Kings Head Theatre, Islington – until 23 November 2019

Reviewed by Antonia Hebbert

4****

A mother and her daughter live in a disused chapel on a rundown terrace in South Wales. The mother has advanced MS, the daughter has grown up as her carer. They are trapped by poverty and dependency. In a play that’s much more entertaining than it sounds, we are trapped with them in an endless cycle of repetitive days.

The claustrophobic performance space has a bed at each end and the audience on three sides. For Mam (superb Llinos Daniel), cups of tea, baked beans and chocolate have become hugely important in a shrunken life. You can almost feel her discomfort as she wakes up thirsty and uncomfortable, and her relish as she tucks in to toast, and energetically picks her teeth. For daughter Rita (equally superb Alis Wyn Davies, full of suppressed energy), each day promises the same irritations, chores and tedium, with only daydreams and cringe-making encounters with local boys to escape to. Like Rita, we come to dread Mam’s harsh cry for help at the start of the day. There is tenderness between them, but enforced closeness tips them towards loathing.

The pair alternate between talking at each other and talking to us. Welsh turns of phrase delivered in resonant Welsh voices add to the power of the piece. Also in the cast is Luke Rhodri, who appears entertainingly as various local boys, including one who may offer Rita a lifeline. The play’s ending doesn’t feel completely convincing, but this is a beautifully observed slice of life (despite odd moments that remind you it was written 35 years ago). The director is Sean Mathias, who is also the writer of the play, and based it partly on memories of his own mother caring for his bedbound father.

Turbine Theatre – until 7 December 2019

Reviewed by Donna Easton

5*****

I am not sure if it was the very essence of the Turbine theatre itself, the vinyl clad set, the battered leather sofa on which I sat, the faint smell of incense in the air or the fact that I had devoured my copy of Nick Hornby’s novel in my teens but on entering the space, I was catapulted back to London in the 90s.

The design team perfectly created that vibe before an actor stepped on stage but when they did enter Rob’s music shop where most of the action was set, we were introduced to a bunch of beautifully crafted characters that made me smile instantly. Now, I am a lover of musical theatre but to fully enjoy this particular genre, we always have to suspend our disbelief and just go with it but as the cast embarked on their first routine and a confused looking Rob mouthed, ‘What the f*ck?’ to the audience I knew I could relax as this was a musical with a clear difference.

The actors seemed to deliver most of the musical numbers with their tongues firmly in their cheeks producing a unique dialogue for the audience and made the sincere moments all the more engaging. The feeling of being part of their gang was not only beautifully created by the informal first few rows (bean bags and sofas) but Rob’s asides and knowing looks to the audience were always perfectly delivered. Often as though chatting to one of his mates with laser focus on his chosen audience member and smashed down the fourth wall and brought us in to his shop, his flat and his life.

Oliver Ormson’s Rob should (on paper) be a character we dislike with his questionable morals and treatment of women but Vikki Stone’s beautiful ‘Brit’icising of the script and Oliver’s impeccable delivery made me root for him like a good friend who you just want to get their act together. My feminist alarm bells were definitely ringing at times but I just couldn’t help but want him to sort himself out and get the girl.

I felt like I had, at some point of my youth, encountered each and every one of the characters. The boys seemed to have the stronger ‘character’ roles and the girls were given the more realistic parts which were all incredibly real and believable. Carl Au’s Dick was an adorable misfit and I was willing him to get together with Natalie Imbruglia loving Anna, gorgeously played by Rosie Fletcher. Robbie Durham’s Barry was one of those guys that you have in your group that drives you crazy but you love him. I was clapping and grinning madly at his final song beautifully flanked by Jessica Lee and Lauran Rae.

Ian was hilariously played by Robert Tripolino. The character is written with such insight and must have been a joy of a role to play. Robert certainly had me laughing hysterically at ‘Ian’s Here’, ‘Ian’s Eulogy’ and his appearance in Rob’s nightmare was a particularly laugh out loud highlight!

