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Friday 23 February 2024

Just For One Day at the Old Vic REVIEW: Pitch Perfect Peformances


Just For One Day: The Live Aid Musical
The Old Vic

Written by John O'Farrell, Just For One Day transports audiences back to 1985, to the historic Live Aid concert held simultaneously at Wembley Stadium and JFK Stadium. Through the eyes of various characters, including musicians, organisers, and fans, the musical captures the spirit of unity and hope that defined this iconic event. Against the backdrop of global issues and personal struggles, the show celebrates the power of music to inspire change and bring people together.

With direction by Luke Sheppard, the musical is a poignant homage to the legendary Live Aid concert, offering a nostalgic journey through one of music's most iconic moments. While the musical may not reach the heights of the original event, it nonetheless succeeds in capturing its essence and paying tribute to the artists and activists who made it possible. It's definitely a musical that can appeal to and appease a wide range of audiences; as someone who wasn't alive during the original concert, I completely felt the importance and excitement that surrounded it, whilst my mum who regaled her story of watching the concert on a tiny screen in Cyprus during her honeymoon, wholly felt the nostalgia and related in a different way.

The strength of Just For One Day lies in its stellar cast, who deliver powerful performances that breathe life into the characters they portray. Craig Els leads the show as Bob Geldof and does a stellar job, bringing a brilliant amount of humour but also a sense of gravitas when discussing the atrocities of the Ethiopian famine which put the whole thing in motion.

Danielle Steers shines every moment, bringing her usual astoundingly soulful vocals, whilst Jack Shalloo is a complete standout as Midge and Abiona Omonua is charming as Amara. At this performance Margaret Thatcher was played by Kerry Enright who is absolutely fantastic, providing some of the most hilarious and well characterised moments of the show. Vocally this is a cacophony of powerhouses, with everyone providing killer moments but special mention goes to Olly Dobson and Collette Guitart who really shine, I wish they got more solo moments! Rhys Wilkinson also brings fantastic characterisation to all of the roles he plays.

Unsurprisingly, the musical's soundtrack is another highlight, featuring an array of classic hits from the 1980s that have audiences tapping their feet and singing along. Accompanied by a talented live band, the music transports viewers back in time, evoking the same sense of excitement and camaraderie that defined the original Live Aid concert.

Where the show doesn't quite work is with it's book. The production takes a deliberate approach to steer clear of hero worship towards Geldof, opting instead to spotlight the unsung heroes who contributed behind the scenes. However, while the inclusion of fictionalised narratives aims to showcase the efforts of everyday individuals, these characters often come across as shallow and their dialogue occasionally falls into clichƩd one-liners. The sentiment is lovely, but it's not hugely impactful. However, the way music is woven into these stories is really admirable; songs aren't just shoehorned in, they're used to develop the stories being told and even seem to take on new meaning in the context of the show.

Another aspect which falls flat is the actual trauma which prompted the concert. There are some attempts at highlighting the pain and horrors of the famine but it feels a bit sanitised and brushed over, so as not to detract from the feel-good feeling the show pushes. Of course no one wants to fetishise the suffering of others, but in omitting a lot of the horrors, it doesn't allow the show to have quite as strong of an emotional impact.

Visually, this show is a feast for the eyes, with dynamic staging (Soutra Gilmour) and vibrant costumes (Fay Fullerton) that capture the spirit of the 1980s. Creative use of multimedia elements (Andrzej Goulding) and striking lighting (Howard Hudson) further enhances the experience, immersing audiences in the sights and sounds of the era. This is a show that really lends itself to touring and could certainly thrive and develop in that capacity, it will be interesting to follow where it goes after this initial run.

Just For One Day may not be without its flaws, but it's a heartfelt tribute to Live Aid and its message of hope and solidarity make it a worthy addition to the stage. For fans of 1980s music and those who fondly remember the original concert, this musical is sure to strike a chord.

