Lambert Jackson and Positive Sum, in association with M&C Saatchi Talent present

OTI MABUSE – VIVA CARNIVAL!

UK TOUR IN JUNE 2025

TICKETS ON GENERAL SALE: 10AM THURSDAY 12 SEPTEMBER

Ticket Link: https://www.lambertjackson.co.uk/whats-on/oti-mabuse-viva-carnival

The country’s favourite pro-dancer, Oti Mabuse, is heading out on a new UK tour. Get ready to groove in a city near you, and don’t miss this fabulous fiesta coming your way in June 2025. Viva Carnival. Ticket Link: https://www.lambertjackson.co.uk/whats-on/oti-mabuse-viva-carnival

Oti said, “I’m so excited to bring Viva Carnival to the stage!  Performing on stage is something I feel so passionately about and have missed so much. Dance has the power to bring people together and I can’t wait to party with everyone.”

Join the Queen of the dance floor, Oti Mabuse as she celebrates the world’s most electrifying carnivals. From the Sambas of Brazilian Carnival to the Tangos of Argentina’s Fiesta Nacional de la Vendimia, the dance scene at England’s own Glastonbury Festival and the swing of the Jazz Fest in New Orleans, Oti knows how to party.  Let your hair down, let loose and let’s go… on an unforgettable dance journey.

Tickets will go on presale on Wednesday 11 September, with general on sale at 10am on Thursday 12 September – https://www.lambertjackson.co.uk/whats-on/oti-mabuse-viva-carnival

Sheffield City Hall                             12/06/2025

The Glasshouse Gateshead          13/06/2025

Norwich Theatre Royal                   14/06/2025 (On Sale 23 September)

Manchester Bridgewater               15/06/2025

Blackpool Opera House                 16/06/2025

Guildford G Live                                17/06/2025

Birmingham Symphony Hall         20/06/2025

Bath The Forum                               21/06/2025

London Adelphi Theatre                 24/06/2025

Tickets: https://www.lambertjackson.co.uk/whats-on/oti-mabuse-viva-carnival

Instagram @otimabuse

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

The Bridge Theatre – until 4th January 2025

Reviewed by Liam Clarkson

5*****

The Bridge Theatre on the edge of the river Thames, overlooking Tower Bridge and the Tower of London is a very special venue which transforms itself into the streets of Manhattan and the Havana bars and clubs for one of the biggest, greatest and most loved musicals of all time.

The show at The Bridge, has now been receiving outstanding reviews since the start of its current run back in March 2023, but in recent weeks has had a cast change for nearly half the cast so it was worth reviewing this phenomenal musical again.

Written by Damon Runyon, Guys and Dolls is a musical based on the short stories he wrote in the 1930’s. These stories told of the world of gangsters, gamblers, and other characters of the New York underworld. The musical centres on two couples: gambler Nathan Detroit and his fiancee Adelaide, and Sky Masterson, who accepts a bet from Nathan to take Sarah Brown, the local mission leader, to Cuba.

Guys and Dolls had its premiere on Broadway back in 1950 and has since had many revivals both on Broadway and in London, as well as being made into a film starring Frank Sinatra and Marlon Brando. The show first came to London in 1985, again for a run in 1997 and now has been spectacularly revived for its new run back in London. This show is one of the hottest tickets in town – and as soon as you arrive inside the Bridge Theatre you can feel and see why.

The staging is one of the highlights of this production. The set is designed to resemble a bustling new york suburban street. The vibrant colors and noises made us the audience feel as though we were truly part of the show – and indeed if you have chosen the standing immersive tickets, you soon become part of the show.

The tickets are in two categories – one seated in the raised stalls and the other in the immersive areas next to the main stage. The immersive area engaged the audience throughout as audience members were included in the performance with the actors singing with the audience, dancing and bringing individuals up onto the stage for specific parts of the play such as the dining scenes where members of the audience were sat down on the tables and chairs placed in the dining area on the stage. Even the stage hands whose job it was to keep immersive ticket holders in areas where they could see the stage properly, were part of the show. The blurring of boundaries between performers and the audience was fun and added an extra layer to the show – in fact by the interval, I was wishing I had purchased an immersive ticket instead. That being said the raised seating area and stalls were situated in a very good place allowing for an optimal view of the whole performance. The actors still made the people in the raised areas feel included in the performance with their eye contact and body language drawing us in and feeling part of the play even though we weren’t on or near the stage itself.

