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Thursday 21 April 2022

The Cher Show (Tour), Leicester Curve | Review


The Cher Show (Tour)
Leicester Curve
Reviewed on Friday 15th April 2022 by Hope Priddle
★★★★★

After a brief run on Broadway, the beat goes on for The Cher Show as a new reimagined version, directed by Arlene Phillips, opened at the Leicester Curve this week. Spanning an astounding six decades and featuring iconic hits such as Believe and Strong Enough, The Cher Show charts the early life of Cherilyn Sarkissian and her spectacular rise to fame. In this uplifting girl-powered production, join Cher as she fights to take charge of her career in a man’s world, leaving a legacy as a trailblazing feminist icon.

This is not an ordinary jukebox bio-musical – there is not just one Cher, but three; Baby, Lady and Star. Though the book (Rick Elice) relies heavily on exposition and is not always successful in divorcing itself entirely from a tired format, it is sharp and quick-witted. By introducing us to three protagonists who interrupt each other with sassy asides and sage advice, an otherwise linear narrative suddenly feels reactive and full of endless possibilities. The Chers reclaim, retell and revise their own story.

The cast is led by a powerhouse trio of women in the role of Cher. Millie O’Connell (Baby) Danielle Steers (Lady) and Debbie Kurup (Star) give natural and nuanced performances as the legendary diva. Cher has become so mythologised into the annals of pop history, it is easy to forget she is a real person. Not once however do our leading ladies stray into the territory of camp or hammy caricature.

As the eldest Cher, Debbie Kurup grounds the trio with her wisdom and worldliness. Kurup’s vocals are truly outstanding, but it is in her ability to reveal the vulnerability, resilience and tenderness behind the icon, that her true power lies. Danielle Steers plays Lady, tasked with negotiating Cher’s fraught personal and professional relationship with husband Sonny Bono. Steers is infamous for her rich contralto vocals and as such, unapologetically devours the score. Steers’ commanding rendition of Bang Bang is a total showstopper, proving that Cher was a role she was born to play. Millie O’Connell is a delight as lovestruck dreamer Baby and is a comedic genius to boot – her repartee with Lucas Rush (Sonny) during The Sonny and Cher Comedy Hour is a complete joy to watch.


It would be easy to assume that Baby and Lady take a secondary role to Star, that they perhaps function as her warm-up act. However, they shine brightly on their own. Baby and Lady are no less accomplished, no less complete than Star. What is so wonderful about The Cher Show is that although their shared story is a linear one, the Chers exist in parallel timelines, supporting rather than replacing one another along their journey.

Lucas Rush gives a tremendous performance as Cher’s first husband and lifelong artistic partner, Sonny Bono. Not only does Rush masterfully imitate Sonny’s nasally vocal inflections, they skilfully embrace his smarmy unlikability and genuine charisma. Though Sonny exhibits exploitative and explosive behaviour at the height of their career, he remains an enduring confidante and champion. We are also introduced to a host of influential characters – Cher’s Mother (Tori Scott), Bob Mackie (Jake Mitchell), and her subsequent husbands Gregg Allman (Sam Ferriday) and Robert Camilleti (Ferriday) - all of whom are treated with affection and goodwill. The ensemble are strong and deliver Oti Mabuse’s dynamic choreography with pizazz.

Tom Roger’s set design is simple yet highly effective, transporting the audience backstage by flanking the wings with monochrome rails and wig-laden shelves. The costumes retain all the glamour of Bob Mackie’s original wardrobe, but his departure from the creative team has clearly allowed designer Gabriella Slade the freedom to take a more inspired approach. Slade’s gladiatorial designs fully embody the fierce spirit of Cher and transform our leading ladies into goddess warrior queens.