★★★
Reviewed on Thursday 22nd February 2024 by Olivia
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

Saturday 17 February 2024

The Addams Family Concert at the London Palladium REVIEW | A Kooky Show with a Killer Cast


The Addams Family in Concert
London Palladium 

Since premiering in the UK in 2017, The Addams Family has been somewhat of a regular feature on our theatre scene with a number of tours that garnered great reviews and a fanbase who couldn't help but be charmed by the kooky family. This week, the London Palladium housed the latest iteration with three concert versions of the show that told the wacky, romantic tale so many have grown to adore.

Witnessing their daughter Wednesday fall in love with a "normal" boy, the Addams family finds themselves grappling with the challenge of acceptance. In an effort to bridge the gap, Wednesday takes it upon herself to arrange a dinner party, inviting both families to come together. What unfolds is a delightful blend of hidden secrets, eccentricity, and a whirlwind of kooky chaos, showcasing the unique charm and humour of the Addams family universe.

As is the case with many "concert" versions, this was really an almost fully staged production, complete with costumes, sets,  choreography and more. These sort of shows are always a real testament to the hard work of the entire team both onstage and backstage, to put together such sleek, well-rounded performances, with extremely limited rehearsal time.

This was a wonderfully sleek production, framed by Ben Cracknell's fantastically striking lighting and Diego Pitarch's suitably outlandish set and colour matched costumes. Taking most of the elements from the touring production, the whole concert embodied the vibes of the unconventional Addams family, highlighting the important parts of the storyline and making the whole thing feel much more elevated than a traditional concert. Having not had a permanent home, the show has had to create a design that fits within the confines of moving around the country every week so I do think if it were to find a permanent home in the West End, it could really lean into the lavish grandeur of the Addams Family, and perhaps bring Central Park to life a bit more, to really step things up and give it the wow factor.

In terms of casting this was a star studded affair. Ramin Karimloo took on the role of Gomez Addams, the suave protective father who just wants to do right by his family; giving a performance that was nothing short of wonderful. With hilarious line delivery and of course those smooth, powerful vocals we all know and love, Ramin showcased a hilarious side that I'd love to see more of. We must also mention the collective audience gasp when he took his blazer off, if you know, you know! As his partner in crime, Michelle Visage made Morticia Addams her own. Whilst her performance wasn't always the most exciting, with the dialogue being a little one note (even for Morticia), her look and the way she carried herself was perfect for the role. Just Around the Corner was a really brilliant theatrical moment and I think given time, Michelle could really develop and refine her Morticia. 

As the love struck teens, Wednesday and Lucas, Chumisa Dornford-May and Ryan Kopel were wonderfully paired. Having only recently graduated Chumisa already has an impressive resume and it's certainly set to expand, given her absolutely out of this world vocals. She not only hit every note perfectly but her tone and diction were noticeably brilliant and everything sounded so healthy, I can't wait to see her succeed and shine! The role of Lucas isn't particularly developed but Ryan did a wonderful job of bringing him to life and created some lovely moments. Another stand out was Kara Lane who astounded as mother Alice Beineke, giving vocals that pretty much blew the roof off of the London Palladium. Sam Buttery was charming as Uncle Fester, Nicholas McLean a great addition as Pugsley and Dickon Gough a wonderful dose of comedy. The rest of the ensemble brought the other characters and ancestors to life really well and helped form the world of Addams.

Book wise I do think this is a show with flaws and the pacing isn't always perfect but it has heart, charm and a number of earworms that make it a really easy watch that you go back to again and again. 

It's not the most sophisticated piece of theatre but, The Addams Family in Concert was a ghoulishly delightful experience. With outstanding performances, this concert truly captured the essence of the Addams Family legacy. Whether you were a die-hard fan or new to the Addams universe, this concert provided a spooky, kooky night of fun and paved the way for the show to continue enrapturing audiences.