Shanay Holmes’ Laura was a particularly believable character and I wanted the best for her and she played a woman in the throes of emotional turmoil beautifully. Bobbie Little’s Liz was the friend you want to have on your side and both women played their roles impeccably and their voices were soulful, strong and fierce and they provided a beautiful contrast of realism among the other characters.

Watching Eleanor Kane’s Marie and her beautiful tone was like being at an intimate gig. The duet with Shanay Holmes gave the action a moment of perfect stillness and then her matter of fact treatment of Rob was again a lovey dose of realism.

One of my favourite moments had to be the arrival of Bruce Springsteen played by Joshua Deever. I loved his stage presence and Rob’s transition during this song was a joy to watch.

Tom Jackson Greaves, direction and choreography is inspired. The choreography seemed to fit each character and moved the narrative along perfectly.

In summary, I loved hanging out with this group of vinyl obsessed characters on a Friday night and went home feeling nostalgic, warm and happy. A quirky joy of a musical. I loved it!

Leeds City College – Friday 1 November 2019

Reviewed By Dawn Smallwood

5*****

Playhouse Youth Theatre delivers Influence, their latest production, at Leeds City College which the company are currently partnering with to offer young people creative opportunities. Influence is collaborated with a consortium of partner theatres which encourage young people to work with creative professionals and to get fully involved and immersed in the process and the finished production.

Influence is written by the Scottish playwright, Andy McGregor, and is inspired by Black Mirror and Stranger Things, modern TV hits. It follows a group of typical teenagers on an unknown adventure, following a disappearance of a local boy. The journey they embark on surprisingly twists and turns and ultimately land them where they didn’t anticipate or expected. They end up in place and circumstance where data is illegally and unjustifiably collected, mind manipulation reigns, surprises are revealed in somewhat a chillingly clinical underground dystopia.

Technology is the key and the play explores how much one is influenced darkly by smart phones and the internet particularly social media, advertising, capitalist vices and celebrities. There are science fiction and comic elemental themed aspects to Influence. There is subtle linking of corporate organisations and superficial influencers and how this really affects on people especially when it comes to making crucial choices and decisions. The moral of the story suggests standing up to what one believes in is so paramount.

This excellent play is absurd, colourful, fast and outrageous. There is plenty of content packed in and all covered in a 75 minute performance. One is invited to have a think who are their real “influencers” are in their lives and how they are “influenced”. Influence definitely raises awareness and thought provokes to what is fundamental in today’s world and its current affairs.

Influence is absolutely memorable and under the direction of Gemma Woffinden the cast delivers such an excellent performance where every member of the cast has an important role to play. There is a fair bit of humour thrown in and this captivates and engages the audience who can relate to a fair number of the influences that are referenced. Irene Jade’s staging works well and the space is used full to its capacity and the staging goes well with Tim Skelly’s eclectic lighting and Jonnie Khan’s music and soundscapes. Leeds Playhouse Youth Theatre delivers another successful production to address issues that are a grave matter of concern.

Stanley & Audrey Burton Theatre – Friday 1 November 2019

Reviewed By Dawn Smallwood

4****

Once upon a time a folklore tale called Little Red Riding Hood was written. Today an adaptation of this classic fairytale by Northern Ballet is receiving its world premiere at the Stanley and Audrey Burton Theatre in Leeds. This production is specifically targeting children, in the form of ballet, movement and drama and is accompanied to Eloise Gynn’s music, played live by the Northern Ballet Sinfonia. Little Red Riding Hood is introduced as a “kind and thoughtful little girl who loves her family”.

Northern Ballet’s productions for children are critically acclaimed following sell out runs and adaptations for CBeebies TV. It is evident with the many families being in attendance that these productions are certainly very popular. The adaptation is a similar retelling of the actual tale which is well known. Northern Ballet have introduced some extra characters; a bear, a fox and a badger; softer touches to the characters especially the Wolf; and some happy outcomes at the end are created.

Set to Marjoke Henrichs’ simple but colourful set, the dancers interpret the adventure simply and dramatically with excellent portrayals of the characters. The interpretation is easily understood and a story sheet is available to everyone on their arrival at the theatre. The dancers work in harmony and Mariana Rodrigues’ choreography and direction solidifies the cast’s collective contribution to this production.

