Seven Dials Playhouse launches in Covent
Garden in February 2022 with the European
Premiere of Steve, starring David Ames and
Jenna Russell
1a Tower Street, London WC2H 9NP

2022 will see the launch of London’s newest venue – Seven Dials Playhouse. Set to be the only studio receiving house in the West End, this 100-seat venue will present a year-round programme of world-class quality theatre consisting of contemporary text-based plays and musicals, as well as an Associated Programme of events which respond directly to the themes of each production.

Opening the venue will be Steve directed by Andrew Keates (Director: Dark Sublime, Trafalgar Studios; As Is, Finborough Theatre; Dessa Rose, Trafalgar Studios. Performance Director Ghostbusters: The Gates Of Gozer, Secret Cinema) and starring Holby City’s David Ames (The Temperamentals, Greenwich Theatre; I Am Montana, The Arcola) and Tony Award nominee and Olivier Award-winner Jenna Russell (Guys and Dolls, Piccadilly Theatre: Sunday In The Park With George, Wyndham’s Theatre; Fun Home, Young Vic) running from 8th February – 5th March 2022. Written by Mark Gerard, Steve debuted in 2015 in New York’s Pershing Square Signature Center, directed by Cynthia Nixon

Presented by Seven Dials Playhouse and M. Green Productions, the long-awaited European
Premiere of The New York Times’ Critic’s Pick will offer audiences the option to book on stage cabaret tables and indulge in themed cocktails throughout, in order to experience the production in a more intimate way. A heartfelt, hysterical, and sharp-witted comedy, Steve seamlessly integrates the highs and lows of getting older, long-term friendships, monogamy, saying goodbye and being alive.

Seven Dials Playhouse is the West End’s home for the development of professional theatre and artists. It seeks to provide opportunities for people to collaborate on bold, creative and high quality work while providing journeys of enlightenment and entertainment for artists and audiences alike.

The theatre programme will present 4 – 6 week runs working with high-profile, leading practitioners across all creative programmes with an emphasis on collaboration and support.

The theatre programme and Associated Programme will bring an ever-changing and exciting perspective into the organisation with each production. The events in the Associated Programme will encompass workshops, live music, masterclasses, work-in-progress readings, seminars, cast and creative Q&As and more. They will use each production as a stimulus for a variety of bespoke curated events created in tandem with the visiting company and Seven Dials Playhouse.

Seven Dials Playhouse is a rebrand of The Actors Centre, following an extensive overhaul of its programming structure and business model. Opening up the organisation to appeal to the entire creative industry will mark the theatre as a truly inclusive and open organisation. Seven Dials Playhouse is a relevant, dynamic and exciting organisation that responds to what the industry needs today.

Amanda Davey, Chief Executive of Seven Dials Playhouse comments, When I took over as Chief Executive of The Actors Centre in October 2019, I could never have imagined what was to come. These incredibly challenging 18 months have, ironically, provided us with the opportunity to radically rethink, refocus, and reshape our work. When the organisation first opened in 1978, it was conceived as a place for actors to hone their craft and create networks. Many see it as a safe space in the heart of the West End. Talking to those same people, in recent months, and to those working in the industry I’ve heard a message – that we need to do more and to change in response to changes in the world and the industry.

Our renewed mission is to be the West End’s creative home for the development of professional theatre and artists. But we’ll do more. We’ll make spaces for creatives from many disciplines to collaborate on bold theatre work. We’ll create development opportunities for those who wish to keep learning. And we’ll deliver high-quality on-stage productions. What makes this unique is the intersection between these elements, with the programming responding to emerging themes or the artist/company producing in the theatre. Our promise is that whatever we do, it will be dynamic, exciting, and challenging.