★★★
Reviewed on Tuesday 13th February by Olivia
Photo Credit: Pamela Raith

{AD PR Invite- tickets gifted in exchange for honest review}

Thursday 8 February 2024

Kathy and Stella Solve A Murder! transfers to the West End



Francesca Moody Productions, Kater Gordon, Wessex Grove and Fiery Angel are delighted to announce that award-winning smash-hit murder mystery musical Kathy and Stella Solve A Murder! will transfer to the Ambassadors Theatre in the West End for a strictly limited season from 25 May - 14 September after thrilling audiences in Edinburgh, Bristol and Manchester. Tickets are now on-sale at www.kathyandstella.com with 5000 under £25 and a ticket lottery to be announced. 

BrontƩ BarbƩ and Rebekah Hinds will reprise their roles as Kathy and Stella alongside Imelda Warren-Green who will once again play Erica. Further casting is to be announced.

Originally brought to the stage by Francesca Moody Productions and Kater Gordon Kathy and Stella Solve A Murder! won Musical Theatre Review’s Best Musical Award at the Edinburgh Festival 2022. The production reunites the writing and musical talents of Jon Brittain - Book and Lyrics / Co-Director and Matthew Floyd Jones - Music and Lyrics who previously collaborated on the critically acclaimed, Fringe First award-winning A Super Happy Story (About Feeling Super Sad). Fabian Aloise Co-Directs and Choreographs.

BFFs Kathy and Stella host Hull's least successful true crime podcast. When their favourite author is killed they are thrust into a thrilling whodunnit of their own!

This big-hearted, laugh out loud musical follows the unlikely crime-fighting duo as they put their friendship on the line to become part of the story. Can they crack the case, (and become global podcast superstars) before the killer strikes again…?

Tuesday 28 November 2023

Pretty Woman on Tour at the New Victoria Theatre Review: A Perfect Night Out


Pretty Woman (Tour) 
New Victoria Theatre 

A night of laughter; this sexy, fun and wonderfully performed musical grabs attention from the off! 

Based on the famous 1990 film, the show tells the story of Vivian, a prostitute falling on hard times in Beverly Hills. By pure chance, she catches the attention of a Billionaire, Edward. Their instant connection prompts Edward to offer residence to Vivian, in exchange for her services for one week whilst he stays at the famously opulent Beverly Wilshire Hotel. Both are certain that no feelings could grow during this business deal. It seems they are both to be proved wrong…

The leading role of Vivian Ward was of course made famous by Julia Roberts. Needless to say, this iconic role is a hard one to fill. Amber Davies, who gained public attention with her 2017 Love Island win plays the role with brilliance and proves she's much more than a reality star. Her acting, singing and dancing is on point, a true triple threat! Whilst delivering iconic lines from the movie, Amber makes the role her own and creates a charming character who the audience root for. 

Oliver Savile portrays the role of Edward Lewis excellently, which is no surprise considering his extensive theatre experience! Edward’s closed-off attitude and need to hold everyone at arms length, slowly wavers as Vivian wins his affection. The strong chemistry between Amber and Oliver is more than apparent, especially in the few raunchy moments throughout the show. It's a pleasure to see them act together. 

Natalie Paris, who plays Vivian’s best friend Kit De Luca is a true standout with the most incredible vocal range! A continual scene stealer, her ‘Rock and Roll’ style is effortless, and she brings the witty character to life superbly.  The rest of the killer ensemble do a fantastic job of keeping energy high with their multiple dance numbers and general presence. 

With music Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton and direction and choreography Jerry Mitchell, the magic of the show is there from the start, and stays throughout. Pretty Woman on tour is a fantastic screen to stage adaptation that has all the moments the audience know and love from the smash hit film, with extra theatrical additions to make it an utterly engaging experience.

The overall design of the show fits the era and flavour of the musical well. The use of bright background lighting (Kenneth Posner and Philip S. Rosenberg) during song and dance numbers keep the overall feeling of the show light and fun. Equally Tom Rodgers's costume design really represents the story well; of course the iconic red ballgown from the movie makes its appearance alongside a number of other fun costumes. David Rockwell's set is simple but effective- one minute you are looking at dingy Hollywood street corner, the next you are in the Penthouse suite of the Beverly Wilshire! 