The Cher Show is a universally uplifting story of a woman’s fight for independence in an industry driven by men. While it unashamedly embraces all the flair and flamboyance that fans will most certainly expect, as a respectful homage to a much-loved icon, it retains real heart. If I could turn back time, I would watch it all over again.

photo credit: Pamela Raith
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Tuesday 29 March 2022

Tom Felton, Mandip Gill, Beatriz Romilly and Sam Swainsbury to Join Cast of 2:22 A Ghost Story


Producer Runaway Entertainment is delighted to announce casting news for the transfer of Danny Robins’ edge-of-your-seat, supernatural thriller 2:22 - A Ghost Story for a third season to the Criterion Theatre. The run at the Criterion follows two record breaking runs at the Noel Coward and Gielgud Theatres and three Olivier Nominations including Best New Play as well as winning the Best New Play category in the Whatsonstage awards.
 
Tom Felton will play the role of Sam. Having made his breakthrough as ‘Draco Malfoy’ in the Harry Potter series of films, Tom has gone on to star in award winning films The Rise of the Planet of the Apes, A United Kingdom, and Belle, television series The Flash, Netflix filmThe Forgotten Battle and was most recently seen on screen in SKY’s Save the Cinema. Coming up, he will star in Independent Film Burial.
Tom Felton said: “I’m incredibly excited about getting to play in 2:22. I first started acting age 6 in a local theatre group and I haven’t trodden the boards since. I love the play, I’ve taken all my family to see it & everyone leaves with a smile. I’m thrilled to be part of this summers cast and will have a lot of fun with it.”
Mandip Gill will play Jenny. Mandip played companion Yasmin Khan in series 11, 12 and 13 of Doctor Who opposite Jodie Whittaker. She also played Phoebe McQueen in Hollyoaks and has appeared in Cuckoo, Doctors, The Good Karma Hospital and Casualty.
 
Mandip Gill said: “I am thrilled to be making my West End debut as part of the new cast of an already successful show. I am equally scared of ghosts so this should be fun” 
 
Beatriz Romilly will play the role of Lauren. Beatriz was born in Spain. She is best known for her work in Assassin's Creed Valhalla, Final Fantasy XIV: Shadowbringersand War of the Worlds. She has also appeared on stage at Chichester Festival Theatre, Shakespeare’s Globe and The Bush Theatre.
 
Beatriz Romilly said: "I’m delighted to be returning to London and joining the new 2:22 company. I feel very lucky to be working with Matthew Dunster again, and getting a chance to dive into Danny Robins nail biting script with such a wonderful creative team and cast.”
 
Sam Swainsbury will play Ben. Sam is known best for his roles as Jason in the BBC sitcom Mum and Rowan in the 2019 film Fisherman's Friends. In 2015, Swainsbury featured in the film Thor: The Dark World, In 2017, Swainsbury appeared on Fearless, In 2019, he appeared in Victoria as Dr John Snow.
 
Sam Swainsbury said: “It's such a privilege to be joining the 2:22 company! I was really drawn to the script. It's engaging, funny, exciting and poignant, but… there was something else. Something I can’t put my finger on. Drawing me to it. Almost like… like a voice. From another place. That’s normal, right?!”
 
Matthew Dunster said: “Planning our 3rd iteration of 2:22has been just as exciting as the first two; working with Danny and my Co-Director, Isabel Mar, and our brilliant casting directors to re-imagine the characters once more. It’s such a privilege to do that and to know audiences are excited about ‘who’s next?’  We have a wonderful cast that once again is loaded with surprise, excitement and West End Debuts. People love watching this show and we love making it.”
 
After breaking all box office records for a new play at the Noel Coward Theatre; described as the theatre event of the year and the hottest ticket in the West End; and after weeks of sell-out performances, the show transferred for another record breaking run at the Gielgud Theatre. The run there ended in February and a third season, this time to the Criterion Theatre, was immediately announced. 
 
2.22 - A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?
 
“There’s something in our house. I hear it every night, at the same time.”
 
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.
 
Danny Robins said "I'm overjoyed to have a cast of this outrageously exciting calibre for our new season. Tom and Mandip are stellar talents who I have admired for years, Sam is awesome and will be known and loved by comedy fans and Beatriz is someone I know is bursting with ability and on the cusp of stardom. Each new cast unlocks new surprises and thrills for me as a writer, each actor bringing their own distinctive take to the play. If you haven't seen 2:22 before, there's never been a better reason to come, if you have seen it, come back and see it again with this exciting line-up!” 
 