Like many folklore and fairy tales there are often some dark elements however Northern Ballet are targeting children and no doubt would want to keep the story happy and simple and it is obviously so. This 40 minute ballet is received well by the audience and Little Red Riding Hood is an excellent simple short and sweet ballet for children and families alike

THEATRE ROYAL ANNOUNCES EXHILARATING NEW SPRING/SUMMER 2020 SEASON

Newcastle Theatre Royal has announced a jam-packed programme of new shows as it launches its Spring/Summer 2020 season.

Bursting with spectacular musicals, powerful drama and laugh-out-loud comedy, the new season will continue to bring the finest touring productions in the country to the North East.

Carrying David (Thu 9 – Fri 10 Apr 2020) – from the local writer and director Ed Waugh who recently toured North East classic, Hadaway Harry – tells the inspiring story of how local hero Glenn McCrory, inspired by his terminally ill brother, became the first world champion boxer from the region.

Stephen Tompkinson stars in the popular British comedy, Educating Rita (Mon 18 – Sat 23 May 2020) which tells the story of married hairdresser Rita and her tutor Frank who come to realise how much they have to teach each other.

David Walliams’ best-selling story Billionaire Boy (Wed 15 – Sat 18 Jul 2020) is brought to life on stage by the award-winning producers of Gangsta Granny and Horrible Histories.

The summer sees new neighbours move in when the kooky The Addams Family (Thu 30 Jul – Sat 8 Aug 2020) make themselves at home in the spectacular musical comedy. And younger audiences will be delighted by the return of everyone’s favourite pig in Peppa Pig’s Best Day Ever (Wed 12 – Thu 13 Aug 2020).

Making a much anticipated return following its sell-out run in 2017, Beautiful – The Carole King Musical (Tue 18 – Sat 22 Aug 2020) chronicles the remarkable rise to stardom of one the most successful solo acts in popular music history.

Pop superstar Beverley Knight will take to the stage in The Drifters Girl (Sat 5 – Sat 19 Sep 2020), a new show from Newcastle born producer Michael Harrison. Making its world premiere at Newcastle Theatre Royal, it tells the story of one of the world’s greatest vocal groups and Faye Treadwell, the legendary manager who made them.

It was the television quiz show scandal that gripped the nation. In April 2003, Army Major Charles Ingram, his wife and coughing accomplice were convicted for cheating on Who Wants to Be a Millionaire? The audience gets the chance to decide if he was really guilty in Quiz (Mon 21 – Sat 26 Sep 2020).

Tickets for all new shows in the Spring/Summer 2020 season go on sale to the general public at 9am on Fri 8 Nov 2019 but Friends of the Theatre Royal can book from Mon 4 Nov – visit www.theatreroyal.co.uk/support/become-a-friend for more information.

Tickets can be purchased online at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7p per minute plus your phone company’s access charge).

THE TURBINE THEATRE

ANNOUNCES THEIR FIRST FAMILY CHRISTMAS SHOW

DR SEUSS’S MUCH-LOVED CLASSIC

THE CAT IN THE HAT 

ADAPTED BY KATIE MITCHELL

DIRECTED BY LILLIE COLLIER

RUNNING FROM 11 DECEMBER 2019 – 11 JANUARY 2020

Based on the much-loved tale by Dr Seuss, Katie Mitchell’s acclaimed stage adaptation of The Cat In The Hat, opens at The Turbine Theatre, Battersea, for a strictly limited Christmas season.

Offering the perfect festive show for young children’s first theatre experience, this  lively and engaging family show runs from 11 December – 11 January, with press night on Thursday 12 December. The production is directed by Lillie Collier, with designs by David Shields. Further creatives and full casting will be announced in due course.

From the moment his tall, red-and-white-striped hat appears around the door, Sally and her brother know that the cat in the hat is the funniest, most mischievous cat they have ever met.

With the trickiest of tricks and craziest of ideas, he turns a rainy afternoon into an amazing adventure. But what will mum find when she gets home?