Throughout the performance, the stage is moving, rising up and down to expose new york skyscrapers and bars and with the amazing lighting this is a stage like you’ve never seen before. It continually remakes itself right before our eyes.

The Orchestra was far from being just in the background, the musicians were seamlessly integrated into the show, and their energetic performances added layers to each scene. The music interacted with the action happening on stage, creating a rich auditory tapestry that complemented the performers and enhanced the narrative’s emotional depth.

The actors were top class throughout with a specific focus on Skye Masterson (George Ionnides), Miss Adelaide (Timmika Ramsay) and Nicely-Nicely Johnson (Jonathan Andrew Hume). These three stood-out throughout the entire performance with their crisp, clear voices when speaking and singing in the musical parts and solos. Miss Adelaide was very suited to her role – traditionally depicted as a “dumb blonde”; Timmika’s portrayal of Adelaide shattered that stereotype as she brought depth and intelligence to her role, and was seen as a woman who deserves respect. Her journey was marked by a clear sense of empowerment.

This is Guys and Dolls on a whole new level – the colours, the noise, the interaction, the moving stage and the amazing performers not only bring this amazing musical into the 2020’s but in doing so appeals to today’s generation and future musical goers too. A very easy 5 star review from me. I am off to buy immersive tickets before it ends its run early next year.

Duchess Theatre, London – booking until February 2026

5*****

By Emily Smith

Fairy Powered Productions were delighted to be invited to attend the 10th anniversary gala performance of The Play That Goes Wrong, to help celebrate a decade on London’s West End.

The atmosphere at the Duchess Theatre was electric with a very excited audience which was made up of those who have been involved in the production over the last ten years, including many previous cast members and those from Mischief.

The show itself was brilliant; I have never seen such an incredible set (by Nigel Hook) that is so cleverly designed to literally fall apart every night and then be put back together to do it all again the next night! The special effects (sparks, flames, you name it) and stunts, with accompanying sound effects, had the audience shrieking and gasping throughout.

This is of course not to mention the comedic value of the play which had the audience laughing from start to finish. In fact, while trying to quickly jot a few notes down for this article, I found myself missing some of the jokes on stage – you really couldn’t look away for even a second without missing something! This is testament to the great writing by Henry Lewis, Jonathan Sayer and Henry Shields, as well as direction by Mark Bell.

Given that so much deliberately goes wrong, it is near impossible to tell what was supposed to happen and what (if anything) was ad-libbed, but that is part of the charm of this show! As a self-confessed perfectionist, watching something full of ‘mistakes’ was refreshing and perhaps we should all take a leaf from this show’s book!

The whole cast were absolutely brilliant. For me, the standout performances of the night were by Owen Jenkins (Robert), Jay Olpin (Max) and Daniel Anthony (Dennis), who had the audience in absolute fits of laughter with their excellently delivered lines, perfect comedic timing and audience interaction.

The entire audience clearly felt a huge emotional attachment to the show, and everyone involved should be proud of what it has achieved over the years! The speech at the end of the show by Jonathan Sayer was a testament to this, and really captured how beloved this show is by so many.

The Play That Goes Wrong is the longest comedy in the West End, and it’s clear to see why – for a play that goes wrong, it certainly gets a lot right!

AS IT CELEBRATES 10 YEARS

IN THE WEST END

THE PLAY THAT

GOES WRONG

MAKES DISASTER LAST LONGER

WITH PERFORMANCES NOW EXTENDED

THROUGH TO 1^ST FEBRUARY 2026

The smash hit Olivier and Tony-Award-winning The Play That Goes Wrong, celebrated 10 years at the Duchess Theatre in London’s West End last night (10 September 2024) with a special 10^th Birthday Gala Performance and today announced that performances would be extended to February 2026. 

Original Company members and creators of The Play That Goes Wrong and other special guests attended the glittering gala performance, with original members of the company joining the current cast on stage.

Co-writers Henry Lewis, Jonathan Sayer and Henry Shields said:  “We are so proud that The Play that Goes Wrong is celebrating its 10th Birthday in the West End. It is a such a joyful show that still makes us laugh even now. We are so grateful to everyone who has been part of its decade long journey” 

The Play That Goes Wrong opened at the Duchess Theatre in September 2014 and the production shows no signs of slowing down since its first performance at The Old Red Lion Theatre playing to only four paying customers.  The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work over the past decade. 