2:22 - A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, co-direction by Isabel Marr, casting by Jessica Ronane CDG and illusions by Chris Fisher.
 
2:22 - A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 
 
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Wednesday 16 February 2022

2.22 A Ghost Story Announces 17 Week Transfer to Criterion Theatre


Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 - A Ghost Story will transfer for a second time to The Criterion Theatre where it will play a 17.5 week season opening on 7 May 2022. The production began its life last summer at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher completed its run on 12 February 2022. The cast for the transfer to the Criterion Theatre will be announced soon. 
 
“A great spine-tingling night out!” Evening Standard
 
The West End theatre event of the year will return this summer by popular demand.
 
“It’s happening again...”
 
Following two record-breaking seasons at the Noel Coward and Gielgud Theatre with a host of acclaimed star performances, this edge-of-your-seat, supernatural thriller returns once again for a brand-new limited engagement at the Criterion Theatre.
 
2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster. Look out for the clues to unlock the mystery in this brilliantly funny and intriguing play; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…
 
Danny Robins said: "I'm so damn thrilled that the 2:22 - A Ghost Story journey gets to continue. The response to the play so far has blown me away. Since I was a kid I've been obsessed by ghost stories, and I'm so glad that theatre audiences seem to feel the same way. My aim, writing the play, was to create a fun, spooky, thought-provoking night out, a show that leaves you buzzing, on the edge of your seat, questioning what you believe. If you haven't seen it yet, I hope you'll come down to the Criterion and see what you believe... if you dare!”
 
Matthew Dunster said: "This feels like an extraordinary journey for a new play. It sounds like an obvious thing to say, but even in this crazy time we’re living through, people really seem to want to see this show. Sell out runs with two exciting and surprising casts at two West End theatres; and now a run to look forward to at The Criterion where there’ll be more more surprises and more excitement. I just feel terrifically proud of Danny and all the team. And really grateful to the Up For It audiences who have been coming along.”
 
What do you believe? And do you dare discover the truth?
 
“THERE’S SOMETHING IN OUR HOUSE. I HEAR IT EVERY NIGHT, AT THE SAME TIME"
 
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they’re going to stay up... until 2:22... and then they’ll know.
 
“A slick, chilling, romp of a play” The Guardian
 
2:22 - A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Jessica Ronane CDG and illusions by Chris Fisher, co-direction by Isabel Marr.
 
2:22 - A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 
photo credit: Helen Murray
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Thursday 10 February 2022

Blood Brothers (Tour), New Wimbledon Theatre | Review


Blood Brothers (Tour)
New Wimbledon Theatre
Reviewed on Wednesday 9th February 2022
★★★★

Willy Russell's award winning musical Blood Brothers has been wowing audiences around the world for forty years and is also one of the few shows to have run for over 10,000 performances in the West End. It's a regular feature of the theatre touring circuit and 2022 is no exception as it once again hosts Bill Kenwright's brilliant production.

The emotive and dramatic show tells the story of Mrs Johnstone, a single mother in Liverpool who is bringing up a large family alone and has just found out she'll have more mouths to feed as she's expecting twins. She really can't afford this, so in a snap decision she gives away one son to a wealthy lady who cannot have children of her own. They make a deal that the brothers will never know of one another and won't be part of each others lives. But when the two boys meet accidentally aged seven, they form an instant connection becoming 'Blood Brothers'. The story follows them across the years as we see how economic background and nature vs nurture affects the pair; and how it leads to their eventual tragic demise which opens the show.

I think what makes this such an enduring show is a mixture of both its observations on human nature/privilege and the way it swings effortlessly from comedy to tragedy and takes you along on the journey so well. At times it can be melodramatic but it's balanced so well with deep genuine pain that you can see past it.