Overall, the lightheartedness of the story and the fantastic talent onstage makes for a  perfect, adult-only night out. I highly recommend a trip to Hollywood via Woking! 

★★★★★ 
Reviewed on Monday 27th November 2023 by Grace Dickinson
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

He Sang to Me by Casey Tyler book review: A Delightfully Cheesy Ode to Broadway Romance


He Sang to Me by Casey Tyler
Self Published: 3rd October 2023 by Truelove Publishing


Casey Tyler's debut novel, He Sang to Me is a book that unabashedly caters to the delulu girlies, and as a self-proclaimed member of that tribe, I found myself both cringing and grinning through its pages. This 320 page tale, is reminiscent of a sweet and charming fanfic; intertwining the enchanting worlds of Broadway and romance – two of this reader's, favourite things.

The narrative unfolds amidst the hustle and bustle of New York City, and the author's vivid descriptions and location name drops skilfully bring the city to life. As well as this the pages are dotted with stagey references that act like hidden treasures for theatre enthusiasts like myself. The book really evokes the frenetic energy of the theatre district and certainly sparked my desire to hop on a flight back to New York to explore every corner of the city.

He Sang to Me follows Sunday Truelove, an aspiring actress who moves to New York to pursue her dreams. Within moments she wins tickets to the hottest show on Broadway and whilst she's there has a magical encounter with the leading man and famous British actor, Tyler Axel. From here the two enter a fairytale romance and discover whether they're truly meant to be.

Honestly, it's as cheesy as it sounds and I kind of loved it. There are all the classic tropes, from being spotted by paparazzi to caring for the sick partner and in a way it's pretty iconic. On the other hand, it's pretty basic. The characters aren't particularly developed, Sunday has extreme 'not like other girls' energy which is a little grating and the book, at times, tips into self-indulgence and lacks a grounded narrative. Despite the characters being in their late twenties and thirties, their personalities and emotional journeys comes across quite immature and lean towards a younger audience. It's clear that a bit more editing and development could add a layer of realism to their characterisations. Some of the British aspects were also inaccurate and took me out of the world a little but these are definitely things that could be tweaked and edited for future prints. Nevertheless, the book shines in capturing the essence swooping romance and is a sweet stagey story, with some charming moments.


There are elements of the characters that I truly enjoyed such as Sunday's bright eyed optimism and Tyler's love for his family and his craft. I know I would fall for an ex-Fiyero with a killer voice, although in my experience they're never quite as unproblematic as Tyler! 

The rest of the characters, while somewhat idealised, form a found family that's lovely to discover. The friendships and relationships are sprinkled with relatable moments, creating a sense of nostalgia for those who have ever dreamt of having a dreamy friend group.

The musical theatre aspects of the story are really fun but I do think it would be interesting to include more of the backstage aspect of Broadway. With both of the leads being so heavily ingrained in the world, it would be easy to explore but a lot of the plot points surrounding it are quite surface level and because of the idealised world they are living in, the challenging realities of the Broadway business don't get a light shone on them. I definitely think this is a story that could benefit from a sprinkle of grit to elevate it to the next level.

Casey clearly has a love and talent for writing and whilst I found the initial chapters a bit heavy-handed with unnecessary descriptions, the writing blooms and improves throughout and it's quite wonderful that she's has taken the plunge to write and self publish the story, I'll certainly be keeping an eye our for future (hopefully stagey) treats.

In a nutshell, He Sang to Me offers a quick and enjoyable escape for fans of theatre, celebrity/normal dating dynamics, and the allure of found family tropes. While it may not be a polished piece of literature, its endearing charm, lively New York setting, and relatable theatrical moments make it a worthwhile indulgence for those in need of a cosy break from reality.