The show’s many achievements to date include:

• Over 3500 performances of The Play That Goes Wrong at the Duchess Theatre. 
• During the West End run members of The Cornley Drama Society have been hit (by objects or each other) more than 125,545 times
• 106 actors have performed in the show’s Duchess Theatre run.
• The show has won 11 awards, including an Olivier, Tony and a Moliere.
• There have been productions of the play in 49 countries and in every continent except Antarctica (where producers fear a frosty reception).
• More than 4,246,481 million people have seen the show worldwide, and there have been 7,822 performances in the English language.
• An actor has shouted out for a ledger 54,747 times. (And that’s only in English.)
• A total of 58,180 door slams in America alone.
• 8 million people watched the 2015 performance at The Royal Variety Performance, with a further 6.3 million seeing the clip on YouTube.
• 2,607 fire extinguishers have been used to put out fires in The Play That Goes Wrong somewhere in the world in these past ten years.
• Winston the Dog has been successfully located zero times.

The cast of The Play that Goes Wrong is:  Jordan Akkaya as Trevor, Daniel Anthony as Dennis, Joe Bolland as Jonathan, Daniel Fraser as Chris, Billie Hamer as Annie, Owen Jenkins as Robert, Jay Olpin as Max and Hannah Sinclair Robinson as Sandra.  The understudies are:  Alex Bird, Munashe Chirisa, Colm Gleeson, Dumile Sibanda and Alice Stokoe. 

The Play That Goes Wrong is co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields and is directed by Mark Bell, with set designs by Nigel Hook, costumes by Roberto Surace, lighting by Ric Mountjoy, original music by Rob Falconer, sound design by Andy Johnson, the Associate Director is Amy Milburn  and the Resident Director is Lexie Ward. The Play That Goes Wrong is produced in the West End by Kenny Wax Ltd and Stage Presence Ltd.

Birmingham Hippodrome – until Saturday 14th September 2024

Reviewed by Nadia Dodd

5*****

Being one of my childhood favourite films of the same name back in 1985 starring Michael Douglas I was so excited to watch this enfold on stage. My love of musical theatre stems from productions like this, following 17 wannabe stars in the chorus of a Broadway show in New York, showing what a gruelling time, some directors really do put them through.

Set as I said on Broadway in a theatre, during 1975 as some of the costumes prove, we meet and find out the stories and backgrounds of the auditionees who are working their hardest to get a job in the showbiz industry, for some of them before they are classed as too old to be in the business!

Zach (Adam Cooper) is the director who puts these 17 very different individuals through their paces. All different ages and from all very different backgrounds but all wanting the same outcome – to get a job that they will love! Cassie (Carly Mercedes Dyer) has returned to audition in the chorus when over halfway through it becomes known that she had briefly made it as a star and had had a previous relationship with Zach. Plans haven’t worked out for Cassie and needs work; Zach isn’t entirely sure that she should be there with the ‘youngsters’ saying she is better than being in the ensemble. Cassie proves him wrong though when he agrees to give her a chance.

There is always someone to stand out in a show for me and although I absolutely loved the energy of the whole cast, it was Judy (Kanako Nakano) was at the top of my list. She played her part so well of an erratic, desperate youngster wanting to prove herself and succeed. I hope she continues to strive in theatre and TV.

The scenes take place on an open, empty stage which exposes the vastness of the space with all the inner workings of a theatre. Somehow the bare stage never seems empty. The lighting is very cleverly adapted by transforming the rehearsal area into a glitzy glamorous Broadway stage for the final number ‘One’ (Singular Sensation), including costume ramp up to full gold glitz and watch out for the indoor fireworks and confetti which concludes the show. A standing audience ovation follows and a very well- deserved raucous applause. Even though the show is a straight through 1 hour 50 minutes with no interval, I was left wanting more.

CURVE ANNOUNCES FULL CAST FOR NEW PRODUCTION OF

Lerner and Loewe’s

MY FAIR LADY

Directed by Nikolai Foster

Saturday 23 November 2024 – Saturday 4 January 2025

Full casting has been announced for the upcoming Made at Curve production of Alan Jay Lerner and Frederick Loewe’s classic musical MY FAIR LADY.

Joining the previously announced Molly Lynch as Eliza Doolittle is David Seadon-Young, (THE BAKER’S WIFE, Menier Chocolate Factory, AN AMERICAN IN PARIS, Dominion Theatre), who will play phonetics Professor Henry Higgins.

