Showing posts sorted by date for query National Theatre. Sort by relevance Show all posts
Showing posts sorted by date for query National Theatre. Sort by relevance Show all posts
Thursday 22 February 2024
Hadestown at the Lyric Theatre REVIEW: A Soul-Stirring Journey to the Depths of Hell
Hadestown
Lyric Theatre
There are musicals that touch your soul and for me that’s Hadestown. I first saw the show in 2018, where I went in completely blind and came out gob smacked and awed. Tonight after the official West End opening night, I feel equally awed as well as inspired, moved, astounded, heartbroken and overjoyed. There really aren’t adjectives to describe how heartfelt and special this show is. Not only is it a piece of fantastic quality theatre but it’s also a poem, a concert, a celebration of life and humanity, an ode to music and above all, a love story.
Hadestown tells the tale of young Orpheus and Eurydice as their tales intertwine. It's a musical retelling of the ancient Greek myth of the duo and follows the journey of Orpheus as he descends into the underworld, determined to rescue his beloved Eurydice from the clutches of the charismatic but menacing Hades. Despite the various iterations and productions this musical has gone through, one constant is how scarily relevant the themes it explores feel in our modern world. Hades, ruler of the underworld and the mines, ostensibly grants "freedom" through employment while simultaneously confining his subjects behind a barrier. Why We Build The Wall is certainly one of the most pertinent songs of the production, its relevance hits all too close to home in the current world.
The musical borders the line between acting as "the world we live in, and the one we dream about", in thanks part to Rachel Hauck's set. Scaled down slightly from the National Theatre production, it still evokes Depression-era vibes and cleverly frames the story. Bradley King's lighting literally highlights some of the most astounding moments of the show, especially during Hades' peak moments, as well as casting shadows to create an almost cinematic feel; overall it's just an incredibly cohesive show that has a vibe and aesthetic that matches it so well.
This undefined world is perhaps best showcased by Anaïs Mitchell's incredible score which combines so many styles a creates such special storytelling. The intricate lyrics allow layers upon layers of emotions to form as Anaïs weaves a musical tapestry that is charming and delightful at times, but gritty and painful at others. Mitchell has truly crafted a musical masterpiece that transcends time and genre and creates a theatrical experience like no other.
At it's core this is a story about people, and the people who lead it are wonderful. As the headstrong Eurydice, Grace Hodgett Young is everything you could ask for in a leading lady, her calm is as strong as her passion and she fills every moment with charisma. There’s often mention of “stage presence” but it’s rare you see the phrase as outwardly displayed as with Grace who commands even the smallest of moments. Of course she’s also vocally dreamy, showcasing all layers of her voice and perfectly bringing the vocal grit that’s so necessary for the role. Her easy swagger and playfulness is a perfect balance to Orepheus' more nervous persona. Taking on the role of this heartstrong counterpart, Donal Finn is delightfully whimsical and charming. Donal's Orpheus truly comes into his own during act two when his passion for his partner and also his music are on full display and his voice becomes a beacon of hope cutting through the darkness of despair. It's utterly heartbreaking when we reach the expected conclusion, a testament to the emotion the cast pour out to get us to that point.
As the enigmatic Hermes, Melanie La Barrie is all parts wonderful, her presence commanding the stage with every word and gesture and bringing humour and gravitas in equal measure. Her performance weaves together the threads of myth and legend with an all knowing wisdom that seems to transcend time, she truly gives everything on stage and is a marvel to behold.
Hadestown is more than a musical—it's an experience, a testament to the enduring power of art to touch the very depths of our souls. It's a rare gem that shines brightly in the landscape of contemporary theatre, a reminder that sometimes, even in the darkest of times, there is still beauty to be found.
In the hallowed halls of the Lyric Theatre, you can bear witness to something truly extraordinary. Hadestown is a triumph in every sense of the word and it needs to be seen.
★★★★★
Reviewed on Wednesday 21st February 2024 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday 8 February 2024
War House to Embark on New UK Tour
The acclaimed War Horse production, adapted from Michael Morpurgo's beloved novel and originally directed by Marianne Elliott and Tom Morris, is set to embark on an extensive 18-month UK Tour starting from September 5, 2024, and continuing until 2026.