The show's cast are exceptional, with the core performers showing depth and growth and the rest of the cast nimbly juggling a variety of roles and supporting the action brilliantly. As the son Mrs Johnstone keeps, Sean Jones is outstanding as Mickey. His character development is masterful as he goes from a cheeky seven year old, to a teen learning to love (and dance), all the way to an adult struggling with addiction. Every second is believable and engaging and he's just fantastic. As the other brother, Eddie, Joel Benedict is charming and sweet. His character isn't as multi-layered as Mickey but he does a great job with what he's given and the pair bounce off of one another like real childhood friends. Carly Burns also gives a touching performance as the final addition to the friendship trio. Her portrayal as Linda is nicely nuanced and it's heartbreaking to see her role in the tragedy.

As Mrs Johnstone, the boys' birth mother, Niki Evans is unparalleled. Her portrayal is the definition of honest and the vocals which accompany it are magnificent. Her acting is incredibly natural and you don't doubt for a second that she's really experiencing the highs and extreme lows of her life. Niki's performance of Tell Me It's Not True is astoundingly moving and has the audience raring to give their final standing ovation.

The show is dated in parts but it kind of adds to the charm and history of it all. It's an exhausting journey of a musical but well worth a watch. Pack some tissues and get yourself along to your local theatre to witness the magic and misery that is Blood Brothers.

Blood Brothers plays at the New Wimbledon Theatre until 12th February 2022 and then continues its tour
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Tuesday 8 February 2022

Evelyn Hoskins on Returning to the Diner Post Pandemic | Waitress the Musical | Interview

I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!

Waitress, based on the 2007 movie of the same title, follows the story of Jenna, a woman who longs to escape the life she's trapped in. Alongside her friends and her handsome new gynaecologist, she begins to step towards the dreams she's always harboured. Since taking the West End by storm, Waitress is now delighting audiences across the country. Evelyn Hoskins plays Jenna's lovable friend Dawn who's looking for love of her own. Evelyn spoke to us about taking the show on the road and how the pandemic changed her portrayal...


If you were telling someone who knows nothing about Waitress why they should see it, how would you sum it up?

It’s the most joyous, hilarious, heartwarming, life-affirming, beautiful show you could possibly see, especially if you’re a woman!


Is there a song in Waitress that makes you particularly emotional?

Definitely A Soft Place to Land. It’s the song before they sort of glow-up Dawn a little bit before her date and it’s just beautiful. The harmonies are stunning.


You’ve had a kind of different experience with Dawn because you played her pre and post pandemic. So, what was it like originally creating your version of Dawn and do you think she’s changed since you’ve come back to the show?

She’s definitely changed. I saw the original Broadway cast of Waitress in 2016 so I saw Kimiko Glenn play Dawn and Kimiko and I both played a role called Thea in Spring Awakening so we’re obviously similar castings anyway; but I think I was definitely influenced by Kimiko’s portrayal because that was my first impression of Dawn. 


My portrayal has changed since the pandemic, for sure. I mean, more so because I just feel older if I’m honest; and also I'm more grateful to be here. I was grateful anyway because it’s such a dream show and job of mine but now I feel super grateful.


When you were doing the show at the Adelphi, were you already booked to do the tour?

No I wasn’t. The resident director had kind of asked me if I’d be interested but at the time I was due to do six months in the West End so I was a bit like “I don’t know, maybe, I’ll see how I’m feeling” cause obviously a year is a long time. And then when the show closed in the West End, the producers were very kind and asked all of us if we’d be interested and I was like, yeah, because I didn’t feel done with her at all. I’d barely touched the surface so I’m so glad to be doing it.


How was it when you reopened, did you find it emotional?

Yep! I think I was more emotional on the first day of rehearsals when we did a full read and sing through first thing on the Monday morning. Obviously I hadn’t heard the music since the last show so that was super emotional. Also putting on the little waitress dress again!


You know, when we closed it was so uncertain and the tour got pushed back and pushed back, and we didn’t know if it would actually ever happen so it’s so good to be back!




So far, have you noticed any differences between touring the show and playing on the West End?

It’s very interesting to see the different reactions, I don’t know if I could pinpoint what they are though but Northern audiences have been PHENOMENAL, very very loud!


