtrack to the Ridley Scott film Robin Hood and was vocalist on GoM Circus, Macro at the opening of The Edinburgh Festival 2022. Her television work includes Machair, RanDan, Highland Sessions, and Transatlantic; and for film, An Ceasnachadh: The Interrogation of a Highland Lass, Seachd: The Inaccessible Pinnacle, Choirmaster for Justin Kurzel’s Macbeth, Outlaw King, and Robert The Bruce.

Alasdair Macrae playsMusician and ensemble. His theatre work includes Macbeth (RSC),The Cheviot, The Stag and the Black, Black Oil (National Theatre of Scotland/Dundee Rep), A Six-inch Layer of Topsoil and the Fact it Rains (Perth Rep/Horsecross Arts), Twelfth Night (Bristol Old Vic/Royal Lyceum Edinburgh), Cockpit, The Winter’s Tale (Royal Lyceum Edinburgh), The Strange Undoing of Prudencia Hart (National Theatre of Scotland/McKittrick Hotel, NY), The James Plays (National Theatre of Scotland/National Theatre/EIFF), Gastronauts (Royal Court Theatre), Interiors, Subway (Vanishing Point), Once in Concert (London Palladium), and Hi-Viz (Forest Row Village Hall). For film, his work includes Wild Rose.

Rona Morison plays Lady Macduff; she previously appeared at the Donmar inThe Prime of Miss Jean Brodie for which she was nominated for the Evening Standard Theatre Award for Emerging Talent. Her other theatre work includes The Meaning of Zong (Barbican Theatre), Mary, The Haystack (Hampstead Theatre), Cover My Tracks (The Old Vic), Dead Don’t Floss, The James Plays (National Theatre), Glory on Earth (Royal Lyceum Theatre), Orca, The Diary of a Teenage Girl (Southwark Playhouse), Julie (Northern Stage), The Crucible (Bristol Old Vic); buckets (Orange Tree), Scuttlers (Manchester Royal Exchange); Anhedonia (Royal Court Theatre), To Kill a Mockingbird (Regent’s Park Open Air Theatre), Illusions (Bush Theatre), The Second Mrs Tanqueray (Rose Theatre), and Illusions and Crave (ATC). For television, her work includes The Control Room, Absentia and Decline and Fall; and for film, Our Ladies, Solo: A Star Wars Story, Ready Player One, and Love Bite.

Noof Ousellam plays Macduff. His theatre credits include Baghdaddy (Royal Court Theatre), Leopoldstadt (West End), Buggy Baby (The Yard Theatre), Wildefire (Hampstead Theatre), Richard III (Cockpit Theatre/Custom Practice), A Midsummer Night’s Dream (Almeida Theatre), Respect (Birmingham Rep), and Rendition Monologues (Sheffield Theatres). His television work includes Bridgerton, Vigil, Rebus, Andor, Guilt, The Cure, Trust Me, Hanna, Love, Lies and Records, and Meet the Jury; and for film, Entebbe, Teen Spirit, The Mummy, Leave to Remain, The Conversations,and Extraordinary Rendition.

Raffi Phillips plays Macduff’s Son/Fleance/Young Siward. His theatre work includes Winnie the Pooh (UK tour), Over the Waves; Max to the Future (Strange Town Youth Theatre), and An Inspector Calls (National Theatre). For television, his work includes The Gold and Pennyworth.

Jatinder Singh Randhawa plays The Porter/Seytan. His theatre work includes Moorcroft (Tron Theatre/National Theatre of Scotland), Cinderella the Musical (Dundee Rep), Peter Gynt (National Theatre), and The Arrival by Shaun Tan (Solar Bear). His television work includes Crime, Scot Squad, The Control Room, and The Nest; and for film, Damaged and Shepard.