Opening at the New Wimbledon Theatre from September 5 to 14, the tour will then move to various venues including The Lowry in Salford (September 18 to 28), Mayflower Theatre in Southampton (October 8 to 19), The Marlowe in Canterbury (October 22 to November 2), Sunderland Empire (November 5 to 16), Theatre Royal Plymouth (November 26 to December 7), and New Theatre Oxford (December 10, 2024, to January 4, 2025), with additional dates and locations to be announced.
Led by Tom Morris and revival director Katie Henry, with redesigned sets by Rae Smith and additional music by Adrian Sutton, the production features puppetry by Basil Jones and Adrian Kohler, lighting design by Rob Casey, and movement choreography by Toby Sedgwick. Animation and projection design are by Nicol Scott, while John Tams provides musical contributions and Christopher Shutt manages sound design. Casting details are yet to be announced.
Having premiered at the National Theatre in 2007, War Horse has since captivated audiences worldwide, with productions spanning across continents. For more information and ticket bookings, visit WarHorseOnStage.com. The tour will also include visits to Theatre Nation Partner venues, such as The Lowry in Salford and Sunderland Empire, with assisted performances available throughout the run at each venue.
Friday 20 October 2023
Dear England at the Prince Edward Theatre review: An Ode to the Nation
Dear England
Prince Edward Theatre
It could be argued that James Graham is the master of creating works which capture the intricate fabric of contemporary Britain, and his most recent opening, Dear England does just that, emerging as a heartfelt, thought-provoking piece. This engaging production eloquently delves into British identity, the echoes of history, dreams for the future, and the nation's relationship to football.
Dear England artfully blends past and present, transporting audiences through time in a seamless and captivating manner. This storytelling technique offers a unique lens through which we can view the profound influence of history on our present. The play focusses on Gareth Southgate's journey as manager of the England football team, linking in his own personal history, as well as the histories of his team and England as a whole. It's a very cleverly done show which feels completely relevant, modern and necessary.
The characters, portrayed by a talented ensemble cast, come alive with vibrant, authentic performances. These characters represent a rich tapestry of contemporary Britain, showcasing immigrants, soldiers, activists, and politicians. Joseph Fiennes outstandingly leads the show as Gareth and helps to cultivate the entire cast's emotional depth, forging a genuine connection between the characters and the audience.
Es Devlin's set design is typically National Theatre and incredibly well done, seamlessly transporting us from one time to another. The use of multimedia elements, including videos, adds depth and texture to the storytelling. With each shift in the backdrop, the mood and ambiance evolve, underscoring the diversity and complexity of the themes explored.
Graham's writing is sharp and insightful, with sprinkles of humour throughout to balance the gravity of the themes. Dear England explores national identity, migration, patriotism, and the ever-relevant question of what it truly means to be British. The dialogue is simultaneously poetic and genuine, prompting the audience to reflect on their own connection to the nation.
It's fair to mention that the play occasionally teeters on the edge of trying a bit too hard, with the odd scene not being as impactful as you'd hope. Nevertheless, this is a small price to pay for a production that aims to encapsulate the very essence of a nation and overall Dear England is a touching and timely exploration of the British identity. It masterfully navigates the waters of history, politics, and human experience, leaving audiences with a deeper understanding of what defines their nation.
This production is a testament to the incredible power of theatre to mirror, challenge, and celebrate our shared story. With its compelling storytelling, exceptional cast, and innovative design, Dear England is a need-to-see performance, that hopefully will engage and resonate with both regular and not so regular theatregoers.
★★★★
Reviewed on Thursday 19th October 2023 by Olivia Mitchell
Photo Credit: Marc Brenner
{AD PR Invite- tickets gifted in exchange for honest review}
Monday 6 March 2023
London Theatre Week Extends! | ad
There's so much on offer, but our favourites would include:
Back To The Future
Bonnie and Clyde
Oklahoma
Matilda
London Box Office aim to include all West End shows as well as off-West End and fringe theatre so there's certain to be something for you!