Andrew Keates, director of Steve comments, I’m known by many producers for my secret little book of extraordinary new plays. Steve by Mark Gerrard has been hidden within those pages for the right time, venue, cast, production team and producer. And at last all of those things have come together in harmony for this long overdue European premiere. As a gay man I’ve found myself questioning how my relationships (both romantic and personal) can function as I grow older. I think we all strive for a legacy in the performing arts and it’s an honour to know part of mine will be being the first director to launch Seven Dials Playhouse with this stunning new LGBTQ+ play.

Seven Dials Playhouse is helmed by Chief Executive Amanda Davey, with Executive Creative Producer Mitchell Reeve leading on producing and programming, and Head of Marketing and Communications Jamie Tuohy leading on organisational marketing, communications and PR strategy.

Outlander’s John Bell takes to the stage for the
first time in The Night Larry Kramer Kissed Me
3rd– 26th February 2022

Studio at New Wimbledon Theatre, 93 The Broadway, London SW19 1QG

Making his exciting stage debut Outlander’s John Bell (Outlander, The Hobbit, Wrath of the Titans) has been cast in multi award-winning Off-Broadway hit The Night Larry Kramer Kissed Me by David Drake.

After attending a performance of Larry Kramer’s play The Normal Heart, a young man’s life is changed forever thanks to the power of theatre. This heart-warming, coming of age story follows the life of a young actor – his call to gay pride and activism in New York during the onset of HIV/AIDS in the 80s.

Broken up into a series of stories, Drake abstractly documents a gay man’s journey of self-discovery. From the late-night club crawl to the buff-bunny gyms, from the threat of anti-gay violence to the place where condemnation, compromises and closets are a thing of the past, The Night Larry Kramer Kissed Me exposes the sexual, spiritual, and political yearnings at the heart of gay America shared by a whole generation of gay men and women.

David Drake says, I am so honoured that the producers have been so diligent about producing the first revival of my play in London since I premiered it there at the Kings Head Pub in 1994. And I am absolutely thrilled that the extraordinary young actor John Bell will be bringing these words and stories to life. The landscape for queer people has changed and improved immeasurably since I created The Night Larry Kramer Kissed Me as an extension of my AIDS and gay rights activisim 30 years ago. But as Larry himself reminded us many times, we must continue to tell, understand, and ultimately value our stories so that the tragedy of this history does not repeat itself. Indeed, to quote the poem by Auden from which Larry claimed the title for The Normal Heart, “We must love one another or die.”

This new production brings together the producers behind recent award-winning productions such as Martin Sherman’s Rose staring Dame Maureen Lipman (now showing on Sky Arts and Broadway HD) and West End Director Steven Dexter (Beautiful Thing, the Olivier Nominated musical Loserville, Pet Shop Boys Musical Hit Closer to Heaven and the recent critically acclaimed reimagining of Pippin). Dexter comments, says It’s a touching and funny play that remind us all how important theatre is, especially after the tough few years our industry has had.

The Night Larry Kramer Kissed Me premiered at New York’s Perry Street Theater, and played for a full year off-Broadway, making it one of the longest running solo shows in New York. David Drake won several awards for his writing and performance of The Night Larry Kramer Kissed Me, including an Obie Award for performance in 1993, and two Dramalogue Awards in the same year. He was also nominated for a Lambda Literary Award the following year.

Variety Magazine called The Night Larry Kramer Kissed Me “Theatre Par Excellence, Not to be missed”.

Please find below production images of Colin Teevan’s The Seven Pomegranate Seeds, which receives its world premiere at the Rose tonight, Wednesday 10 November!

The Seven Pomegranate Seeds takes seven contemporary stories grounded in prominent, mythical origins. Persephone, Hypsipyle, Medea, Alcestis, Phaedra, Creusa and Demeter, the women of Euripides’ plays, are reimagined as people of today in a fusion of celebrity, inappropriate desires, historical police investigations and missing children. Directed by Melly Still and starring Niamh Cusack and Shannon Hayes. 
This is the second Rose Original production in Christopher Haydon’s inaugural season as Rose Theatre’s Artistic Director.