The company also includes Minal Patel (BILLY ELLLIOT, CAT ON A HOT TIN ROOF, Curve) as Colonel Pickering, actor, comedian, DJ, musician and writer Steve Furst (OLIVER!, Leeds Playhouse), as Alfred P. Doolittle, BAFTA Award-winner and Golden Globe nominee Cathy Tyson (KAOS, Netflix, HELP, Channel 4 and MY BEAUTIFUL LAUNDRETTE, THE IMPORTANCE OF BEING EARNEST, Curve) as Mrs Higgins, Sarah Moyle (DOCTORS, BBC and JERUSALEM, Royal Court Theatre, Apollo Theatre and Music Box Theatre on Broadway) as Mrs Eynsford-Hill and Mrs Pearce and Djavan Van de Fliert (FROZEN, Theatre Royal Drury Lane, LES MISERABLES, Sondheim Theatre) as Freddy Eynsford-Hill.

Damian Buhagiar (SISTER ACT, Dominion Theatre and WEST SIDE STORY, Curve) will play Zoltan Karpathy, joined by Jonathan Dryden Taylor (THE WIZARD OF OZ, BILLY ELLIOT, Curve) as Harry, Ying Ue Li (CABARET, The Kit Kat Club) as Jamie and Joanna O’Hare (KISS ME KATE, Royal Albert Hall and SUNSET BOULEVARD, Curve) as George.

The cast will be completed by Andy Barke (PRETTY WOMAN THE MUSICAL, Savoy Theatre), Keanna Bloomfield (A VERY VERY BAD CINDERELLA, The Other Palace), Ashley Gilmour (EVITA, Curve), Lucas Koch (CHOIR OF MAN, The Arts Theatre), Ritesh Manugula (SHIRLY, Sherman Theatre Cardiff), Nell Martin (PRISCILLA, QUEEN OF THE DESERT, UK tour), Abigail Matthews (THE WIZARD OF OZ, UK tour and Gillian Lynne Theatre) Jack Skelton (ALADDIN, Wolverhampton Grand) and Kenedy Small (SIX THE MUSICAL, UK tour).

MY FAIR LADY will run in Leicester from Saturday 23 November 2024 to Saturday 4 January 2025 and is directed by Curve’s Artistic Director Nikolai Foster (A CHORUS LINE, BILLY ELLIOT, EVITA).

The Made at Curve production will choreographed by Joanna Goodwin (AN OFFICER AND A GENTLEMAN, UK tour), George Dyer (THE WIZARD OF OZ, Curve and London Palladium, BILLY ELLIOT, WEST SIDE STORY, Curve) is Musical Supervisor, Michael Taylor (BILLY ELLIOT, SCROOGE THE MUSCIAL, Curve) is Set and Costume designer, Mark Henderson (STANDING AT THE SKY’S EDGE, Gillian Lynne Theatre) is Lighting Designer, Adam Fisher (EVITA, BILLY ELLIOT, Curve) is Sound Designer and casting direction is by Olivia Laydon for Jill Green Casting.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“Joining the incomparable Molly Lynch are a fabulous company of actors, ready to infuse their collective brilliance and energies into Lerner and Loewe’s magnificent MY FAIR LADY. Superstars David Seadon-Young and Minal Patel join Molly to create the famous triumphant trio at the heart of this beautiful musical, their youthful exuberance discovering these characters in new ways. They are joined by the equally electrifying Steve Furst as Alfred P Doolittle. Alongside Djavan van de Fliert, Cathy Tyson, Sarah Moyle and a barn-storming ensemble – this is a truly remarkable company of actors not to be missed.”

MY FAIR LADY follows Eliza Doolittle, a Cockney flower seller from Covent Garden, who by chance meets phonetics professor Henry Higgins. With the help of his pal Colonel Pickering, Higgins sets out to support Eliza’s ambition to learn how to speak like a lady of high society, so she can fulfil her ambition of opening her own flower shop. Along the way, Higgins learns a few lessons of his own, as Eliza’s free spirit, defiance and zest for life bring magic and joy into the lives of everyone who encounters her.

Filled with a roster of iconic characters, comedy, romance and some of the greatest songs ever imagined for the musical stage, including ‘The Rain in Spain’, ‘Wouldn’t It Be Loverly’ and ‘I Could Have Danced All Night’, this unmissable production is set to be an enchanting and dazzling Christmas treat for the whole family.

