Showing posts sorted by date for query David Bedella. Sort by relevance Show all posts
Showing posts sorted by date for query David Bedella. Sort by relevance Show all posts

Monday 21 February 2022

New Cast Announced for & Juliet


Tom Francis is to play Romeo in & Juliet, as the award-winning show today announces new cast. Tom, who starred in the recent acclaimed production of Rent, will join the company next month, in the joyous musical which won 3 Olivier Awards and 6 Whatsonstage Awards.

Julius D’Silva will also join the cast as amorous Frenchman Lance, opposite Keala Settle as Nurse. Keala - internationally renowned for her starring role in the global smash hit movie The Greatest Showman in which she performed the iconic song “This Is Me” – will be making her West End debut.

They will all join the production from Tuesday 29 March 2022 at the Shaftesbury Theatre, where the show recently extended its booking period through until Saturday 24 September 2022.

Miriam-Teak Lee – who was awarded the Olivier Award for Best Actress in 2020 for her performance as Juliet – leads a cast including Cassidy Janson, who also won an Olivier Award for Best Supporting Actress for her portrayal of Anne Hathaway, Oliver Tompsett as William Shakespeare, Tim Mahendran as Francois and Alex Thomas-Smith as May.

David Bedella continues his Olivier Award-winning performance as Lance until Saturday 26 March, as does Jordan Luke Gage as Romeo and Melanie La Barrie as Nurse.

The new ensemble includes Ebony Clarke, Bessy Ewa, Collette Guitart, Cassandra Lee, Nathan Louis-Fernand, Zara MacIntosh, Carl Man, Christian Maynard, Rachel Moran, Owen Saward, Aaron Shales, Benjamin Terry and Suki Wong, who join Ivan De Freitas, Rhian Duncan, Alex Tranter, Sophie Usher and Rhys Wilkinson who continue with the show.

Romeo who?! With her bags packed and ready to escape Verona, Juliet recovers from heartbreak in the best way possible… by dancing the night away with her best friends by her side! But when the sparkle fades, the confetti falls and reality catches up, it’s clear that Juliet needs to face her past in order to find her future. Can she reclaim a story that has been written in the stars? Is there really life after Romeo… or could he be worth one more try?

Come along for the ride as the original Anne Hathaway takes on her husband William Shakespeare to remix his legendary play. As comedy meets tragedy, will Juliet get the ending she truly deserves? And most importantly, can their love survive this battle of wills?

Fabulously fresh and riotously funny, & Juliet explodes with dozens of pop anthems by legendary songwriter Max Martin, including … Baby One More Time, Since U Been Gone, Roar, It’s My Life, I Want It That Way, and Can’t Stop the Feeling! The show also includes the brand new song One More Try, written especially for the show by Max.

Brought to life by an award-winning creative team, this vibrant, colourful and timely musical is directed by Luke Sheppard (In the Heights, Rent and What’s New Pussycat?) with a story by David West Read (Netflix’s Schitt’s Creek), electrifying choreography from Jennifer Weber and stunning set design from Soutra Gilmour.

Max Martin and Tim Headington present & Juliet, which is produced by Martin Dodd, Tim Headington, Max Martin, Jenny Petersson and Theresa Steele Page.

Sunday 9 December 2018

Jack and the Beanstalk, Grand Opera House, Belfast | Review


Jack And The Beanstalk
Qdos Entertainment 
Grand Opera House, Belfast 
Reviewed on Tuesday 4th December 2018 by Damien Murray 
★★★★

Jack’s back!… and so is pantomime in all its traditional glory in this truly spectacular show that remains as magical as Jack’s famous beans … for, it really is the BeansTALK OF THE TOWN! 

The key to the success of any Panto is not only having all of the required elements, but achieving the right balance of its ingredients -staging, spectacle, performance, humour, music, choreography, magic, special effects, sound and lighting etc.,- to make it equally appealing and entertaining to all of its cross-generational audience… and this production has it all with balance finely tuned in all departments. 

However, the most challenging thing about this super slick production was how to give this annual treat a new direction in terms of returning to more traditional values without diminishing the hi-tech appeal and special effects that modern audiences have come to expect and appreciate. 