We’re in Bristol this week which I’m super excited about because it’s near my home town and it’ll be great to get to Woking and then we’re in Bromley so we’ll have some more London audiences. But it’s just a really great show to take around the country and make accessible to people.


Definitely, and here compared to the US, people don’t know the film as much so it’s more of a word of mouth show which must be lovely...


Yeah! Honestly I was really surprised at the reaction. We’re sold out most Saturdays and the audiences have been incredible. We also have some very loyal fans and we often see familiar faces most weeks. I think once you’ve seen the show, if it connects with you, you do get a little bit hooked on it!


That’s so lovely, I’m coming to see it with my mum who’s very excited!


I think it’s a phenomenal show to see with your mum! Bring the women in your life because it’s got such girl power.


Leading on nicely, I wanted to know why you think having a female led show like Waitress tour the country is so important?

The themes of the show are so important. There’s the domestic abuse theme which really strengthens the message and importance of female friendship and female support.


I also think it’s important that we start recognising that the other relationships in our life are just as important as the romantic ones and that’s something this show does.

What’s your best piece of advice for aspiring performers?

Believe in yourself. That sounds super cliched but it’s true. My personal experience is not like a traditional one. I’m from quite a working class background. I didn’t grow up with lots of money which obviously would help you if you wanna go to drama school. But, I didn’t do drama school.


So it’s really about the hustle. Just hustle hard. If you really like an actor’s performance, find out who they’re represented by. Reach out to them and say I really like your client, I feel like I would be a good fit for you too. Same with casting directors, if you really enjoy a show and think it would be something you could do, write to them, tell them how much you like the show, just put yourself out there. And don’t feel like drama school is the be all and end all!


Thank you so much to Evelyn for taking the time to chat to me. Waitress runs at the New Victoria Theatre, Woking from 14th to 19th February before continuing its tour.


Interview by Olivia Mitchell, Editor


photo credit: Johan Persson

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Friday 21 January 2022

Beauty and the Beast to Play at the London Palladium


Disney’s beloved Olivier Award-winning stage musical Beauty and the Beast - re-imagined and re-designed in a completely new production staged by members of the original award-winning creative team - will come to London in Summer 2022, as part of its UK & Ireland Tour.

Performances will begin at the London Palladium from Friday 24 June 2022, for a strictly limited season until Saturday 17 September.

Tickets will go on-sale for London at 10am on Friday 28 January. Customers can sign up to be amongst the first to access tickets and can find all tour dates and information at BeautyAndTheBeastMusical.co.uk

The UK tour opened at Bristol Hippodrome on 25 August 2021 and is currently playing at the Sunderland Empire.  

Spectacular new designs and state-of-the-art technology fuse with the classic story, as the timeless romantic tale is brought to life on stage like never before, with all the charm and elegance audiences expect from Belle and her Beast.

Courtney Stapleton and Shaq Taylor will play the iconic lead roles. Courtney’s credits include Dear Evan Hansen, Six, Les Misérables and Bat Out of Hell, and Shaq is best known for performing in Girl from the North Country, Hadestown and Hex.

Gavin Lee (Mary Poppins, SpongeBob SquarePants, the Broadway Musical, Les Misérables) plays Lumiere and Tom Senior (The Pirates of Penzance, Eugenius!) is Gaston.

Sam Bailey (The X-Factor winner 2013, Blood Brothers) plays the legendary role of Mrs Potts, with Nigel Richards (The Phantom of the Opera, Les Misérables) as Cogsworth.

Martin Ball (Les Misérables, Wicked, Top Hat) takes the role of Maurice, Samantha Bingley (Martha In The Secret Garden) is Wardrobe, Emma Caffrey (Curtains, 42nd Street, Funny Girl) is Babette and Louis Stockil (Miss Saigon, Mamma Mia!) plays Le Fou.

The full company is completed with Richard Astbury, Sarah Benbelaid, Jake Bishop, Pamela Blair, Liam Buckland, Jasmine Davis, Matthew Dawkins, Autumn Draper, Daisy Edwards, Alyn Hawke, George Hinson, Jennifer Louise Jones, Brontë Lavine, Thomas-Lee Kidd, David McIntosh, Aimee Moore, Sam Murphy, Ashley-Jordon Packer, Emily Squibb, Grace Swaby, India Thornton and Rhys West.