★★★
Reviewed by Olivia

Follow Casey to keep up with her writing journey

{AD PR product- book gifted by author}

Thursday 16 November 2023

SuperYou! the Musical in Concert at the Lyric Theatre Review: Potential to be Otherworldly


SuperYou! the Musical in Concert
Lyric Theatre 

Having made its UK debut performance at MusicalCon in October 2022, where it was an audience hit, SuperYou went on to do two days of workshop performances in London last year and last night had its West End premiere concert performance. With music, lyrics and book by Lourds Lane, the show tells the story of Katie White, a comic book author whose superheroines aid her in navigating through grief, discovering self-love, and embracing the strength of her own voice.

After being lucky enough to catch one of the workshop performances, I was incredibly excited to follow the development of this show and see how it grows and evolves over its various iterations. Whilst this concert version didn't quite live up to the expectations I'd built up in my head, it did have a number of stand out moments and showcased the potential of this beautifully heartfelt musical, and hopefully paved the way for future outings.

What I love about this show is how much passion and care has clearly gone into telling the tale of embracing your differences and being true to yourself. The energy is next level throughout and the performances are so earnest you can't help be charmed by it all.

Musically there's an array of styles, from rock songs to country ballads, all of which are performed with vigour and power, just as you'd expect in a show about superheroes. Leading the gang, SuperLu-cie Jones once again soars, delivering larynx lifting vocals with ease, sincerity and heart. Her shining voice matched with greatly witty and endearing characterisations once again cement her as a star of musical theatre. As her brother and fellow comic enthusiast, Matty, Jonty Peach gives a wonderful performance, I only wish we got more chance to see and hear him. His chemistry with young Katie (gloriously played by Aaliyah Monk) is really lovely and the pair create a convincing back story to root the show.

Completing the hero squad are Joni Ayton-Kent as Seven, Sharon Ballard as Blast, Lourds Lane as Rise and Jenny O'Leary as Ima-Mazing, who all give strong, well characterised performances. The roles themselves are quite stereotyped and not hugely well-rounded but they're performed well and bring some killer vocals. Luke Brady as Jay is really engaging and gets to really soar vocally in act two.

Choreography is a big part of this show, with Maddy Brennan (Mom) and Will Bozier (MiRoar) communicating almost solely through JoAnn M. Hunter's choreographed dance/movement, to great effect. The concert setting doesn't quite allow the movement to soar as it would in a full production but it's certainly a great way to tell the story and is quite striking at times. I do feel that it sometimes covers for a lack of character development, especially with the Mom who is pretty one dimensional but there's a lot of promise and a number of ways for the movement to elevate the storytelling. 

There were also a few balancing issues, with the vocals sometimes being overpowered by music, so crucial lyrics were lost. Also, the setup of music stands across the stage meant the audience were physically disconnected from the action. Moments when it really shone were when these were stepped in front of, such as the closing of act one. Of course, this is a show put on with a week of rehearsal so a lot of issues can be forgiven but it would be great to see and hear the musical in it's full, fine-tuned glory.

Whilst the musical owes a lot to social media, having achieved huge popularity on tiktok during lockdown, something about the social media portrayal in the show doesn't quite work. Compared to the workshop showing, this version regularly mentions virality and tiktok, and whilst this does push the story along, it also feels somewhat cringey and awkward. It does provide opportunity for a discussion on the impact of social media but that doesn't feel necessary in a show like this which already has so many other messages to put across, so instead it just comes across as an underdeveloped layer. Perhaps it's an attempt to appeal to younger audiences but the show has so much to offer in terms of heart, and performances, it really doesn't need anything else to be appealing to a wide range of theatre patrons. 

In transitioning the show to be more "mainstream" and 2023 relevant, it has lost a lot of the charm and sincerity which was so abundant before. The changed plot also means the character development is diminished. Previously, Katie had a clear journey from an unconfident girl, brought down by various traumas, to eventually finding herself and making her own choices; however this time, her journey feels less well rounded and the actual big moment of discovery sort of comes from nowhere. 