So, while the humour is more traditionally corny and the re-introduction of both a speciality act and some visual magic adds the degree of old time ‘variety’ lacking in so many current pantomimes, the visual impact of the show-stealing effects embraces more than ‘smoke and mirrors’ to keep the theatrical tricks as hi-tech as possible to impress even the most critical of today’s demanding audience. 

The simple trick of having the ever-present twinkling of lights incorporated into the star curtain on the surrounding set proscenium is most effective in ensuring that the magical feel of panto is always there. 

While the stunningly beautiful sets, lighting and costumes all play a big part in the overall success of this great team effort, the story, which is re-imagined and relocated to Belfast in true panto style with lots of popular local references and jibes, throws up great characters for all, especially the show’s four main principals. 


Now in her 29th year as the pantomime dame at this prestigious venue, May McFettridge (aka John Linehan) remains as popular as ever (in the role of Jack’s Mummy, Dame May Trot) as she effortlessly targets fellow cast members and audience alike with her quick-fire put-downs and, with the addition this year of a video camera, is in her element as she embarrasses her audience victims even more by projecting them onto an on-stage screen during her relentless banter. 

Although this idea brings audience participation to a new level, I must admit that the one type of participation I miss this year is May’s excellent encounters with very young children as she ‘interviews’ them on stage with hilarious, if unpredictable, results. 

As usual, her partner in crime is local actor and pantomime regular, Paddy Jenkins (as her long-suffering husband, Farmer Paddy Trot), who has become an expert at comedy timing and delivery over the years. 

Also big in the comedy stakes is former cruise comic, Rikki Jay (as their son and brother of the more ‘clued in’ Jack), who -with his simplistic one-liners and likeable character- proves a big hit with the children in the audience. 

However, following his outstanding performance in last year’s panto, the quick return of the multi award-winning, David Bedella (as the Giant’s villainous and evil henchman, Fleshcreep) is a masterstroke for the venue as there are few actors as good at being bad as Bedella when it comes to being the ultimate ‘baddie’… without being too scary for the little ones. 


This quartet is ably supported throughout by Joanna O’Hare’s Mother Nature, Georgia Lennon’s Princess Apricot, Michael Pickering’s Jack, an adult ensemble and talented young performers from the McMaster Stage School, while an added attraction is the speciality roller-skating act -Italian duo, Armando Ferriandino and Giovanna Manuela Mar- who bring skill and daring to the show as The Belfast Roller Rollers. 

Under Mark Dougherty’s musical direction, the small 5-piece orchestra work hard on the varied score to offer many musical highlights, including Justin Timberlake’s ever-popular Can’t Stop The Feeling, Talk To The Animals from Dr. Dolittle, an almost obligatory offering from The Greatest Showman, Michael Jackson’s Bad and Frank Sinatra’s My Way. 

With a tight hold on both direction and choreography, Andrew Wright ensures a memorable panto experience for all and while other highlights include the choreographed cow and other farmyard animals (with most realistic costuming), the novelty scene when the squashed Simon sings and dances, the tongue twister tales and the slapstick principal line routine, the show stealers are the appearance of the mighty Giant and that of May’s transportation to the top of the beanstalk, which, as the Act 1 finale, even puts Miss Saigon to shame in terms of theatrical special effects. 

Yes, traditional panto is back in Belfast with a bang (and I don’t just mean the pyrotechnics) and I am so glad that, on her first ever visit to a panto, one of my grandchildren could experience a gigantic spectacular of such quality as this really is Northern Ireland’s biggest and best panto. 

Jack and the Beanstalk runs at the Grand Opera House until Sun 13th January, 2019 

Friday 8 December 2017

Peter Pan (Pantomime), Grand Opera House, Belfast | Review


Peter Pan (Pantomime) 
Grand Opera House, Belfast 
Reviewed on Tuesday 5th December 2017 by Damien Murray 
★★★★

With over 70,000 tickets having been sold even before press night, Peter Pan is already set to become one of Belfast’s most successful pantomimes yet.

Staged amid visually attractive cut-out sets that transported the audience to a world of wonder in such locations as The Darlings’ nursery, Neverland, Crocodile Creek, on board a pirate ship and beneath the sea, this production had a lot to offer with a talking bra, some super soakers, a giant gorilla and jokes about a mermaid’s shell phone all proving popular with the young audience.