The Cat In The Hat was first published in 1957 as Dr Seuss’s second book for children. It marked the transition of Theodor Seuss Geisel from successful advertising executive and political cartoonist, to world-famous illustrator and children’s author. The curious and intricate rhyming found in The Cat In The Hat is still adored decades later with over 250 million copies sold worldwide in more than 20 different languages. Katie Mitchell’sstageadaptation of The Cat In The Hat first played in the National Theatre’s Cottesloe Theatre in December 2009, before transferring to the Young Vic in 2010, and returning in a new staging at the 2014 Edinburgh Fringe Festival and Pleasance Theatre, Islington and subsequent UK tour in 2015.

The Cat In The Hat forms part of the Turbine Theatre’s inaugural season, which opened August 2019 with Harvey Fierstein’s groundbreaking play, Torch Song, directed by Olivier Award winning director/choreographer, Drew McOnie. The second production, UK premiere of new musical comedy High Fidelity, based on the acclaimed novel by Nick Hornby  and directed and choreographed by Tom Jackson Greaves, is currently running at the Turbine until 7 December.

LISTINGS

Bill Kenwright presents a Paul Taylor-Mills production

THE CAT IN THE HAT

THE TURBINE THEATRE

BASED ON THE NOVEL BY DR SEUSS

ADAPTED BY KATIE MITCHELL

DIRECTED BY LILLIE COLLIER

MONDAY 11 DECEMBER 2019 – SATURDAY 11 JANUARY 2020

Performance Schedule: Monday – Sunday at 10.30am & 12.30pm*

*Christmas & New Year’s Performance Schedule:                           

Friday 27^th December – 12.30pm & 3.00pm

Monday 30^th December – 12.30pm & 3.00pm    

Friday 3^rd January – 10.30am, 12.30pm & 3.00pm          

No performances on 24^th, 25^th, 26^th, 31^st December and 1^st & 6^th January

Running Time: 50 minutes

Website: TheTurbineTheatre.com

Address: The Turbine Theatre, Arches Lane, Circus West Village, London, SW11 8AB

Box Office: 0207 851 0300

Tickets: Tickets from £7.50

Age Recommendation: Suitable for children ages 3+

Facebook/Twitter/Instagram: @TurbineTheatre

#PoweringTheImagination

London Theatre Bookings: The Turbine Theatre ticketing will be powered by leading ticket agent London Theatre Bookings. The company, which also owns The Theatre Café, will manage the ticketing. This relationship will bring with it the very first “on site” location for The Theatre Café, with a pop-up version of the ever-popular stagey coffee shop housed within The Turbine Theatre.

Epstein Theatre, Liverpool – until 2 November 2019

Reviewed by Amy Nash

5*****

In Blood Runs Deep, single mother Karen Richards (Emma Vaudrey) has just moved into a new flat with her teenage son Jake (Brandon McCaffrey). It’s the latest in a string of unexplained moves in Jake’s life, and the brief peace they find is shattered by a knock on the door from Greg (Anthony Costa). Little by little, the terrible truth Karen is trying to escape from reveals itself…

Produced by Break A Leg Productions in association with Bill Elms, Blood Runs Deep successfully carried on from its sell-out pilot production at the Unity Theatre in 2018. Curiously enough, Blood Runs Deep reminded me of Shearsmith and Pemberton’s Inside No 9 TV series – and I mean that as a huge compliment! The production made fantastic use of its setting, confining everything the audience saw to only one room. Laura Murphy’s set design and Pete Mitchelson’s lighting design came together beautifully to create a living space that could change from cosy and warm to cold and menacing in a moment. Their choice to illuminate behind the set during scenes set at night to simulate the glow of streetlamps coming through the windows and door was inspired and created many a tense moment whenever a shadow fell over them.