WISE CHILDREN’S CRITICALLY ACCLAIMED PRODUCTION OF WUTHERING HEIGHTS

WILL BE AVAILABLE TO VIEW ON DEMAND

★★★★★

“Emotionally epic entertainment from Emma Rice”

The Times

Wise Children today announce the on demand release of its critically acclaimed stage adaptation of Emily Brontë’s Wuthering Heights, adapted and directed by Emma Rice. The co-production, with the National Theatre, Bristol Old Vic and York Theatre Royal, which is currently running at York Theatre Royal until 20 November, will be available to watch on demand for 48 hours from Friday 26 November at 7pm. Tickets are on sale now via bristololdvic.org.uk/whats-on/wuthering-heights-on-demand

★★★★★

“A wildly imaginative, exhilarating piece of theatre”

Daily Mail

Wuthering Heights continues its UK tour in 2022, opening at the National Theatre, 3 February – 19 March, before touring to Cornwall, Norwich, Salford, Nottingham, Sunderland, Edinburgh and Inverness until 4 June 2022.

Emma Rice directs Sam Archer (Lockwood/Edgar Linton), Nandi Bhebhe (The Leader of the Moor), Mirabelle Gremaud (swing), TJ Holmes (Robert), Ash Hunter (Heathcliff), Craig Johnson (Mr Earnshaw/Dr Kenneth), Jordan Laviniere (John), Lucy McCormick (Cathy), Kandaka Moore (Zillah), Katy Owen (Isabella Linton/Linton Heathcliff), Tama Phethean (Hindley Earnshaw/Hareton Earnshaw) and Witney White (Frances Earnshaw/Young Cathy), with music performed by Sid Goldsmith, Nadine Lee and Renell Shaw.

With set and costume design by Vicki Mortimer; sound and video by Simon Baker; composition by Ian Ross; lighting design by Jai Morjaria; movement and choreography by Etta Murfitt.

WUTHERING HEIGHTS

LISTINGS

York Theatre Royal

9 – 20 November 2021

Box Office: 01904 623568 /www.yorktheatreroyal.co.uk

On Demand

Friday 26 November at 7pm – available on demand for 48 hours

Box Office: www.bristololdvic.org.uk

Tickets:£15 if booked before 22 November, £20 following

National Theatre, Lyttelton

3 February – 19 March 2022

Box Office: 020 7452 3000 / www.nationaltheatre.org.uk   

Hall for Cornwall

29March – 9 April 2022

Box Office: 01872 262466 / www.hallforcornwall.co.uk

Theatre Royal Norwich

12– 16 April 2022

Box Office: 01603 630 000 /www.norwichtheatre.org

Theatre Royal Nottingham

26 – 30 April 2022

Box Office: 0115 989 5555 / www.trch.co.uk

The Lowry

3 – 7 May 2022

Box Office: 0343 208 6000 / www.thelowry.com

Sunderland Empire

10 – 14 May 2022

Box Office: 03330 096 690 / www.atgtickets.com/venues/sunderland-empire

King’s Theatre, Edinburgh

24 – 28 May 2022

Box Office: 0131 529 6000 /www.capitaltheatres.com/your-visit/kings-theatre

Eden Court

31 May – 4 June 2022

Box Office: 01463 234 234 / www.eden-court.co.uk

ABOUT WISE CHILDREN

Created and led by Emma Rice, Wise Children launched in April 2018 and is an Arts Council England National Portfolio Organisation. Based in Bristol, we make ground-breaking work with exceptional artists, and tour across the world. In the dark days of 2020, we led the field in livestreaming, becoming the first UK company to broadcast a full staged production, without social distancing, from a UK theatre after lockdown. Alongside our shows, we run a unique professional development programme, The School for Wise Children, training a new and more diverse generation of theatre practitioners.

www.wisechildren.co.uk

Blog: www.wisechildren.blog

Twitter:               @Wise_Children

Instagram:          @Wise_Children

Facebook:          @WiseChildrenCompany

ABOUT BRISTOL OLD VIC

Bristol Old Vic is the longest continuously running theatre in the UK, and celebrated its 250th anniversary in 2016. The historic playhouse aims to inspire audiences with its own original productions, both at home and on tour, whilst nurturing the next generation of artists, whether that be through their 350-strong Young Company, their many outreach and education projects or their trailblazing artist development programme, Bristol Ferment.