The shows available include: Back to the Future: The Musical, Wicked, Disney's The Lion King, Disney's Frozen the Musical, TINA - The Tina Turner Musical, Dirty Dancing, Pretty Woman: The Musical, Newsies, OKLAHOMA!, Mamma Mia!, Crazy For You, Harry Potter and the Cursed Child, The Mousetrap, Matilda the Musical, Grease The Musical, To Kill a Mockingbird, The Book of Mormon, The Great British Bake Off, Groundhog Day, Peaky Blinders: The Rise, Only Fools and Horses The Musical, Sylvia, Jersey Boys, We Will Rock You, Bat Out of Hell, Witness for the Prosecution, The SpongeBob Musical, George Takei's Allegiance, The Choir of Man, Bonnie & Clyde, Heathers The Musical, Cinderella in-the-round, 42nd Street, Symphony of Sorrowful Songs - English National Opera, The Dead City - English National Opera, The Rocky Horror Show, The Walworth Farce, Windfall, Titus Andronicus, Brilliant Jerks and more...
Let us know what you decide to see!
Monday 20 February 2023
Bag Yourself a Bargain This London Theatre Week | ad
*this post contains sponsored content*
There's one thing better than the theatre, and that's the theatre at an affordable price. Well thanks to London Theatre week, you can snap up an absolute bargain. From the 20th February to the 5th March, tickets are on offer for £15, £25, £35 or £45 which means there's something for many budgets.
What's great about these offers is that you can see something which might otherwise but out of budget. Hugely popular shows such as Matilda, Book of Mormon, The Lion King and Wicked are available at these discounted prices, so it's the perfect time to check them off your list. London Box Office aim to include all West End shows so there's certain to be one for you, or even better, this is the ideal time to buy a gift for someone else without breaking the bank!
The shows available include: Back to the Future: The Musical, Wicked, Disney's The Lion King, Disney's Frozen the Musical, TINA - The Tina Turner Musical, Dirty Dancing, Pretty Woman: The Musical, Newsies, OKLAHOMA!, Mamma Mia!, Crazy For You, Harry Potter and the Cursed Child, The Mousetrap, Matilda the Musical, Grease The Musical, To Kill a Mockingbird, The Book of Mormon, The Great British Bake Off, Groundhog Day, Peaky Blinders: The Rise, Only Fools and Horses The Musical, Sylvia, Jersey Boys, We Will Rock You, Bat Out of Hell, Witness for the Prosecution, The SpongeBob Musical, George Takei's Allegiance, The Choir of Man, Bonnie & Clyde, Heathers The Musical, Cinderella in-the-round, 42nd Street, Symphony of Sorrowful Songs - English National Opera, The Dead City - English National Opera, The Rocky Horror Show, The Walworth Farce, Windfall, Titus Andronicus, Brilliant Jerks and more...
So Honey Whatcha Waiting For? Get searching and grab yourself a ticket for your favourite (or soon to be favourite) show. With tickets for over 60 shows with London Theatre Week, available for a limited time only, there really isn't a better time to book! Happy stagey days!
Thursday 2 February 2023
Full Tour Cast of Annie Revealed with Craig Revel Horwood, Paul O'Grady and Jodie Prenger and More
Michael Harrison and David Ian are delighted to announce full casting for the forthcoming UK and Ireland tour of their smash hit production of the musical ANNIE opening at Curve, Leicester on Saturday 25 February 2023. Joining the previously announced Craig Revel Horwood and Paul O’Grady, will be Scottish BAFTA winner Elaine C Smith and Jodie Prenger, all starring as ‘Miss Hannigan’ at various venues. Alongside them will be Alex Bourne as Oliver Warbucks, Paul French as Rooster, Amelia Adams as Grace Farrell, and Billie-Kay as Lily St. Regis. The title role of Annie is shared by Zoe Akinyosade, Harlie Barthram and Poppy Cunningham. They are joined by three teams of young performers who play the residents of Miss Hannigan’s orphanage.
Completing the cast will be Emily Barnett-Salter, Alistair Beattie, David Burrows, Sergi Ibanez, Rosalind James, Belle Kizzy Green, Ellie May-Wilson, Martin McCarthy, Phoebe Roberts, Lukin Simmonds, Matthew Sweet, Dawn Williams, and Tommy Wade-Smith.
*Full tour dates, including details of at which venues Craig Revel Horwood, Paul O’Grady, Elaine C Smith and Jodie Prenger star, are in the listings below. www.anniethemusicaltour.uk
Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom the Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act the Musical, as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.