Beauty and the Beast is reimagined in startling new designs which use the latest theatrical innovations. Among the many new features is an exuberant tap dance within the legendary production number Be Our Guest, created expressly for Gavin Lee, recognised as one of the great tappers on either side of the Atlantic.

Olivier Award nominee Matt West directs and choreographs this new production, leading a team that includes composer Alan Menken, lyricist Tim Rice, bookwriter Linda Woolverton, scenic designer Stan Meyer, costume designer Ann Hould-Ward and lighting designer Natasha Katz. The team collectively received five Tony® nominations and a win for Hould-Ward’s costume design, when Disney first debuted Beauty and the Beast on Broadway 28 years ago.

The structure and tone of the story and score – as conceived for the 1991 film by its executive producer and lyricist Howard Ashman with a continued evolution for the Broadway adaptation three years later – made Disney history. Only once before – in Menken and Ashman’s previous film musical The Little Mermaid – had a Disney film been structured like a stage musical where the songs are integral to plot and characterisation rather than only ornamental or digressions. This Menken/Ashman innovation is credited with the 1990’s Disney animation renaissance that went on to create such film classics as Aladdin, The Lion King and Hunchback of Notre Dame and helped re-introduce the book musical form to popular culture.

This new Beauty, while retaining the lush period sound of the Oscar-winning and Tony®-nominated score - which brought classics including Be Our Guest and Beauty and the Beast, as well as Change in Me, added to the musical production in 1998 and retained thereafter - has new dance arrangements by David Chase, allowing original choreographer Matt West to re-visit his work. Longtime Menken collaborators Michael Kosarin and Danny Troob are musical supervisor/vocal arranger and orchestrator, respectively.

Completing the design team, Tony®-winner John Shivers is sound designer, Darryl Maloney is the video and projections designer, and David H. Lawrence is hair designer. Jim Steinmeyer is the illusions designer, as he was on the original 1994 production. Casting for the production is by Pippa Ailion Casting.

The original West End production of Beauty and the Beast opened at the Dominion Theatre in April 1997, playing over 1100 performances to more than two million people. It won the 1998 Olivier Award for Best Musical and enjoyed a hugely successful UK & Ireland tour in 2001.

Based on the 1991 film – the first animated feature ever nominated for an Oscar for Best Picture – Beauty and the Beast opened on Broadway in April 1994 and garnered nine Tony nominations and one win. It played for more than 13 years on Broadway, closing in 2007. It remains to this day – 28 years after it opened – among the top 10 longest running shows in Broadway history. The 2017 live-action retelling of the animated classic quickly became the highest grossing live action film musical of all time, a record only beaten by The Lion King live-action release in 2019.

Beauty and the Beast is produced by Disney Theatrical Productions, under the supervision of Thomas Schumacher.

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Friday 19 November 2021

My Fair Lady to Open at the London Coliseum


New York’s Lincoln Center Theater’s critically acclaimed and multi award-winning production of Lerner & Loewe’s much loved MY FAIR LADY will transfer to the London Coliseum for a limited summer engagement in what will be the first major West End revival of the show for 21 years. The season comes as part of the ongoing celebrated tradition of summer musicals at the London Coliseum. The perfect way to celebrate London’s theatre scene as it blossoms once more after the pandemic. Performances begin on 7 May 2022 with an opening night on 18 May 2022.

Tickets will go on sale to the general public on 23 November 2021 at 10am. For the latest news and to be amongst the first to access tickets please sign up to the mailing list at www.myfairladymusical.co.uk 

Directed by Bartlett Sher, this sublime production, which premiered in the spring of 2018 at Lincoln Center’s Vivian Beaumont Theater, was the winner of the Tony Award for Best Costume Design,  5 Outer Critics’ Circle Awards including Best Musical Revival, the Drama League Award for Outstanding Musical Revival, and the Drama Desk Awards for Best Musical Revival and Costume Design. The London production will feature the English National Opera’s award-winning Orchestra playing Frederick Loewe’s ravishing score.