They use their funding to support experiment and innovation, to allow access to their programme for people who would not otherwise encounter it, or be able to afford it, and to keep their extraordinary heritage alive and animated.

Bristol Old Vic’s 2018 redevelopment transformed its front of house into a warm and welcoming space for all of Bristol to enjoy, created a new studio theatre and opened up its unique theatrical heritage to the public for the first time.

Since the COVID pandemic temporarily shut its doors in March 2020, the organisation has strived continuously to find new ways of sharing theatre with its community and the wider world. In the last 12 months the theatre has completely reimagined a digital version of itself, experimented with streamed performances available globally, maintained links with their most vulnerable participants and welcomed live audiences during the brief moments when restrictions were lifted. Now, once again, Bristol Old Vic is thrilled to be able to throw open its doors and welcome back audiences both physically and digitally as it looks towards the future.

www.bristololdvic.org.uk

Twitter:               @BristolOldVic

Instagram:          @BristolOldVic1766

Facebook:          /BristolOldVic

ABOUT THE NATIONAL THEATRE 

The National Theatre’s mission is to make world-class theatre, for everyone.

The NT creates and shares unforgettable stories with audiences across the UK and around the world. On its own stages, on tour, in schools, on cinema screens and streaming at home, it strives to be accessible, inclusive and sustainable.

The National Theatre empowers artists and craftspeople to make world-leading work, investing in talent and developing new productions with a wide range of theatre companies at its New Work Department. Our nation thrives on fresh talent and new ideas, so the National Theatre works with young people and teachers right across the UK through performance, writing and technical programmes to ignite the creativity of the next generation.

Together with communities, the NT creates ambitious works of participatory theatre in deep partnerships that unite theatres and local organisations – showing that nothing brings us together like theatre.

The National Theatre needs your support to shape a bright, creative future.

For more information, please visit nationaltheatre.org.uk

@NationalTheatre @NT_PressOffice

ABOUT YORK THEATRE ROYAL

York Theatre Royal has brought delight and fulfilment to the people of York and beyond by offering a rich and diverse programme of creative activity for over 275 years. 

York Theatre Royal is one of the UK’s leading creative producers and presenters, constantly building on its reputation for producing high quality and ambitious theatre with highly regarded productions of new commissions, revivals at all scales, extraordinary site specific and large scale community shows and each year delivering a pantomime of international renown.

The theatre strives to be innovative, far-reaching and proactive in helping its entire community to live creative lives and has an engagement and participation programme that is nationally recognised and admired.

York Theatre Royal is committed to be forward-thinking and inclusive. It is a theatre at the very heart of its community and it is here for everyone.

www.yorktheatreroyal.co.uk

Twitter:               @YorkTheatre

Instagram:          @YorkTheatreRoyal

Facebook:          /YorkTheatreRoyal 

CAPITAL THEATRES WELCOMES TONY MILLS TO THEIR BOARD

Capital Theatres is delighted to welcome Tony Mills, Artistic Director of Dance Base, to our board. He joins fellow trustees: Karen Cairney, Lesley Drummond, Gordon Jack, Helen Mackie, Cllr Melanie Main, Cllr Amy McNeese-Mechan, Tony Mills, Cllr Max Mitchell, Andrew Neilson, Alasdair Peacock, Karyn Watt and Cllr Donald Wilson, under the chairpersonship of Professor Dame Joan Stringer.