BAFTA Award winning television, radio and stage star Paul O’Grady returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Elaine C Smith is perhaps best known for playing Mary Doll in the BBC comedy Rab C Nesbitt, as well as her role as Christine in the BBC sitcom Two Doors Down, for which she won a Scottish BAFTA for Best Actress in 2018. On stage she consistently headlines major pantomimes, having just finished her 13th year at Glasgow King’s Theatre. She played Cora in the original UK Tour and West End run of Calendar Girls as well as playing Susan Boyle in the UK tour of I Dreamed A Dream which she co-write with Alan McHugh.
Jodie Prenger recently joined ITV’s Coronation Street as Glenda Shuttleworth. Her West End credits include A Taste of Honey at the Trafalgar Studios. Oliver! at Theatre Royal Drury Lane, One Man Two Guvnors at Theatre Royal Haymarket and Spamalot at the Playhouse Theatre. On tour she has appeared in Abigail’s Party, Shirley Valentine, Annie, Fat Friends, Tell Me on A Sunday and Calamity Jane. On television she has appeared in the BBC’s Shakespeare & Hathaway, Years and Years, Casualty and Waterloo Road.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role both in the West End, Toronto and the UK Tour. His other theatre credits include Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and Lex Hogan in Eugenius! at The Other Palace. On film he can be seen in Sony Pictures’ Cinderella.
Paul French was most recently seen as TinMan/Hickory in The Wizard of Oz at Curve, Leicester. His other theatre credits include Kenickie in Grease at the Dominion Theatre and in the production’s UK Tour and Double J in Saturday Night Fever at the Peacock Theatre. On film he can be seen in Visualize Films’ Tomorrow Morning.
Amelia Adams has most recently been seen in the UK Tour of Friends! The Musical Parody. Her previous theatre credits include Lois Lane/Bianca in Kiss Me, Kate for Welsh National Opera, Mary Delgado in Jersey Boys at the Piccadilly Theatre and on tour, Martha Burelli in The Rat Pack at the Haymarket Theatre and on tour. She has also appeared in the UK Tour of Hairspray and Spamalot both in the West End and on tour.
Billie-Kay recently appeared as Angel in Anything Goes at the Barbican and its UK and Ireland tour. She has also appeared as Dale Tremont in Top Hat at The Mill at Sonning and in 42nd Street at Theatre Royal Drury Lane. On film she has appeared in Disney’s Dis-Enchanted and Beauty and the Beast, and Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
The producers of Annie cannot guarantee the appearance of any particular artist, which is always subject to illness and holidays.
Completing the cast will be Emily Barnett-Salter, Alistair Beattie, David Burrows, Sergi Ibanez, Rosalind James, Belle Kizzy Green, Ellie May-Wilson, Martin McCarthy, Phoebe Roberts, Lukin Simmonds, Matthew Sweet, Dawn Williams, and Tommy Wade-Smith.
*Full tour dates, including details of at which venues Craig Revel Horwood, Paul O’Grady, Elaine C Smith and Jodie Prenger star, are in the listings below. www.anniethemusicaltour.uk
Craig Revel Horwood is probably best known as a judge on all 20 series of BBC1’s Strictly Come Dancing. He returns to the part of Miss Hannigan having played the role to critical acclaim in this production in both the West End and on tour. His other West End Theatre credits include Munkustrap in Cats, Miss Saigon at the Theatre Royal, Drury Lane and Harry in Crazy for You at the Prince Edward Theatre. Craig directed and choreographed Strictly Ballroom the Musical which is currently touring the UK and Ireland, and the 2016/17 tour of Sister Act the Musical, as well as the Strictly Come Dancing Live tour. He also choreographed the film Paddington 2.
BAFTA Award winning television, radio and stage star Paul O’Grady returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Elaine C Smith is perhaps best known for playing Mary Doll in the BBC comedy Rab C Nesbitt, as well as her role as Christine in the BBC sitcom Two Doors Down, for which she won a Scottish BAFTA for Best Actress in 2018. On stage she consistently headlines major pantomimes, having just finished her 13th year at Glasgow King’s Theatre. She played Cora in the original UK Tour and West End run of Calendar Girls as well as playing Susan Boyle in the UK tour of I Dreamed A Dream which she co-write with Alan McHugh.