This Made at Curve production of My Fair Lady is sponsored by De Montfort University (DMU), with the show’s orchestra sponsored by music licensing company PPL.

MY FAIR LADY will run at Curve from Saturday 23 November 2024 to Saturday 4 January 2025 and tickets are on-sale now. To find out more and book, visit www.curveonline.co.uk, call 0116 242 3595 or visit Curve’s Box Office in-person.

Nottingham Theatre Royal – until Saturday 14 September 2024

Reviewed by Chris Jarvis

4****

This 20th anniversary production of Alan Bennett’s award winning play transports the audience back to Sheffield in the 1980s to share A level results day with 8 boys back at a local grammar school

The History Boys follows this bright bunch of lovable rogues who have achieved the highest grades their school has ever seen. Their league table obsessed headmaster, known to everyone as Felix (Milo Twomey), has sights set on some of them obtaining a place at one or other of the most famous academic institutions in the world – Oxford or Cambridge.

Although he was very complimentary of history teacher Mrs Lintott (Gillian Bevan) in helping achieve these amazing results, it appears she has very little respect for any of her colleagues! Felix had reservations about their English teacher Hector (Simon Rouse) who has years of experience but believes in literature and culture for its own sake, with little application to real life. Lessons became chaotic playouts of a French brothel, a scene from ‘Brief Encounter’ where these crazy boys played out their adolescent fantasies…..

Felix appoints a supply teacher to prepare the boys for their admission exams to Oxbridge – Irwin (Bill Milner), adding yet more opinions on education to the mix. Their teachers couldn’t agree how best to tutor them, and we watched as the boys very quickly learn to “play them off” against each other, though in a more respectful way than in schools in 2024. I smiled to myself as these ‘full of life’ adolescents challenged their teachers in so many ways.

We quickly got to know these characters by surname, as was typical of the pupil teacher relationship in the 80’s. Dakin (Archie Christopher Allen) – full of himself though not quite sure of his sexuality, Posner (Lewis Cornay) – totally sure of his sexuality with eyes only for Dakin, Timms (Teddy Hinde) – the hilarious joker in the group, Scripps (Yazdan Qafouri) thinking of little but his religious beliefs, Rudge (Ned Costello) – a delightful down to earth character soaking up every word, Akthar (Mahesh Parmar) – a lively lovable character, Lockwood ( Curtis Kemlo) – cheekily wearing his baseball cap backwards and Crowther (Tashinga Bepete) who really gave his all during their performance of Adam & the Ants ‘Stand & Deliver’ using his chair as a percussion instrument along with much foot stamping in time to the beat!!

I loved the simplicity of the set that was mostly the same background throughout, but on a rotating platform that was turned around between every act – usually signalled by the school bell for the end of a lesson and watched as the boys changed the set themselves – along with an ensemble of helpers, enjoying a different piece of popular 80’s music with each set change.

There were numerous musical arrangements where the boys danced and sang with beautiful harmonies and some wonderful solos from Lewis Cornay (Posner) perfectly complementing the drama.

Some wonderful ‘one liner’s’ dropped in throughout the play such as “Can you imagine being a female history teacher after 5 centuries of masculine ineptitude?” from Mrs Lintott and Rudge’s definition of history – “It’s just one f***ing thing after another” to quote just two plus a beautifully funny metaphorical monologue from Dakin recounting his fumbling encounter with the headmaster’s secretary in terms of wartime manoeuvres.

I thoroughly enjoyed the play. It reminded me of my own schooldays and the incredible bond that can be made between teacher and pupil. The enthusiasm of the ‘boys’ was clear as they bounced about the stage with obvious enjoyment, infectiously adding to ours. The audience seemed captivated, and it was great to witness the well-deserved standing ovation at the end of the play.

‘You’re terrible, Muriel’

INITIAL CASTING ANNOUNCED FOR UK PREMIERE OF

MURIEL’S WEDDING THE MUSICAL

Megan Ellis as Muriel

Annabel Marlow as Rhonda

A Made at Curve and Global Creatures co-production in association with Sydney Theatre Company

Running at Curve, Leicester 10 April – 10 May 2025

Initial casting has been announced for the UK premiere production of MURIEL’S WEDDING THE MUSICAL, which will run at Leicester’s Curve theatre Thursday 10 April to Saturday 10 May 2025.