Fiona Gibson, Chief Executive of Capital Theatres said:

“We are thrilled to have Tony on our board, dance has always been a key part of our programme and his expertise in this field is considerable. As we grow our ambitions for talent development Tony’s experience as an artist and mentor will be invaluable, and his new position as Artistic Director of Dance Base will strengthen our connections to Edinburgh and Scotland’s creative community.”

Joan Stringer, Chair of Capital Theatres said:

“My fellow trustees and I look forward to working with Tony at an exciting moment for Capital Theatres as we emerge from the pandemic and develop our vision to offer the brightest and best of touring work at the Festival Theatre, a redeveloped King’s Theatre with community at its heart and make the Studio a home for Scottish talent. Tony’s skills and experience in artist development, leadership, and inclusivity will be key to our journey and complement the board’s existing talents.”

Tony Mills said: “Capital Theatres provides a valuable hub for dance performance and dance audiences in Edinburgh and I am honoured to be joining the board at such an important time for the organisation. Fiona Gibson’s inspiring vision to create both a home for Scottish talent and a world-class stage for performing arts is tremendously exciting and it’s one that Dance Base shares. Dance Base started in a rehearsal room above the King’s Theatre almost 30 years ago and I’m looking forward to continuing this creative association by working closely with Fiona, Joan and the team to support dance and the wider performing arts in Scotland.”

FESTIVAL THEATRE, EDINBURGH – UNTIL 13th NOVEMBER

 REVIEWED BY RACHEL FARRIER 

4****

Audiences for this show will no doubt come with expectations based upon watching the film Dirty Dancing and this version will certainly not disappoint in terms of matching what they would expect from the dancing (which indeed is very convincingly dirty throughout – much to audience’s delight).

Outstanding dance performances from the outset in particular from Michael O’Reilly as Johnny and Carlie Milner as Penny were really captivating and set the tone for beautifully choreographed and executed routines throughout the show. Kira Malou as Baby was convincingly naive and incompetent at dancing to begin with, and her progression to raunchy dancer and not-so-innocent teen was both sweet and entertaining. Marie Finlayson (ensemble) and Samuel Bailey (as Billy Kostecki) both impressed in terms of vocals, and Colin Charles as Tito Suarez also put in a brilliantly entertaining performance with equally impressive dance and vocal skills. Lizzie Oatley as Lisa Houseman also deserves a special mention for her highly amusing Hula. 

The set was nothing to write home about (think lavish high school production values) but the stream of exceptional dance numbers meant that this really didn’t matter. 

The plot moves on apace in the stage version and it has to be said that some of the acting was rather stilted and on occasions it was hard to hear dialogue, so if you weren’t familiar with the plot it might have been quite hard to follow the detail of what was going on.

However, the audience clearly knew exactly what to expect from each scene (the woman sitting next to me was reciting the lines along with the actors) and the standing ovation at the finale demonstrated how much fun had been had. 

CURVE LAUNCHES APPEAL TO FUND TRAINING FOR YOUNG TECHNICIANS

Money raised during November will support The Andy Nairn Bursaries in Technical Theatre

Leicester’s Curve theatre has launched a three-week fundraising appeal to support the development of young theatre technicians as part of The Andy Nairn Bursaries in Technical Theatre. 

Money raised between Tuesday 9 – Friday 26 November will fund an annual 18-month Creative Venue Technician apprenticeship delivered in-house at Curve, as well as ongoing support and development opportunities at the theatre for budding technicians from backgrounds underrepresented in the theatre industry.

Curve, in partnership with Derby Theatre and Nottingham Playhouse, established The Andy Nairn Bursaries in Technical Theatre following the death of Curve’s much-loved Head of Production Andy Nairn on 26 November 2020. Andy was passionate about nurturing the next generation of technicians and believed every young person should have access to the best training opportunities.

The Creative Venue Technician apprenticeship will provide the recipient with training in all aspects of stage craft – including scenery and equipment, automated flying, lighting, sound and video, as well as the skills necessary to progress professionally in the industry.