Jodie Prenger recently joined ITV’s Coronation Street as Glenda Shuttleworth. Her West End credits include A Taste of Honey at the Trafalgar Studios. Oliver! at Theatre Royal Drury Lane, One Man Two Guvnors at Theatre Royal Haymarket and Spamalot at the Playhouse Theatre. On tour she has appeared in Abigail’s Party, Shirley Valentine, Annie, Fat Friends, Tell Me on A Sunday and Calamity Jane. On television she has appeared in the BBC’s Shakespeare & Hathaway, Years and Years, Casualty and Waterloo Road.
Alex Bourne returns to Annie as Oliver Warbucks, having played the role both in the West End, Toronto and the UK Tour. His other theatre credits include Edna Turnblad in the UK Tour of Hairspray, Sam Carmichael in the UK Tour of Mamma Mia!, Khashoggi in We Will Rock You at the Dominion Theatre, Billy Flynn in Chicago at the Adelphi Theatre and Lex Hogan in Eugenius! at The Other Palace. On film he can be seen in Sony Pictures’ Cinderella.
Paul French was most recently seen as TinMan/Hickory in The Wizard of Oz at Curve, Leicester. His other theatre credits include Kenickie in Grease at the Dominion Theatre and in the production’s UK Tour and Double J in Saturday Night Fever at the Peacock Theatre. On film he can be seen in Visualize Films’ Tomorrow Morning.
Amelia Adams has most recently been seen in the UK Tour of Friends! The Musical Parody. Her previous theatre credits include Lois Lane/Bianca in Kiss Me, Kate for Welsh National Opera, Mary Delgado in Jersey Boys at the Piccadilly Theatre and on tour, Martha Burelli in The Rat Pack at the Haymarket Theatre and on tour. She has also appeared in the UK Tour of Hairspray and Spamalot both in the West End and on tour.
Billie-Kay recently appeared as Angel in Anything Goes at the Barbican and its UK and Ireland tour. She has also appeared as Dale Tremont in Top Hat at The Mill at Sonning and in 42nd Street at Theatre Royal Drury Lane. On film she has appeared in Disney’s Dis-Enchanted and Beauty and the Beast, and Sony Pictures’ Cinderella.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
The producers of Annie cannot guarantee the appearance of any particular artist, which is always subject to illness and holidays.
photo credit: Matt Crockett
Thursday 26 January 2023
The Ocean at the End of the Lane (Tour), New Victoria Theatre | Review
New Victoria Theatre
Reviewed on Wednesday 25th January 2023 by Olivia Mitchell
★★★★★
One of the most moving and stunning pieces of theatre, The Ocean at the End of the Lane is currently making its way around the UK on a tour that is truly a must see. Based on Neil Gaiman's book with the same name, the play is a complex story which deals with the concept of memories and how we carry them with us, as well as forgetting them. A visual and emotional masterpiece, it's an intriguing tale which has many magical realism elements that are transferred to stage so well by Joel Harwood's adaptation and Katy Rudd's expert direction.
The show was originally staged at the National Theatre and many of their trademark features and overall aesthetic are completely woven through. From the start you are immersed in a world which is dark but enticing. Fly Davis' stunning set really embodies those childhood memories of imagining what spookiness lies just out of sight. A minimalistic moss covered design provides the backdrop for some moments of pure magic, where chiffon becomes an ocean and clever stagecraft movement (Steven Hoggett) is transformed into out of this world beings. There's also great contrast between the father's home which never truly feels complete since his wife passed and the nightmare world which is dark and loud.
The fantastical elements of the show feel strangely natural while still being awe-inspiring. Jamie Harrison's illusions are so well pulled off and are authentically magical and the balance of magic and genuine heartfelt moments is perfect.
Perpetually moving, the play perfectly captures grief and the painful fear that your lost loved one is being replaced and erased. These emotions are intensely portrayed not only through the action on stage, but via Jherek Bischoff's imposing and enchanting music which is utterly cinematic and combined with Ian Dickinson's sound design- so powerful. Alongside Paule Constable's lighting design, the whole thing is a masterclass is storytelling and theatricality.