Boasting production values as high as its flying sequences, this impressive show was spectacular with its pyrotechnics and special effects such as a colossal crocodile that moved right out over the front seats of the stalls in the Act 1 finale and a scary 3D underwater journey on film (but, be warned, it is, perhaps, a tad too scary for smaller children as I learned from this, my grandchildren’s first pantomime visit).

With super sets, costumes, dance routines and lighting, this production had cross-generational appeal with the double entendres, political jibes and topical references keeping the adults happy, while the silly one-liners and slapstick comedy made the children laugh loudly throughout.

Celebrating 28 consecutive years as the pantomime dame at Belfast’s Grand Opera House, May McFettridge (aka John Linehan) again proved that he truly is the ‘Grande Dame’ of the local pantomime stage.


This year, playing May Smee, this seasoned dame appeared to go into auto-pilot mode each time he took to the stage as his quick-fire one-liners and audience put-downs now come as natural to him as wearing female clothing each December… they are both part and parcel of his annual residency at the prestigious theatre.

Aided by a strong support cast, his partner in crime was again local actor and regular pantomime performer, Paddy Jenkins (as Smee), who, despite his laid-back approach, always delivered with perfect timing in the comedy routines, while television soap star, Claire King, kept telly fans happy as Mimi the Magical Mermaid.

One of the stars of this production was Britain’s Got Talent impressionist, Paul Burling (as the ship’s entertainer, Starkey), who made a good impression on everyone (in more ways than one) with a wide range of voice impersonations of such famous and celebrated characters as Michael McIntyre, Harry Hill, Alan Carr, Popeye, Top Cat and The Simpsons.

However, the brightest star of this show was the multi award-winning, David Bedella, who’s demanding stage presence, precise diction and perfection of performance was such that he could play such a believable ‘baddie’ as Captain Hook, yet remain such an extremely lovable rogue to those who can appreciate his theatrical talents and skills.


All were joined by Mikey Jay-Heath as a flying Peter Pan, Hollie O’Donoghue as the rude, roller-skating Tinkerbell, Natalie Windsor as a commanding Tiger Lily and Kweeva Garvey as a likeable and popular Wendy, while talented young performers from the McMaster Stage School comprised the children’s ensemble with an amazingly good break dance from one tiny little boy.

From reworded and reworked pop songs like Ed Sheeran’s Shape Of You to show tunes like Cell Block Tango from Chicago and popular favourites like Blondie’s One Way Or Another, The Village Peoples’ In The Navy and Frank Sinatra’s My Way, the music was well-varied to suit all and, under Mark Dougherty’s musical direction, had a surprisingly big sound for such a small band.

It may be the festive season, but Christmas songs were, wisely, restricted here to a comic rendition of The Twelve Days Of Christmas (I say ‘wisely’ as I always think it must sound odd for audiences in the latter stages of a pantomime run to be singing about Christmas in a show that continues well into January).

On their first ever visit to a Grand Opera House pantomime, my grandchildren really enjoyed the experience… and there is no better test to prove that this big production is another big hit from the Grand Opera House!


Photo credit: Aaron McCracken

Sunday 24 September 2017

Mack and Mabel (LMTO), Hackney Empire | Review


Mack and Mabel
Hackney Empire
Reviewed on Saturday September 23rd 2017 by Olivia Mitchell
★★★★

The London Musical Theatre Orchestra (LMTO) have done it again. Another fantastic celebration of a beautiful score performed by a beautiful orchestra and a beautiful cast. It was just a whole lot of beautiful, okay! This time we were treated to the delights of Jerry Herman’s, Mack and Mabel which chronicles the story a young deli girl who miraculously ends up a film actress and falls in love and into a tumultuous relationship with her director, Mack Sennett who is so obsessed with making his next picture that he doesn't see what's right in front of him.

Opening the concert, Freddie Tapner (founder of the LMTO) explained that the music was going to speak for itself and he was so right. Having seen the show previously at the Chichester Festival Theatre I thought I knew what I was in for but seeing it so stripped back, I developed a new love and appreciation for Jerry Herman's stunning virtuosic moments and really realised what a stunning piece of work this is. 