David Tennant plays Macbeth. His theatre work includes Macbeth (Donmar Warehouse, Olivier Award nomination for Best Actor, Critics’ Circle Award for Best Shakespearean Performance), Good (Harold Pinter Theatre, Olivier Award nomination for Best Actor), Don Juan in Soho (Wyndham’s Theatre,winner of WhatsOnStage Award for Best Actor), Much Ado About Nothing (Wyndham’s Theatre), Richard II (RSC/Barbican/BAM, winner of WhatsOnStage Award for Best Actor), Hamlet (winner of Critics Circle Award for Best Shakespearean Performance); Love’s Labour’s Lost; Romeo and Juliet, The Comedy of Errors, The Rivals, As You Like It, The Herbal Bed, The General from America (RSC), Look Back in Anger (Royal Lyceum Edinburgh/Theatre Royal Bath, CATS Award), The Pillowman, What the Butler Saw (National Theatre), Push Up (Royal Court Theatre), Comedians (Exeter/Oxford), Lobby Hero (Olivier Award nomination for Best Actor), King Lear; An Experienced Woman Gives Advice (Royal Exchange Theatre), Vassa (Albery Theatre), The Real Inspector Hound/Black Comedy (Comedy Theatre), Hurlyburly (Queen’s Theatre), Long Day’s Journey into Night, and The Glass Menagerie (Dundee Rep). His television work includes Rivals for Disney Plus – coming later this year, Doctor Who (BAFTA Wales Best Actor, TV Times award, four National Television Awards and three TV Choice awards for Best Actor), Des (International Emmy Award for Best Actor, Broadcasting Press Guild Award for best actor, and National Television Award, Most Popular Drama Performance), Litvenenko, Good Omens Series 1 and 2, Inside Man, Staged, Around the World in 80 Days, Criminal, Deadwater Fell, There She Goes, Jessica Jones, Camping, Broadchurch (three TV Choice awards for best actor, Crime Writers Association award for Best Actor), W1A, Gracepoint (People’s Choice Award), The Escape Artist (BAFTA Scotland Award), The Politician’s Husband, Spies of Warsaw, Playhouse Presents: The Minor Character, True Love, Twenty Twelve, This is Jinsy, United, Single Father (TV Choice Award for Best Actor), The Sarah Jane Adventures, Hamlet, The Catherine Tate Show, Einstein and Eddington, Extras, Learners, Recovery (Royal Television Society Award nomination for Best Actor), The Chatterley Affair, Secret Smile, The Quatermass Experiment, Casanova, Blackpool, He Knew He Was Right, Terri McIntyre, Posh Nosh, Trust, Foyle’s War, People Like Us, Randall & Hopkirk (Deceased), The Mrs Bradley Mysteries, Love in the 21st Century, Duck Patrol, The Tales of Para Handy, Dramarama, Rab C Nesbitt, and Takin’ Over the Asylum. Film credits include Mary Queen of Scots, Bad Samaritan, You, Me & Him, Mad to Be Normal, What We Did on Our Holiday, Fright Night, The Decoy Bride, Glorious 39, Harry Potter and the Goblet of Fire, Bright Young Things, Being Considered, The Last September, LA Without a Map, and Jude.

Ros Watt plays Malcolm. His theatre work includes Dracula: Mina’s Reckoning (National Theatre of Scotland), Never Swim Alone (StoneCrabs Theatre Company), Godot is a Woman (Silent Faces/Pleasance Theatre), Wait Til the End (The Pappy Show), and Charlotte’s Web (UK tour).

Benny Young plays Duncan/The Doctor. He previously appeared at the Donmar in Be Near Me (co-production with National Theatre of Scotland). His other theatre work includes Eulogy, Philoctetes, The Importance of Being Alfred, Love with a Capital L, Sweet Silver Song of the Lark (Òran Mór), Don Quixote (Perth Theatre), Monarch of the Glen (Pitlochry Festival Theatre), Still Game Live 2: Bon Voyage (Phil McIntyre Entertainment), Hay Fever (Citizens Theatre), The Tempest (Xinchan Performing Arts Co.), Waiting for Godot, Hedda Gabler (Edinburgh Lyceum Theatre), Right Now, Unfaithful (Traverse), Macbeth (Park Avenue Armoury, New York/Manchester International Festival), Never Land (Eden Court), Wallace (Glasgow Arches), The Resistible Rise of Arturo Ui (Chichester Festival Theatre), The Seafarer (Perth Theatre/Belfast Lyric), Midsummer, and A Christmas Carol (National Theatre of Scotland). For television, her work includes Good Omens; Shetland, Rillington Place, Scot Squad, Still Game, One Day Like This, Garrow’s Law, Ian Brady: Roghainn a’ Bhàis?, Waking the Dead, Spooks, Talk to Me, Taggart: Genesis, Playing the Field, Castles, Doctor Finlay, All or Nothing at All, Tell Tale Hearts, Boon, Star Cops, Screen Two, Maggie, The Gentle Touch, Play for Today, Square Mile of Murder, Airport Chaplin, and Sutherland’s Law; and for film, Funny Man, A Woman at War, Captive, Out of Africa, White Nights, The Girl in the Picture. King Lear, Chariots of Fire, and Nosy Dobson.

Max Webster was previously Associate Director at the Donmar Warehouse under Michael Longhurst, where he also directed Henry V. Max’s other work as a theatre director includes Minority Report (Nottingham Playhouse/Birmingham Rep/Lyric Hammersmith), Life of Pi (Sheffield Crucible/West End/Boston/Broadway, Olivier Award nomination for Best Director); Antigone; As You Like It; Twelfth Night (Regent’s Park Open Air); The Lorax (The Old Vic/Children’s Theatre, Minneapolis/Old Globe, San Diego), Fanny and Alexander and Cover My Tracks (The Old Vic), The Sea of Fertility and Mary Stuart (Parco, Japan), The Jungle Book and King Lear (Royal & Derngate, Northampton/UK Tour), The Winter’s Tale (Lyceum, Edinburgh), The Twits (Curve, Leicester), Much Ado About Nothing (Shakespeare’s Globe/World Tour), James and the Giant Peach and My Generation (WYP), Orlando, To Kill a Mockingbird and My Young and Foolish Heart (Royal Exchange, Manchester), The Chalk Circle (Aarohan Theatre, Kathmandu) and Carnival Under the Rainbow and Feast Kakulu (Hilton Arts Festival, South Africa). Film Credits include The Lorax: In Camera (Old Vic) and How the Grinch Stole Christmas: The Musical (Sky Arts/NBC). Opera credits include La Bohème (Goteborg Opera, Sweden) and The Merry Widow (ENO). Nominated for the Olivier Award, Tony Award, Drama Desk Award and Outer Critics Circle Award for Best Director.