Instead of creating unrealistic scenarios where every important event happens in the living room of Karen’s flat, Emma Culshaw and David Paul were as careful with what they chose not to show as they were with what took place on the stage. By far the tensest moments in the play were created not by what was happening on stage, but the implication of what was taking place out of our view. Their dialogue was quick and clever, with seeds of what was to come sewn so early and so naturally into the play that it never read as foreshadowing until it was too late to predict what was going to unfold. Thrillers often live and die by their plot twists and turns, and Blood Runs Deep thrived because of them; they never felt cheap or unearned but at the same time came so quickly and unpredictably that the audience was left gasping by the end.

Anthony Costa absolutely killed the role of Greg – his performance was by far one of the most enjoyable aspects of Blood Runs Deep. Nuanced and unpredictable, he was able to capture the audience’s heart as a rough but well-meaning man with a traumatic past – and yet you were never quite sure if you could trust him. This performance was perfect for Greg, and perfect for the play as a whole, which revolved around whether you could trust even your own family. Another standout was Alice Merivale playing Zoe: Jake’s girlfriend, who is drawn into the family drama when the truth comes out. She commanded attention in every scene she was in, perfectly capturing the role of a traumatised teenager, and it was genuinely sad to see less of her on stage when the plot shifted away from her in the second act.

Blood Runs Deep was an exhilarating ride that kept the audience guessing even after the curtains went down. Though it answered the most important questions it set up at the start of the play, it was carefully crafted to leave enough loose ends to give you plenty to discuss afterwards. Overall, a well crafted, well-acted tale that sticks in your mind – and definitely worth catching at the Epstein before the end of its run.

The Haymarket, Basingstoke – until 2 November 2019

Reviewed by Heather Chalkley

4****

An outstanding piece of writing by Phillip Meeks, capturing the essence of Agatha Christie, Margaret Rutherford and the character of Miss Marple. As well as encapsulating true stories of both women’s life, there are many nods to their pasts, humorously delivered, that you have to concentrate on to pick up.

Rutherford’s famously distinctive facial expressions, are skilfully mimicked by Sarah Parks. Parks takes on the physicality of Rutherford through her mannerisms, posture and voice – no small feat. The funny moments are delivered naturally by Parks (Rutherford), as if she has just thought of them. Lin Blakely gives Christie a depth of emotional intelligence, particularly when revelling in the macabre and expressing difficult experiences, that she is so desperate to share. Katherine Senior is a believable Miss Marple, sitting between these two great women, providing the ethereal connection they need to become friends, eventually confidants.

The depiction of such strong characters is accentuated by the costumes. The set reflects well the country home of the era, although the busyness is distracting at times. I wonder if all the comings and goings of tables and chairs is totally necessary.

Because the play is based on the life and times of real people, it leaves you with unanswered questions and titbits of information that you just want to go away and research. At a poignant moment Christie (Parks) describes how she sees the fleeting deep sorrow sweep across Rutherford’s face. She recognises it because of her own painful secret. A quote from Rutherford herself, outside of the play, reflects this line “Every great clown has been very near tragedy.” For two people who never really wanted to meet, they are curiously close in their outlook.

Richmond Theatre, London – until 2 November 2019

Reviewed by Serena Norgren

4****

David Walliams books are woven into our literary fabric, the movies have become a Christmas television staple and now they hit the stage again in the form of Billionaire Boy, in this musical adaptation. Walliams humour, gentle irreverence and charm are at the fore of this morality tale which is firmly aimed at a younger audience warming up for the panto season.

The story centres on Joe Spud, the son of billionaire “Bumfresh” inventor Len Spud, as he persuades his dad to move him from his exclusive private school to the local comprehensive in search of a friend. David Walliams cheeky playfulness is brought to life by Neal Foster’s adaptation with clever nods to school and teachers from the opening “cross country” scene to the musical number, “Walk don’t Run” which will resonate with every child in the audience. Dressed up in slapstick and stuffed full of gags, this is nevertheless a touching cautionary tale.

The key to the success of this show is the nine person cast which brings Walliams array of quirky and colourful characters to life. With slick set and character changes from the flossing robot butler at the start to Raj the shopkeeper, the impression is one of an entire ensemble at work. Matthew Gordon does a fine job as Joe; Davy Bell in his professional debut is lovely as Joe’s earnest new friend Bob Evans. Jason Furnival, as Dad, portrays both naïvety and vulgarity in a tender way. Emma Matthews is excellent as Mrs Trafe, the school cook; almost Victoria Wood-esque in her dinner lady characterisation.