Bartlett Sher said: “Getting a chance to revisit Shaw's extraordinary story of class and privilege in a new age, and especially for London audiences, is a rare and special event.  And I am also thrilled to be back at the ENO and the Coliseum, a perfect space for this epic musical.”

“Lerner and Loewe’s My Fair Lady has returned to Broadway in a smashing new production from Bartlett Sher (The Sound of Music, The King and I).”
The Guardian

“Lavish revival of Lerner and Loewe’s 1956 masterwork…”
The Washington Post

My Fair Lady tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady”. But who is really being transformed?

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, MY FAIR LADY boasts a score including the classic songs “I Could Have Danced All Night,” “Get Me to the Church on Time,” “Wouldn’t It Be Loverly,” “On the Street Where You Live,” “The Rain in Spain,” and “I’ve Grown Accustomed to Her Face.” 

“Thrilling! Glorious and better than it ever was! A marvellous and transformative revival.”
New York Times

Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion, Lerner & Loewe’s MY FAIR LADY premiered on Broadway in March 1956, winning 6 Tony Awards including Best Musical, and becoming the longest-running musical in Broadway history at the time. Following this success, the production transferred to London in 1958, where it played in the West End for five and a half years. 

MY FAIR LADY has seen many notable revivals and adaptations, including the acclaimed 1964 film starring Audrey Hepburn and Rex Harrison, which won eight Academy Awards, including Best Picture. Most recently on the London stage, Cameron Mackintosh’s 2001 revival at Theatre Royal Drury Lane won three Olivier Awards, and later toured across the UK and Ireland in 2005.

James L. Nederlander, Jamie Wilson, Hunter Arnold, Playful Productions and the English National Opera present the Lincoln Center Theater production of Lerner & Loewe’s MY FAIR LADY at the London Coliseum, with sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Donald Holder, sound by Marc Salzberg, original musical arrangements by Robert Russell Bennett and Phil Lang, and dance arrangements by Trude Rittmann. 

Full casting for the London production will be announced in due course.

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Saturday 3 October 2020

The Theatre Channel, Episode One | Review


Innovation is coursing through the theatre community, as new ideas and ways to spread the joy of performance are brought to life everyday. One of these ways is the new brainchild of The Theatre Café and Adam Blanshay Productions: The Theatre Channel.

The channel is a series of musical episodes which celebrate the all-singing, all-dancing joy of theatre as well as showcasing fantastic performers and the café itself. Each episode is roughly half an hour long and features a different group of stage stars, as well as the Café Four (Alyn Hawke, Emily Langham, Sadie-Jean Shirley and Alex Woodward) who appear in each episode as a sort of omnipresent group of musical theatre muses. The performers are encouraged to perform songs or roles they've not previously had the chance to, which leads to an eclectic episode of musical excellence.

The first episode opens with the café four performing the very fitting Coffee in a Cardboard Cup, in which they use pretty much the entirety of the  café to showcase their vocal, dance and acting skills; they're definitely a talented bunch! From then Tarinn Callender takes us on a soulful journey with On Broadway and Lucie Jones serves her stunning, clear-as-glass vocals with a brilliant rendition of Maybe This Time. Amongst an abundance of flowers, Carrie Hope Fletcher and Oliver Ormson bring the classic duet, Suddenly Seymour to life brilliantly. Jodie Steele takes things up an octave (and a level) as she gives a gender-switched version of Heaven on Their Minds from the roof of the cafe, which oozes sass and strength. Rounding off the episode, Matt Henry is smooth and oh so stirring with Let It Sing from Violet and Jenna Russell is completely excellent in every way with Sondheim's Ladies Who Lunch.


Whilst of course the performances are uniformly wonderful, it's the production value which really makes this series worth the hype. Ben Hewis' outstanding videography is sleek, high quality and just beautifully shot; and alongside Bill Deamer's choreography-which is astoundingly bold for happening in such a small space- the whole thing feels much more cinematic than any of the online theatrical offerings so far.