Speaking about the appeal, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“The Andy Nairn Bursaries in Technical Theatre are named in honour of Andy Nairn, our much-missed Head of Production, who passed away last November aged just 34 years old.

“Andy wasn’t only an exceptionally talented and respected technician and production manager, but he was an incredible leader and mentor for those starting out in technical theatre. He was deeply passionate about training the technicians of tomorrow, encouraging people from all backgrounds to embark on a career in the arts. Throughout November, we are asking people to give what they can to support this initiative and help provide training opportunities for young people in Andy’s name.”

All money raised by Curve between 9 – 26 November through online, phone and in-person donations, as well as after-show bucket collections, will go towards the Andy Nairn Bursaries in Technical Theatre.

To find out more and donate now, visit www.curveonline.co.uk/join-and-support-us/the-andy-nairn-bursaries-in-technical-theatre/

National Friendly and The Bristol Hippodrome join forces to fund Long-Covid research

Imagine waking up every day, feeling breathlessness, fatigued, muscle aches and not being able to remember much from the previous week. You call your doctor, who understands, but has no treatment to help you. This is the reality for hundreds of thousands of people who are suffering from Long-Covid.

Working together with Southmead Hospital’s official charity, Southmead Hospital Charity, National Friendly and The Bristol Hippodrome are embarking on a fundraising appeal which aims to raise £30,000 to support the Long-Covid research now taking place at the hospital.

The research, known as DISCOVER study, has recruited over 300 patients hospitalised with Covid-19 since March 2020. It was the first UK cohort published, meaning this is the group that has been studied for the longest time.

Right now, a team of renowned researchers from Southmead Hospital is working hard to find out more about Covid-19 and its long-term effects. Renowned for world-leading research through its specialist Research & Innovation Centre, each year 7,000 patients take part in over 500 research studies, with some made possible thanks to the donations of community partners like National Friendly and The Bristol Hippodrome.

Kurtis Reece, National Friendly’s PR & Strategic Partnerships Executive explained why they are backing the efforts to understand more about the virus. “We have been helping people to prepare for life’s contingencies for over 150-years, by insuring people’s health and providing them with protection. So, looking after those around us, especially within the Bristol community, our hometown, is the very essence of who we are. Our aim is to make a real difference to people’s lives and this partnership with The Bristol Hippodrome to raise funds for Southmead Hospital Charity will help to do exactly that.”

“In 2019, we managed to raise over £26,000 for the Neonatal Intensive Care Unit (NICU) at Southmead Hospital, so we are confident we can do the same for a something that has truly affected everyone – Covid-19.”

National Friendly is the lead sponsor for The Bristol Hippodrome’s innovative Matinee Mingle aimed at the over 60s and their Creative Learning Programme, which will offer Bristol-based schools the opportunity to enhance and develop students through high quality experiences.

Southmead Hospital Charity will benefit from a concentrated fundraising campaign, across a 12-week period which will begin on the 9th November 2021 and will end on the 12th February 2022.

For audiences, the fundraising will start with Heather’s The Musical followed by a number of performances including Riverdance – The New 25th Anniversary Show and the West End & Broadway Hit Musical Hairspray. It will continue at the annual pantomime, Snow White & The Seven Dwarfs starring Lesley Joseph, Rob Rinder and Andy Ford. It will also include the first UK Tour of the West End blockbuster Dreamgirls and will continue throughout the following performances:’ Bedknobs and Broomsticks, Matthew Bourne’s Nutcracker, Ronan Keating Twenty Twenty and Waitress – theatre goers will be able to donate to the Southmead Hospital research through contactless devices within the theatre.

National Friendly is also running an exclusive online competition with The Bristol Hippodrome, which will see five family tickets go up for grabs for the pantomime performance, which will be used as part of a social media campaign.