Jacqueline Trousdale’s set also deserves a special mention and not just as an homage to loo roll. “Bum Towers” is literally a tower of toilet paper which is then cleverly transformed to the school via Mrs Trafe’s café and back again. There were audible “oohs” from the young audience when the set opened up to allow Dad’s helicopter to take off and then land to deliver Joe’s homework.

In parts a bit hackneyed and over cooked for our grown-up taste maybe, but this is a colourful, warm and fun adaptation and as a half term treat for the youngsters, spot on!

DAN LOONEY, ADAM PAULDEN, JASON HAIGH-ELLERY

FOR DLAP ENTERTAINMENT

SALLY HORCHOW, ROGER HORCHOW

ARE DELGHTED TO ANNOUNCE

THE TONY AWARD WINNING MUSICAL

“CURTAINS”

WILL PREMIERE IN LONDON AT WYNDHAM’S THEATRE

FROM 13 DECEMBER 2019 TO 11 JANUARY 2020

Music by John Kander, Lyrics by Fred Ebb

Book by Rupert Holmes

Original Book and Concept by Peter Stone

Additional Lyrics by John Kander & Rupert Holmes

Directed by Paul Foster

Originally Produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. American Premiere Produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.

The producers of the Tony award winning musical “CURTAINS” are delighted to announce the show will premiere in London at Wyndham’s Theatre, playing 38 performances from 13  December 2019 until 11 January 2020.

“CURTAINS” is currently delighting audiences and critics on tour across the UK and stars comedian, actor and singer Jason Manford as Detective ‘Lt. Frank Cioffi’. He will be joined by Carley Stenson as ‘Georgia Hendricks’, Rebecca Lock as ‘Carmen Bernstein’, Samuel Holmes as ‘Christopher Belling’, Leah Barbara West as ‘Niki Harris’, Alan Burkitt as ‘Bobby Pepper’ and Andy Coxon as ‘Aaron Fox’.

The producers said today ‘We are incredibly proud of our show and delighted to be bringing it to the West End. The whole team have worked so hard to get the show to where it is today and we are thrilled we can show London audiences our wonderful production’.

This will mark the West End  premiere of Kander and Ebb’s musical which first premiered on Broadway in 2007 and ran until June 2008. The production was nominated for eight Tony awards, David Hyde Pierce took home the award for Best Actor in a Musical for the role of ‘Lt. Frank Cioffi’ – the role now played by Jason Manford in the UK.

The cast is completed by Emma Caffrey as ‘Bambi Bernet’, Adam Rhys-Charles as ‘Daryl Grady’, Martin Callaghan as ‘Oscar Shapiro’, Minal Patel as ‘Johnny Harmon’ and Mark Sangster as ‘Sidney Bernstein’. Joining them in the ensemble is, J.R. Ballantyne, Kathryn Barnes, Pamela Blair, Charlie Johnson, Robin Kent, Thomas-Lee Kid, Ben Mundy, Gleanne Purcell Brown, Samuel John-Humphreys and Nia Jermin.

From the Tony Award-winning creators of ‘Cabaret’ and ‘Chicago’, this production tells the story of Jessica Cranshaw, star of the new Broadway-bound musical Robbin Hood, who has been murdered on stage on opening night! The entire cast and crew are suspects. Time to call in the local detective, Frank Cioffi, who just happens to be a huge musical theatre fan. With a nose for crime and an ear for music, Frank has his work cut out trying to find the killer whilst giving the show a lifeline.

The producing team is made up of Dan Looney, Adam Paulden and Jason Haigh-Ellery for DLAP Entertainment, Sally Horchow, Roger Horchow and Walport Productions. The production was originally produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. The American Premiere was produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.

Music is by John Kander, lyrics by Fred Ebb (“Cabaret” and “Chicago”), book by Rupert Holmes, original book and concept by Peter Stone with additional lyrics by John Kander and Rupert Holmes.