The creative team clearly have a strong vision and there's no doubt that each episode is going to be a step bigger and bolder. With themed episodes in the works including the upcoming Halloween episode, there are sure to be surprises galore. With everything from the vocals to the finished product being recorded on the premises, this really is a celebration of not only theatre and performance, but the Theatre Café itself where the arts still has the space to thrive, even when performances themselves are few and far between.

With a great team behind it, this series is a treat for those missing theatre and a gem of an online offering. Once purchased for £12 you have unlimited access to the episode so you can relive the stagey goodness time and time again. So grab your laptop and take yourself on a virtual trip to the theatre.

★★★★★


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Saturday 19 September 2020

Pippin, Garden Theatre | Review


Pippin
Garden Theatre, Vauxhall
Reviewed on Friday 18th September 2020 by Olivia Mitchell 
★★★★

After six months of a world with no in person theatre, it feels almost foreign to see a stage in front of you with real life performers, performing real life music, but ever so slowly it's becoming the norm again. Well, the new, socially distanced norm.

The Garden Theatre in Vauxhall are paving the way for the reopening and reconfiguring of venues as one of the first to put on productions in this post-lockdown world. The latest in their programme being Stephen Schwartz's Pippin; the tale of a boy trying to prove he's extraordinary as he finds his place in the world. A show which often excels by involving the audience could be a strange option given the regulations, but the cast do an outstanding job of making you feels as though you're getting a personal performance and that you're part of the story, without being too close. The team of "players" who are often shown as circus performers, are in this production, a hippie tribe who are telling the tale of young Pippin. Together they weave a story of drama and excitement which feels truly uplifting and joyous during these unpredictable times. 

Thanks to Steven Dexter's Direction, this is a production which highlights all the wonderful parts of fringe theatre and Nick Winston's choreography is overwhelming in all the best ways. Bursting from all nooks and crannies every movement feels both precise and free and it's amazing how much power has been fit into such a small space. Plus, the way so many dance styles (including wonderful homages to Bob Fosse) flow into one another, is truly sensational to experience.

The title role is taken on expertly by Ryan Anderson who relentlessly showcases his brilliant vocals and outstanding dance ability, whilst making Pippin a multi-faceted, endearing, earnest and infuriating character. His renditions of Corner of The Sky and the motif versions which are consequently peppered throughout are beautiful and controlled oh so well.

Pippin's glamourous, manipulative "normal" step-mother is played excellently by Joanne Clifton who also takes on the role of the sweet and sassy Grandmother, Berthe. Each moment of Clifton's stage time is completely electrifying. Whether she's ad-libbing hilariously or leading the audience in a singalong she finds a way to completely draw the audience in.


It would be shameful to not mention the rest of the cast who bubble with energy throughout. Harry Francis is playfully enjoyable as the self-obsessed bother Lewis and sweet Theo who longs for a father figure and also provides vocals which stand out due to their exceptional power and mastery. As Charlemagne Dan Krikler is dominant and impressive and his Gilbert and Sullivan-esque solo is a right treat; he leaves you wanting more from him once his individual moments end . Tsemaye-Bob Egbeis takes on the role of the Leading Player with ease and freedom. Her vocals soaring above the sounds of passing busses and her movement around the stage oozing authority. Completing the cast, Tanisha-Mae Brown thrives in the intimate moments of the show and is in beautiful contrast to the more high-octane, over the top moments of the story.

The only downside to this production is the sometimes questionable approach to social distancing. While the staff are brilliant and it appears lots of measures have been put in place such as temperature checks, table service, copious amounts of hand sanitizer and social distancing before the show, the actual auditorium is somewhat cramped. Seats are very close together which it does feel strange when everything else is so organised. Whilst the audience does only seat 50, it would perhaps be better to have even fewer seats for the moment.

Despite this, the terrific cast of triple threats make this bittersweet, upbeat and consistently enjoyable musical a must see (covid permitting, of course). There's magic to do and the Garden Theatre are certainly doing the most they can in these crazy circumstances to do it.

Photos by Bonnie Britain Photography
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