As well as all of this, the cast of outstanding performers imbue every moment with sincerity and vulnerability. Keir Ogilvy really taps into the innocence of childhood whilst bringing to life the Boy who is struggling with the pain of losing his mother. As his Sis Laurie Ogden is fantastic at portraying her need to be loved and noticed through her's, and her families pain. Charlie Brooks fulfils that need as the chilling, omnipresent Ursula who is really what nightmares are made of. Trevor Fox as Dad has some really emotionally challenging scenes which are brought to life incredibly well. Finty Williams, Millie Hikasa and Kemi-Bo Jacobs have excellent chemistry as the Hempstock trio, and individually give wonderfully strong performances as well as coming together to provide some humourous moments. The rest of the ensemble work as one entity to bring the whole world to life with complete fluidity and power.
A spectacle of a show in the most quiet and beautiful way, The Ocean at the End of the Lane embodies everything that makes theatre so magical and is moving in all the best ways.
{AD PR Invite- tickets gifted in exchange for honest review}
Tuesday 10 January 2023
Aimee Lou Wood and John McCrea to Join Cast of Cabaret
Cabaret at the Kit Kat Club in London’s West End are delighted to announce that BAFTA Award winner Aimee Lou Wood will play ‘Sally Bowles’, Olivier Award nominee John McCrea will play ‘The Emcee’ and Nathan Ives-Moiba will play ‘Cliff Bradshaw’ from 13 February 2022 until 27 May 2023. kitkat.club
Aimee Lou Wood said today “I’ve wanted to be Sally Bowles since I was around 10 so this is really special. I’m unbelievably excited and having the greatest time in rehearsals. The production is so wonderful and I feel honoured to be stepping into this beautiful team of people!”
John McCrea said today “I’m thrilled to be taking on the iconic role of the Emcee in this ground-breaking production of Cabaret. It’s an absolute honour to be joining this amazing company of artists.”
Aimee Lou Wood is best known for her portrayal of Aimee Gibbs in all three series of the Netflix series Sex Education for which she won the BAFTA Award for Best Female Comedy Performance. She recently starred in the critically acclaimed film Living opposite Bill Nighy. Her stage credits include Sonya in Uncle Vanya at the Harold Pinter Theatre in the West End and Downstate at the National Theatre.
John McCrea created the role of Jamie New in the smash hit musical Everybody’s Talking About Jamie at both the Sheffield Crucible Theatre and the West End’s Apollo Theatre. For his performance he was nominated for the Olivier Award for Best Actor in a Leading Role in a Musical and won the Most Promising Newcomer at the Critics Circle Theatre Awards, the WhatsOnStage Award for Best Actor in a Leading role in a Musical and the UK Theatre Award for Best Musical Performer. He recently appeared as Max in Daddy at the Almeida Theatre and his film credits include Artie in the hit Disney film, Cruella.
Nathan Ives-Moiba’s many theatre credits include As You Like It at the National Theatre, My Children My Africa at Trafalgar Studios, Our Country’s Good for Out of Joint, A Midsummer Night’s Dream, And Did Those Feet and Tull, all at the Octagon Theatre. For his performance in Tull, Nathan was nominated for the Best Newcomer at the Manchester Theatre Awards.
At certain performances, the role of Sally Bowles will be played by Emily Benjamin.
As a member of the original cast of this production, Emily has been a swing and understudy to the role of Sally Bowles since the show opened. Her other West End theatre credits include Bat Out of Hell The Musical at the London Coliseum and The Lion, the Witch and the Wardrobe at the Bridge Theatre.
The final performance for Callum Scott Howells as ‘The Emcee’ and Madeline Brewer as ‘Sally Bowles’ will be Saturday 28 January 2023. Sid Sagar’s final performance as ‘Cliff Bradshaw’ will be Saturday 11 February 2023.
Between 30 January 2023 – 11 February 2023 the role of ‘The Emcee’ will be played by Matthew Gent and the role of ‘Sally Bowles’ will be played by Emily Benjamin. At certain performances the role of ‘Sally Bowles’ will be played by Sally Frith.
Matthew Gent’s West End theatre credits include Sweeney Todd at the Adelphi Theatre, The Phantom of the Opera at Her Majesty’s Theatre and Les Misérables at the Queen’s Theatre. His other theatre credits include Rags at the Park Theatre, The Queen of the Mist at Charing Cross Theatre, The Water Babies at Leicester Curve, The Carnival of the Animals at Riverside Studios and Taboo at Brixton Club House.