Despite its flaws, SuperYou is a genuinely good show that deserves a future life. The potential is overflowing and I hope it gets a chance to develop further. SuperYou is a life affirming show with some wonderful messages, performances, energy and music and with some tweaks to supercharge it, the show could be a really glorious addition to the theatre scene. 

★★★ 
Reviewed on Wednesday 15th November by Olivia
Photo Credit: Matt Marlin and Simona Sermont for Shooting Theatre

 {AD PR Invite- tickets gifted in exchange for honest review}

Thursday 19 October 2023

Hamnet at the Garrick Theatre review: Emotional, engaging and enchanting


Hamnet
Garrick Theatre
★★★★

Presented by the Royal Shakespeare Company, and based on Maggie O'Farrell's book of the same name, Hamnet is a truly remarkable production that's captivating, moving and ever so slightly whimsical.

The show's unique take on Shakespeare's life and the emotional journey it explores is nothing short of brilliant. The creative team, with adaptation by Lolita Chakrabarti and direction by Erica Whyman, manage to delve into the personal life of one of history's greatest playwrights, offering a fresh and emotionally charged perspective. The seamless blending of historical accuracy and artistic interpretation is commendable, making Hamnet a compelling experience for theatre enthusiasts and Shakespeare aficionados alike.

The performances are simply outstanding. The cast's commitment to their roles and the intensity of their portrayals completely transport you from pouring Charing Cross road to the world of Hamnet and his family. The emotional depth brought to the characters is both touching and thought-provoking. Madeleine Mantock gives an astoundingly moving performance as Agnes, showing amazing development and growth that has the audience really rooting for her and therefore feeling her pain to the nth degree in the second act. Tom Varey is witty but complex as William whilst Alex Jarrett really comes into her own and provides some of the most understated but emotionally impactful moments of the show. Universally the chemistry and energy among the actors is palpable, with the whole team creating an atmosphere of authenticity that draws the audience in, you couldn't ask for a stronger team of performers.

The set design (Tom Piper) and production values are top-notch. The stage design, lighting (Prema Mehta), and soundscapes (Oguz Kaplangi) add a layer of immersion that transports us to the Elizabethan era. The careful attention to detail in recreating this period is truly impressive, and contributes significantly to the overall atmosphere of the play.

The show is mostly paced well but there are a few moments which pull slightly. While the slower tempo is fitting for the introspective nature of the play, there are moments where a bit more dynamism would've helped. Nevertheless, this is a minor quibble in an otherwise exceptional production.

Hamnet is a theatrical triumph, offering a profound and emotional exploration of the Shakespearean legacy. With powerful performances, and a thought-provoking narrative, it is a must-see!

Reviewed on Wednesday 18th October 2023 by Olivia Mitchell
Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

Friday 25 August 2023

Love Never Dies in Concert at the Theatre Royal Drury Lane Review: Musicality Reigns Supreme


Love Never Dies in Concert
Theatre Royal Drury Lane
★★★★

Once again, the LMTO and Fourth Wall Live have joined forces to bring a musical to life in concert form with a stellar cast and stunning music. This time, it’s the much discussed and dissected Love Never Dies, which hasn’t been staged in the West End since 2011. For two days the Theatre Royal Drury Lane played host to the latest iteration of the show which mesmerisingly took audiences back to the world of the Phantom and Christine. With the spotlight on a talented cast, and powerful orchestrations, this concert rendition really let the music shine and provided a memorable theatrical experience for those in attendance.