Rising star Megan Ellis, whose recent credits include SPRING AWAKENING, RENT, CARRIE and PARADE (all at Frogmore Paper Mill), as well as CAREEN (Birmingham Repertory Theatre) and GODSPELL (Edinburgh Fringe Festival), will take on the iconic role of Muriel Heslop. She said:

“This is such a ‘pinch me’ moment – Muriel’s Wedding is one of my favourite films of all time and I could not be more excited to be working with such an incredible team and playing Muriel herself in this UK premiere at Curve!”

Joining Ellis as Rhonda Epinstall – Muriel’s sassy and straight-talking friend – is Annabel Marlow, who originated the role of Katherine Howard in SIX at the Edinburgh Fringe Festival in 2017. Marlow has since starred as Dot in The Watermill’s THE WIZARD OF OZ and has recently completed her second year at the Edinburgh Fringe Festival with her acclaimed solo comedy musical show, …IS THIS OKAY?.

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

“Curve has a solid record of celebrating upcoming actors on the cusp of big things, making debuts in leading roles with us here in Leicester. We are thrilled Megan Ellis is making her Curve bow in the iconic role of Muriel Heslop. Megan’s comic brio is matched with her electrifying voice and she is joined by the equally sensational Annabel Marlow as Rhonda. Together, they lead a tremendous company in this all-singing, all-dancing celebration of finding the courage to be your authentic self.”

Based on the international cult classic 1994 motion picture ‘MURIEL’S WEDDING’ (written and directed by PJ Hogan, produced by Lynda House and Jocelyn Moorhouse),the Made at Curve and Global Creatures co-production of MURIEL’S WEDDING THE MUSICAL is directed by Simon Phillips (PRISCILLA QUEEN OF THE DESERT, LOVE NEVER DIES) and choreographed by Andrew Hallsworth (PRISCILLA QUEEN OF THE DESERT).

Book writer PJ Hogan has updated his own screenplay for the stage, and original music for MURIEL’S WEDDING THE MUSICAL is written by award-winning multi-platinum selling artists Kate Miller-Heidke and Keir Nuttall, whose work spans the worlds of music theatre, opera, Coachella and Eurovision. The musical includes additional songs by Benny Andersson, Björn Ulvaeus & Stig Anderson originally written for ABBA.

Set design is by Matthew Kinley (LES MISERABLES), costume design by Gabriela Tylesova (LOVE NEVER DIES), projection design by Andrzej Goulding (STARLIGHT EXPRESS), lighting design by Natasha Chivers (SYLVIA, Old Vic Theatre) and sound design by Adam Fisher (EVITA, Curve). Isaac Hayward, who won the Helpmann Award for Best Musical Direction in 2018 for MURIEL’S WEDDING will join as Musical Supervisor. Casting is by Stuart Burt CDG CDA.

Winner of five Helpmann Awards, seven Sydney Theatre Awards, an Awgie Award, the 2018 David Williamson Prize and an ARIA Award Nomination, MURIEL’S WEDDING THE MUSICAL celebrated its world premiere in a co-production with the Sydney Theatre Company in November 2017 and returned with an Australian tour in 2019. It was hailed a smash hit by critics and audiences alike.

Undateable. Unemployable. Unstoppable.

Stuck in a dead-end life in Porpoise Spit, Muriel dreams of the perfect wedding – the white dress, the church, the attention.

Unfortunately, there’s one thing missing: a groom. Following her dreams to Sydney, Muriel ends up with everything she ever wanted – a man, a fortune and a million social media followers.

That’s when things start to go really wrong.

RSVP to the wedding of the year and enjoy this eccentric, laugh-out-loud musical based on the iconic Australian film.

MURIEL’S WEDDING THE MUSICAL will run at Curve 10 April to 10 May 2025. To find out more about book visit www.curveonline.co.uk, call 0116 242 3595 or visit Curve’s Box Office in-person.