The cast also includes Vivien Parry as ‘Fraulein Schneider’, Richard Katz as ‘Herr Schultz’, Danny Mahoney as ‘Ernst Ludwig’ and Michelle Bishop as ‘Fraulein Kost’. The cast is completed by Gabriela Benedetti, Charles Croysdill, Laura Delany, Sally Frith, Matthew Gent, Ying Ue Li, Ela Lisondra, Chris O’Mara, Grant Neal, Hicaro Nicolai, Adam Taylor, Toby Turpin, Patrick Wilden and Sophie Maria Wojna.
The Prologue Company currently includes Rachel Benson, Ami Benton, Laura Braid, Reuben Greeph, James Hastings, Samantha Ho, Emma Holt, Liz Kamille, Andrew Linnie, Aine McLoughlin and Callum Sterling.
This unique production of Cabaret opened in December 2021 to critical and audience acclaim, widely praised as the ultimate theatrical experience. In April 2022 the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history. The production has also won three prestigious Critics Circle Awards and most recently the Evening Standard Theatre Award for Best Design for designer Tom Scutt.
One of the most successful musicals of all time Cabaret features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.
Cabaret is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision is by Jennifer Whyte and musical direction is by Ben Ferguson with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.
Cabaret at the Kit Kat Club is produced by Ambassador Theatre Group Productions and Underbelly.
Tuesday 1 November 2022
The ENO presents the UK premiere & operatic adaptation of the festive favourite film, It’s a Wonderful Life
This November, opening the festive season at the London Coliseum, the English National Opera (ENO) presents the highly anticipated UK premiere of It’s a Wonderful Life. Composed by Jake Heggie in 2016 with the libretto by Gene Scheer, this is an operatic adaptation of the 1946 Frank Capra Christmas classic film, sung in English.
A blended tale of fantasy and drama loosely based on Charles Dickens’s A Christmas Carol, It’s a Wonderful Life tells the story of George Bailey, a humble man of humble origins in a humble small town. Having sacrificed many of his own dreams to help others around him, George is driven to breakdown, only to be shown by his guardian angel how his life enriches his community in ways he could never imagine.
It’s a Wonderful Life is a family friendly opera, perfect for first-time opera goers of all ages. It is an all-singing, all-dancing tale of hope and redemption sprinkled with a smattering of festive magic. Tickets start from £10 for everyone, under 21s can access free tickets to all performances, and under 35s can sign up for huge discounts.
Jake Heggie is an American composer influenced by multiple styles; he often infuses gospel, jazz, and pop elements into his work making his operas accessible to audiences while challenging their understanding of what a traditional opera can be. Heggie is known as one of modern operas most exciting contemporary composers, describing himself as primarily concerned with exploring character. With George Bailey at the centre of It’s a Wonderful Life, it’s clear to see why this nuanced story appealed to Heggie where the banker’s emotional turmoil is at the heart of the story and key to the music.
Jake Heggie says:
‘I am over the moon that the ENO has assembled such an extraordinary cast and creative team for this fabulous new production at the London Coliseum. When creating It’s a Wonderful Life, Gene Scheer and I wanted to give audiences a memorable holiday experience, packed with lyrical singing, big ensembles, and the powerful emotions that opera can explore like no other art form. This show brings people together - especially during this festive season - and London audiences of all ages are in for a magical, moving, and astonishing evening of music and dance.’
Directing and Choreographing It’s a Wonderful Life is Aletta Collins, making her ENO directorial debut. A former Associate Artist at the Royal Opera House, Collin’s has directed and choreographed for opera houses across the UK and internationally, as well as theatres in the West End and Off-West End. Collins recently choreographed the BAFTA Award-winning British coming-of-age drama film, Belfast (2021), written and directed by Kenneth Branagh.
Conducting the award-winning ENO Orchestra and making her ENO debut in the pit is regular collaborator Nicole Paiement. Paiement has gained an international reputation for conducting contemporary works. She has served as the Artistic Director of the BluePrint Project at the San Francisco Conservatory of Music where she has commissioned, premiered, and recorded works for many living American composers; and she is the founder and Artistic Director of San Francisco's Opera Parallèle where she has conducted many new productions.