With such a brilliant cast, it’s no surprise that the performances were broadly nothing short of exceptional, capturing the essence of the characters and their emotions. Celinde Schoenmaker stepped back into the role of the beloved songbird, Christine Daae and did so in an utterly magical way, with her soaring soprano perfectly bringing the score to life and dazzling throughout her time on stage. Alongside her, Broadway veteran Norm Lewis put mask back on (in this case a swanky gold number) and became the musical Phantom of the Opera once again. His gorgeous baritone vocals provided some spectacular moments, especially in the rousing Till I Hear You Sing and it’s always a treat to see him on a West End stage. It did however seem that the rock number The Beauty Underneath was not performed live, which is a bit disappointing in a show of this calibre, and it would be interesting to know what prompted this decision from the creative team. This isn’t a criticism of anyone in particular, but perhaps opens a wider conversation about how these concert versions are rehearsed and put together. Of course it’s a massive task to create such strong shows in a short amount of time and given their minimal runtime it’s understandable that the turnaround has to be fairly quick, but it would be curious to know if it’s possible to create a rehearsal process that works for everyone involved and doesn’t leave the audience feeling shortchanged.

Aside from this, the music was incredibly strong, with a number of stand out moments that brought to life the deeply evocative and emotive feelings which course through this show. As Meg Giry, Courtney Stapleton brought a lovely buoyancy and freshness which showed the character in a new and engaging light, whilst Matthew Season-Young provided some strong vocal moments as Raoul. The supporting cast, including the London Musical Theatre Chorus deserve commendation for their remarkable vocals which truly soared in the Theatre Royal Drury Lane.

Staging wise, this was one of the less full-out concerts compared to others but it still did an excellent job of evoking the world of Phantasma and showcasing some of the whimsy of Coney Island. Rebecca Brower’s costumes were very in keeping with the gothic vibes and cleverly mirrored some of those from the original Phantom production, overall creating a dynamic atmosphere which cleverly set the place and time, without overshadowing the music.

The LMTO orchestra, under the baton of Freddie Tapner, masterfully captured the intricate emotions of the music, underscoring the characters' journeys with every note. The majestic melodies and haunting refrains were a testament to the timeless quality of Lloyd Webber's composition and it was such a treat to hear the score performed by such a large group of highly talented musicians.

While Love Never Dies has faced criticism for its narrative depth, the concert format seemed to address some of these concerns. The live performance allowed the characters to shine and their relationships to be explored with greater nuance. A lot of the plot is quite frankly ludicrous and the characters have taken complete 180s from their initial iterations but this concert format seemed to be a perfect vehicle for highlighting the strengths of the piece while minimising its perceived weaknesses.

Overall Love Never Dies in Concert, was a captivating and emotionally resonant experience. The talented cast and impeccable orchestral accompaniment combined to create a theatrical event that honoured the legacy of its predecessor while standing as a powerful production in its own right. Many of the original book issues still stand but from the audience reaction, it’s clear that this is still a show which many hold close to their hearts.

Reviewed on Tuesday 21st August 2023 by Olivia Mitchell

{AD PR Invite- tickets gifted in exchange for honest review}

Tuesday 18 July 2023

Talking at Night by Claire Daverley book review: A Captivating Journey into the Depths of Human Emotion

embraces the honesty of life, presenting stories that feel authentic and sincere"

Talking at Night by Claire Daverley
Published: 6th July 2023 by Michael Joseph
★★★★

Talking at Night by Claire Daverley is a beautifully quiet treasure of a book, taking readers on a heartfelt journey, through the complexities of human relationships. Daverley's storytelling is absolutely exquisite diving into the world's of her characters, leaving readers teary eyed and filled with a whirlwind of emotions.

The characters in Talking at Night are expertly crafted, with each one feeling genuine and relatable, baring their fears, insecurities and dreams for all to see. Daverley skilfully delves into their minds painting a picture of their struggles and victories. The protagonist, Rosie's, path of self discovery is captivating and truly inspiring while the supporting characters add a level of richness and depth that elevates the narrative and fully engages the reader.

The novel embraces the honesty of life, presenting stories that feel authentic and sincere. It beautifully showcases the significance of "normal" lives reminding us that they hold just as much magic and worth as those portrayed in larger than life media tales.

One of the books highlights is the interweaving of dual timelines featuring Will and Rosie, the leads. This technique enriches the plot and offers a reflection, on how our past shapes our present and future.