#murielsweddingthemusical #MadeAtCurve

Royal and Derngate Theatre Northampton – until 14 September 2024

Review by Amanda Allen

5*****

Its always with some trepidation that you go to see a new show based on an all-time favourite, especially if that show is a musical and the original was a brilliant film that made a star or its leading lady. However I was very pleasantly surprised with how brilliantly Pretty Woman has been adapted to the stage musical format. The story line followed the film really well, with many of the famous lines and scenes transferring directly on to the stage. With the iconic settings of Hollywood boulevard, Beverly Wiltshire Hotel and Rodeo drive, we were transported back to 1980’s Los Angeles to meet Vivien Ward (Played by Amber Davies) her best friend Kit De Luca (Natalie Paris) and the Millionaire love interest Edward Lewis (Oliver Savile) All 3 parts portrayed excellently by the actors. The transformation of Vivien from Hooker to lady was wonderfully portrayed through the costumes, attitude and acting skills of Amber Davies. A special mention must go to Ore Oduba who played many roles, Happy man / Mr Thompson / The Band conductor. We all knew he could dance after his strictly performance, but I was surprised how well he could act and sing, carrying the audience along with him with a wink and a well-timed glance. He almost stole the show. His versatility working a stage, and his excellent comic timing worked really well with the story line and portrayal of the characters. I loved the strictly score cards utilised in one dance scene giving him all 10’s, very funny.

For me the standout performance was Noah Harrison who played the bellhop, Giulio at the Beverly Wiltshire Hotel. His depiction of the slightly goofy, kind, unimportant lift boy was excellent. The whole audience warmed to his character, realising that he was just a normal good guy and on Vivians side. It also helped that he looked as if he was having a great time. It was good to see the vocal talents of Lila Falce-Bass as Violetta / Big lady being put to good use. Her operatic renditions were amazing and really made the hair on the back of your neck stand on end

A special mention must go to the costume and set designers. With numerous outfit changes to accommodate, not to mention the many wigs used in the show, they did an amazing job. I especially liked Guilio using a wig as a polishing cloth to try and disguise the fact that Edward didn’t want his smarmy lawyer Philip Stuckey (Ben Darcy) to know Vivien was in his room! Hilarious comic timing from Giulio. The sets easily transported us from Downtown Hollywood to Hotel bedroom, Opera house, restaurant, polo field and back again seamlessly due to excellent design and intelligent use of stage crew.

A favourite part for me was the mention of the polka dot dress, but here it was Blue and this was excellently pointed out in the song. Vivien and Edward sang really well together, their voices complementing each other effortlessly. A few of the songs were a bit longer than needed and seemed like a bit to much padding but overall it was an excellent portrayal of a much loved story, Cinderella for the 1980’s. Very much a woman’s story, if you liked the film, go and see it, I loved it!

Darlington Hippodrome – until Saturday 14 September 2024

4****

From the costumes to the staging, everything from beginning to end, was pure joy in this production of Sister Act.

Ambitious club singer Deloris Van Cartier (the very talented Landi Oshinowo) sees her controlling gangster boyfriend Curtis (Ian Gareth-Jones) commit murder and former schoolmate ‘Steady’ Eddie Souther (Alfie Parker) arranges police protection.  The book by Cheri and Bill Steinkellner follows the rough outline of Joseph Howard’s film starring Whoopi Goldberg.  Somewhat incongruous, the safe house chosen by the cops is a convent, which gets shaken to its religious foundations by the heroine, in her new guise as Sister Mary Clarence. Appointed to supervise the tone-deaf choir, she turns them into a group of swinging sisters whose sudden fame imperils both her and their safety.

Dripping with disco and soul, the songs were charming, uplifting and added to the feelgood atmosphere of the show. A notable song was Take Me To Heaven, which was by far one of the best numbers in the show. Alan Menkin and Glenn Slater supply climactic soul-baring ballads for Deloris and the Mother Superior, and Sister Mary Robert too, in which each questions the tenets of her personal faith.  All played by the live band, led by Honor Halford-Macleod.

Kate Powell, filling in for an indisposed Wendi Peters, as Mother Superior is amazing. To my ear she sounded like Julie Andrews.   Corrine Priest’s Sister Mary Robert gave a wonderful performance, singing and dancing her way into all our hearts with a great joie de vivre.  Whilst the gyrating hip-work of Elliot Gooch, Michalis Antoniou and Callum Martin were wonderfully camp with over the top comedy and a few scene-stealing moments. Star of the show for me was Alfie Parker as Detective Eddie.  He shows depth and warmth and a real human heart in the role.  His song “I Could be that Guy” where he rips his clothes off from cop to Travolta back to cop was hilarious.

Morgan Large’s costumes and the staging certainly lifted this production in many ways. While not much can be done with a simple nun costume, the finale saw brightly coloured sequin robes which added to the delightfulness of the production.

This show had all of the ingredients: the characters were played brilliantly, and the comedic value was there, and catchy songs. The show is a joy to watch and will put a smile on anyone’s face when they go and see it. On tour around the UK, go and see it now