The production is directed by Paul Foster (“Kiss Me Kate” and “Annie Get Your Gun” for Sheffield Crucible), choreographer is Alistair David (“Ghost” West End and UK tour and “Seven Brides for Seven Brothers” and “The Sound of Music” both for Regent’s Park Open Air), Musical Supervisor & Arrangements are by Sarah Travis (Curve Associate Artist, “Sweeney Todd”, “Sister Act”), Set Design by David Woodhead, Costume Design by Gabriella Slade, Lighting Design by Tim Mitchell, Sound Design is by Tom Marshall and Casting Director is Jim Arnold CDG.

The musical opened in Bromley on 4 October and has been delighting critics and audiences since.  After its London run the show will continue on tour and will open on 14 January 2020 at New Wimbledon Theatre. The tour will then visit, Sunderland, Liverpool, Llandudno, Norwich, Northampton, Blackpool, Glasgow, Leicester, Wolverhampton before finishing its run in Southampton at the Mayflower Theatre on 11 April 2020.

Suitable for ages 12+

LISTINGS INFORMATION:

CURTAINS

Wyndham’s Theatre, Charing Cross Rd, Covent Garden, London WC2H 0DA

Box Office: 0844 482 5120

Performances: Monday – Sunday performances (Monday to Wednesday 7.30pm, Thursday and Saturday 2.30pm and 7.30pm, Sunday 3.00pm)

Website: https://curtainsmusical.com

Instagram: curtainsthemusical

Facebook:  https://www.facebook.com/CurtainsMusicalUK

Twitter:  @MusicalCurtains

TOUR DETAILS 2019:

Until Saturday 2 November

Sheffield Lyceum

www.sheffieldtheatres.co.uk

0114 249 6000

Tuesday 5 – Saturday 9 November

BIRMINGHAM The Alexandra 

www.atgtickets.com/birmingham

0844 871 3011

Tuesday 12 – Saturday 16 November                    

DARLINGTON Hippodrome

www.darlingtonhippodrome.co.uk

01325 405405

Tuesday 19 – Saturday 23 November

BELFAST Grand Opera House

www.goh.co.uk

028 9024 1919

Tuesday 26 – Saturday 30 November                    

DARTFORD Orchard Theatre

https://orchardtheatre.co.uk/

01322 220000

Tuesday 3 – Saturday 7 December                         

Stoke-On-Trent Regent Theatre

www.atgtickets.com/stoke

0844 871 7649

TOUR DETAILS 2020:

Tuesday 14 – Saturday 18 January                           

LONDON New Wimbledon Theatre 

www.atgtickets.com/wimbledon

0844 871 7646

Tuesday 21 – Saturday 25 January                      

SUNDERLAND Empire

www.atgtickets.com/sunderland

0844 871 3022

Tuesday 28 January – Saturday 1 February                 

LIVERPOOL Empire  

www.atgtickets.com/liverpool

08448 713017

Tuesday 4 – Saturday 8 February

LLANDUDNO, Venue Cymru

https://venuecymru.co.uk

01492 872000

Tuesday 11 – Saturday 15 February

NORWICH Theatre Royal

www.theatreroyalnorwich.co.uk

01603 630 000

Tuesday 25 – Saturday 29 February

NORTHAMPTON Royal & Derngate

www.royalandderngate.co.uk

Tuesday 3 – Saturday 7 March

BLACKPOOL Opera House

www.wintergardensblackpool.co.uk/our-venues/opera-house

Tuesday 10 – Saturday 14 March                    

GLASGOW King’s Theatre 

www.atgtickets.com/glasgow

0844 871 7647

Monday 16 – Saturday 21 March                    

LEICESTER Haymarket Theatre

www.haytheatre.com

0116 296 1236

Tuesday 31 March – Saturday 4 April                 

WOLVERHAMPTON Grand Theatre  

www.grandtheatre.co.uk

01902 42 92 12

Tuesday 6 April – Saturday 11 April

SOUTHAMPTON Mayflower

www.mayflower.org.uk

02380 711 811