‘Opera’s coolest soprano’ (The New York Times Magazine) and Australian-American actress Danielle de Niese makes her ENO operatic debut performing the role of Clara, George’s guardian angel. De Niese regularly appears on the world’s most prestigious opera and concert stages, and is a prolific recording artist and TV personality. She recently starred in the feature film of Poulenc’s one-women opera, La Voix Humaine, alongside Sir Antonio Pappano which premiered in Spring 2022 on BBC Two along with international cinematic release.
American tenor Frederick Ballentine will be making his role debut as George Bailey. He made his ENO debut as Sportin’ Life in Porgy and Bess and is returning to the ENO after performing as a soloist in the concert staging of Seven Last Words where he was ‘strong-voiced and ardent’ (Seen and Heard International), and performing the role of Nick in The Handmaid’s Tale during the 2021/22 Season. He will be making his second role debut this 2022/23 Season performing the role of Loge in Wagner’s The Rhinegold, for Richard Jones’ Ring Cycle.
British soprano Jennifer France returns to the ENO for her role debut as Mary Hatch Bailey. France made her ENO debut in Orphée during the 2019/20 Season. She recently performed as a soloist in concert for In This Brief Moment at Symphony Hall, Birmingham with the City of Birmingham Symphony Orchestra where she ‘stole the show’ with ‘her impeccable diction and laser precision’ (The Guardian). France has performed at many of the leading opera houses both in the UK and internationally, including Bayerische Staatsoper Munich, Aix-en-Provence Festival and the Royal Opera House.
American bass baritone Donovan Singletary will be performing the role of Harry Bailey. Singletary is a recent graduate of the Lindemann Young Artist Programme and he has been praised by Opera News for his ‘bright baritone’. He is returning to the ENO following performance singing Jake in the 2018 staging of Porgy and Bess. Joining him on stage is South African soprano Segomotso Shupinyaneng who is making her ENO debut performing the role of Harry’s wife, Helen Bailey.
Tenor Roland Samm, born in Trinidad and Tobago, is performing the role of Uncle Billy Bailey. Returning to the London Coliseum, he previously made his ENO debut in the 2018 production of Porgy and Bess in the role of Peter.
Bringing her ‘expressive’ and ‘sumptuous voice’ (The Guardian) to the role of Mother Bailey is British soprano Gweneth Ann Rand. Rand is currently an Associate Artist at Wigmore Hall and she was previously a Vilar Young Artist at the Royal Opera House. She is returning to the ENO following her performance as Serena in the ENO’s 2018 staging of Porgy and Bess, the title role in Aida, the Mother in Hansel & Gretel at Regent's Park Open Air Theatre, and the Hen/Innkeeper’s Wife in 2022 production of The Cunning Little Vixen.
Making his ENO debut is American baritone Michael Mayes as Mr Potter. Mayes made an explosive international debut singing the role of Joseph de Rocher in Heggie’s Dead Man Walking to international acclaim in 2018 for Teatro Real and at The Barbican in London. He has performed for many of the leading opera houses both in the UK and internationally, including Houston Grand Opera House, Staatsoper Stuttgart, Seattle Opera, and Boston Lyric Opera.
As the Angel Quartet, British soprano Keri Fuge, who is making her ENO debut, will be joined on stage by current ENO Harewood Artists; German mezzo-soprano Idunnu Münch, South African tenor Zwakele Tshabalala, and British bass-baritone Ossian Huskinson. British baritone and former ENO Harewood Artist Alex Otterburn will be returning to the London Coliseum in the role of Ernie. The stellar cast will be joined on stage by the ENO Chorus.
Giles Cadle is the Set Designer, Gabrielle Dalton is the Costume Designer, Andreas Fuchs is the Lighting Designer, and Nick Lidster is the Sound Designer.
It’s a Wonderful Life opens on Friday 25 November for 10 performances: Nov 25, 29, 30 and Dec 3, 7, 9 at 19.30. Nov 27 and Dec 3, 10 at 15.00.
A fully staged Relaxed Performance will be on Wednesday 7 December at 11.00.
British Sign Language performance: Wednesday 7 December, 19.30.
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