I was lucky enough to be part of an LMTO sing-through and completely fell in love with the way Freddie conducts; making the players and singers feel comfortable whilst giving tonnes and tonnes of energy. His love of music and conducting is evident and, from watching the orchestra play with beaming smiles, obviously infectious. It was truly joyous to see so much excitement from the orchestra as they played, especially in the epic Hit 'Em On The Head instrumental break which is a maelstrom of astonishing musical moments. With no action on stage it's clear just how wonderful the music is as you could picture each movement the keystone cops would have been making without having to see a thing. With many shows cutting back on orchestra size and some even having recorded music, it's an absolute joy to be able to relish in the decadence of hearing a full orchestra in all their glory. 



Tiffany Graves was fabulous as Lottie Ames with her beautiful and powerful voice ringing out wonderfully and her facial expressions cracking the audience up! Her tap number in act 2 was certainly a stand out moment. I fell in love with Liam Tamne's voice every time he had a solo moment; so clear and lovely- I just wish we'd heard more! Will Arundell and Matt Harvey were great as the businessmen Kessel and Baumann, suitably dorky and humourous, especially in Hit 'Em On The Head, as was Jack Edwards as Fatty Arbuckle.

Taking the titular roles of Mack and Mabel we had David Bedella and Natasha J Barnes who both pulled them off expertly. David played the regretful, extravagant Mack with sincerity and full of glorious vocal moments, especially during the finale, I Promise You A Happy Ending. However, it was Natasha who completely stole the show with her utterly magnificent masterclass performance as the excitable, loved-up, Mabel who falls into darkness. Her rendition of Time Heals Everything physically gave me heart palpitations. Natasha took the ending up the octave which completely took my breath away and gained an instant mid-show standing ovation from the entire audience. It was a truly magnificent moment of musical theatre that I won't be forgetting soon. There aren't even words to describe how spectacular Natasha is; she's truly a gift from the musical theatre gods!



The LMTO chorus and dancers just like everything else, were fantastic. The hundreds of girls moment was a spectacle choreographed by Anthony Whiteman and the cherry on top of an exceptional production. I honestly can't fault anything.

Overall this was just an impeccable night of musical theatre and despite only being a concert performance, was one of the best shows I've seen in a while. The LMTO are going from strength to strength and I can't wait to see everything they tackle in the future. This performance of Mack and Mabel was a truly glorious presentation of a spectacular score with a completely and utterly faultless cast and orchestra. Sensational. 

Thursday 15 October 2015

In The Heights, King's Cross Theatre | Review


From the moment I stepped into the King's Cross theatre and was transported from the busyness of London rush hour to a bustling Subway station in New York, I knew this show was going to be something special. I'd heard the buzz since previews began and with all the hype around Hamilton I was expecting great things from the brainchild of Lin-Manuel Miranda, and oh boy, I was not let down at all!

In The Heights is set over the course of 3 days and centres on a small community living in Washington Heights in the Northern tip of Manhattan- a place where the doors are always open, the music is always flowing and theres always gossip to be heard. The community is full of the hopes and dreams of those trying to build a better life whilst keeping their traditions with them. In The Heights won four Tony awards in 2008, a Grammy Award and was also nominated for the 2009 Pulitzer Prize for Drama.

Miranda's mix of typical musical theatre melodies with a rap score perfectly creates an energy and story that you can't help but fall in love with. Combined with Drew McOnie's athletic, racy and hip-swivelling choreography the show has an urban salsa vibe which totally complements the West Side Story-esque plotline.

Each musical number is delivered impeccably by the stellar company and superb band. Sam MacKay's Usnavi tells the struggles of wanting to leave but needing to keeps his roots exquisitely; whilst Joe Aaron Reid's Benny combines both comedic and emotional scenes in a seemingly flawless way whilst interacting perfectly with the other characters namely Kevin (played by David Bedella) and Nina (played by Lily Frazer) both of whom's killer acting and vocals make every scene pop and flow. Jade Ewen's incredible belting skills are shown off in her portrayal of Vanessa and a special mention must go to Victoria Hamilton-Barritt who despite being heavily pregnant still manages to dance and sing like crazy! The whole company are harmonious and truly feel like the community they are portraying.

Luke Sheppard's production creates the perfect night out with an electrifying energy that will leave you wanting to salsa your way to the box office to book another night in Washington Heights.

***** 5 out of 5 stars