Ben Phillips, The Bristol Hippodrome’s Theatre Director, said, “We have a really exciting roster of shows over the next 12 months and we look forward to working with National Friendly and Southmead Hospital to support this crucial research into Long-Covid. Our theatre is a place of happiness, so it’s been difficult throughout the pandemic not being able to offer any of the wonderful live entertainment we host here. We know that by understanding more about Covid-19, we can take steps to prevent its spread, so we can continue to do what we do best – bring delight and culture to the city we love and those who live here.“

Adrian Brown, Southmead Hospital Charity’s Community & Events Manager added, “Many hospital treatments start with research. From treating infections and cancer to pioneering surgery and complex critical care, modern medicine is what it is today because of research. The support of partners like National Friendly and The Bristol Hippodrome can help the hundreds of expert researchers at Southmead Hospital turn pioneering discoveries into real treatments and in time, hopefully help people across the world suffering from Long-Covid.”

“The symptoms of Long-Covid can be wide-ranging, long-lasting and for some, life-changing. If we want to control Coronavirus, we must develop our knowledge of how the virus spreads, the symptoms it causes and its long-term impact. The research happening here at Southmead will play an important role in that.

“National Friendly and The Bristol Hippodrome know just how important it is to support the local community they serve and we are incredibly grateful for their support.”

Hull New Theatre – until 13th November 2021

Reviewed by Catherine McWilliams

5*****

I was totally razzled, dazzled and blown away by this production of Chicago. From the minute the Orchestra played the opening bars I knew I was in for a superb night at the theatre and oh how right I was, Broadway had arrived in Hull!

Way back in 1978 I was lucky enough to see the first British production of Chicago at the Sheffield Crucible and it was incredible, so fresh and original compared to other theatre productions. So, I am in total awe of the fact that 43 years later I sat in Hull New Theatre and was stunned by this production’s freshness, uniqueness and sheer genius. Everything about this performance just shone out with class.

Chicago The Musical is set in the 1920’s, an era in Chicago of jazz, gangsters, prohibition and general seediness. It is set in Cook County Jail and tells the unlikely tale of Roxie Hart (Faye Brookes) who has murdered her lover, but sets out with the help of the slick lawyer Billy Flynn (Darren Day) to clear herself of the murder. Roxie has an intense rivalry with her cell mate Velma Kelly (Djalenga Scott) as they vie for publicity. Also added into the mix is the stories of the other cell mates. With lyrics by Fred Ebb, music by John Kander and the book by Fred Ebb and Bob Fosse, Chicago is based on the play by Maurine Dallas Watkins.

Make no mistake Chicago The Musical tells a dark tale but John Kander’s wonderful music will have you singing along in delight, until you suddenly realise what the lyrics are. Kander and Ebb have created such a clever musical illusion that masks the darkness of the situation.

The entire production has no scenery, the Orchestra are on stage throughout on a stepped dais and the action unfolds in front of them with clever lighting and sometimes the use of a chair. To be able to totally enthral a full theatre and convincingly tell the story with so little shows the immense talent of the entire cast.

Djalenga Scott as Velma Kelly opened the show with a fabulous rendition of “All That Jazz”, her singing voice is superb. She has superb timing and musicality and her dancing was fabulous, she was the lynch pin of the production.

Faye Brookes gave Roxie Hart exactly the right amount of deviousness, sassiness and downright duplicity. Her singing and dancing were outstanding and her performance as the ventriloquist dummy in “We Both Reached For The Gun” was off the scale.

Darren Day’s Billy Flynn had exactly the right amount of slick deviousness with a touch of sleaze. The performance of “All I Care About” with the Girls and their fans was great fun. His rendition of “Razzle Dazzle” with the full company was excellent.

Mention should also go to Sinitta Malone as Mama Morton, delivered in a quiet and calm fashion, she really has an outstanding singing voice. Joel Montague as the downtrodden and put-upon husband Amos Hart was just right and I loved his performance of “Mister Cellophane”.

The ensemble is outstanding from start to finish, their dancing is incredible, the choreography superbly delivered – tight,sharp, stylish sexy and sassy!

The music drives this show and Musical Director Andrew Hilton and his orchestra were outstanding. What a treat it was to have them play us out, except of course most of the audience stayed to hear them and give them the huge roar they so richly deserved.

There is no part of this production that is not outstanding, the music, the singing, the dancing all come together to produce a complete work of genius. Fresh, original and totally unique Chicago provides the ultimate razzle dazzle, it is a piece of perfection.

Sonia Friedman Productions
Scott Landis
GFour Productions, Larry Magid, Tulchin Bartner Productions
in association with Jane Bergère

THE SHARK IS BROKEN
Written by Ian Shaw and Joseph Nixon   

DUE TO POPULAR DEMAND ‘THE SHARK IS BROKEN’ WILL EXTEND UNTIL 13 FEBRUARY 2022 AT THE AMBASSADORS THEATRE WITH TICKETS FOR THE NEW PERFORMANCES ON SALE TODAY AT 10AM.

THE PLAY WAS MET WITH CRITICAL ACCLAIM WHEN IT OPENED LAST MONTH FOLLOWING A SELL-OUT RUN AT THE EDINBURGH FESTIVAL FRINGE IN 2019.

CO-WRITTEN BY ROBERT SHAW’S SON IAN AND JOSEPH NIXON, THIS BRILLIANTLY FUNNY, DEEPLY MOVING PLAY TAKES AUDIENCES BEHIND THE SCENES OF THE BLOCKBUSTER JAWS.

IAN SHAW PLAYS HIS FATHER ROBERT SHAW ALONGSIDE LIAM MURRAY SCOTT AS RICHARD DREYFUSS AND DEMETRI GORITSAS AS ROY SCHEIDER.

Sonia Friedman Productions is thrilled to announce that the ‘The Shark is Broken’ will extend its run at the Ambassadors Theatre until 13 February 2022.  The production made a big splash when it opened in the West End last month receiving critical acclaim and delighting audiences. Co-written by Robert Shaw’s son Ian Shaw and Joseph Nixon, this brilliantly funny play, directed by Guy Masterson, reveals the hilarious and moving behind-the-scenes drama on Steven Spielberg’s blockbuster movie JAWS. Tickets for the new booking period are on sale now at thesharkisbroken.com.  New Sunday matinee performances at 2.30pm have been added to the schedule. The run was previously scheduled to end on 15 January.

Producer Sonia Friedman said today ‘It’s with immense pride and joy that we’re announcing this extension of ‘The Shark is Broken’ at the Ambassador’s Theatre – put simply, we’re gonna need a bigger run! Having been suspended for 16 months in 2020, just before rehearsals were due to commence, it’s fantastic that this new play has finally opened in the West End to such a rapturous response, with our dedicated audiences travelling from all over the UK to see this entertaining yet profound look behind the scenes of one of the most famous films ever made.’ 

Ian Shaw plays his father Robert Shaw in The Shark is Broken alongside Liam Murray Scott as Richard Dreyfuss, and Demetri Goritsas as Roy Scheider. 

Martha’s Vineyard, 1974: shooting on ‘Jaws’ has stalled. The film’s lead actors – Robert Shaw, Roy Scheider and Richard Dreyfuss – are stuck on a boat, at the mercy of foul weather and a faulty mechanical co-star. Awash with alcohol and ambition, three hammered sharks start to bare their teeth…

The Shark is Broken is written by Ian Shaw and Joseph Nixon, directed by Guy Masterson, set and costume are by Duncan Henderson, lighting is by Jon Clark, sound and music are by Adam Cork and video is by Nina Dunn. Casting is by Julia Horan CDG.

Hair, Wigs and Make-up is by Carole Hancock, the Associate Director is Martha Geelan, the Costume Associate is Deborah Andrews, the Associate Lighting Designer is Simisola Majekodunmi and the Fight Director is Yarit Dor