Daverley's poetic prose is another strong aspect of Talking at Night. Her use of words is incredibly powerful and she manages to captivate readers, by immersing them in the emotional world of the novel, never shying away from tackling difficult subjects. The exploration of themes like love, loss, forgiveness, and redemption are so thoughtfully handled, making the novel resonate on a profound level. The vibrant descriptions enable readers to feel the characters happiness and sadness as if they were personally involved resulting in a reading experience that's reminiscent of watching a film. Fans of Love, Rosie and Me Before You will certainly enjoy this tale.

My only slight reservation is that, in a few instances, the pacing felt slightly off and there was a slight lag. However, this is a minor flaw which doesn't really detract from how strong this book is, and in some ways could be seen as reflection of life and the up and down pacing of the real world off the page.

Talking at Night is an exceptional work of fiction that should be celebrated for its thought-provoking themes, remarkable character development, and lyrical prose. Claire Daverley has crafted a tale that tugs at the heartstrings and lingers in the mind, making it a must-read for anyone who appreciates a deeply moving and immersive literary experience. I wholeheartedly recommend this novel and hope that it will stay with you long after you've turned the last page.

Reviewed by Olivia Mitchell

{AD PR Product- book gifted in exchange for honest review}

Monday 17 July 2023

The Wizard of Oz at the London Palladium review: A Delightfully Nostalgic Experience

a visual spectacle that fits so well with the whimsical and well-loved world of Oz"

The Wizard of Oz
London Palladium
★★★★

Magic, wonder, and unforgettable melodies reign supreme as you step into the mesmerising world of The Wizard of Oz at the London Palladium. This enchanting production, a transfer from the Leicester Curve, weaves a delightful experience that is sure to captivate audiences of all ages.

Thanks to Nikolai Foster’s direction, once the curtain rises you will find yourself immersed in a world of imagination and fantasy. The detailed costumes, effective sets and strong video effects seamlessly blend together to create a visual spectacle that fits so well with the whimsical and well-loved world of Oz. The semi-modern, steampunk aesthetic lends a unique twist to the classic tale, infusing it with a fresh and vibrant energy.

The cast of The Wizard of Oz delivers exceptional performances, breathing life into the beloved characters with charm and charisma. Dorothy, portrayed by the stunning Georgina Onuorah with innocence and determination, effortlessly captures our hearts as she embarks on her journey to find her way back home. Joining Dorothy on yellow brick road are three iconic friends she makes. Searching for courage, the Cowardly Lion is played superbly well by Jason Manford, who is perfectly evocative of Lahr in the film but with a spin of his own that really works. Looking for a heart the Tin Man is oiled by well by Ashley Banjo who creates some really brilliant moments; the vocals aren’t as stellar as they could be but his dance skills and charisma more than make up for it. Completing the quad is Louis Gaunt as the Scarecrow searching for a heart, who is utterly charming and a real triple threat. The chemistry between the group is well portrayed, however on stage you don’t feel as a strong of a connection to their journey and never root for them quite enough; their story is enjoyable but not as emotionally intense as it could be.

The other supporting cast members shine in their respective roles, each bringing their own unique flair and personality to the story. Christina Bianco’s Glinda and Dianne Pilkington’s Wicked Witch of the West are throughly entertaining, if a little underdeveloped but both provide some of the stand solos of the show. The musical numbers in The Wizard of Oz combine Andrew Lloyd Webber's new compositions with the beloved songs from the classic film and while Webber's additions may not steal the spotlight, they seamlessly blend with the original score, enriching the overall experience. The familiar melodies of ‘Somewhere Over the Rainbow’ and ‘Follow the Yellow Brick Road’ undoubtedly take centre stage, evoking a wave of nostalgia and bringing smiles to the faces of the audience.

This musical really does exactly what you’d expect it to in telling the story which so many love. All the classic moments are featured and there are also some fun things to spot such as Ozified show names (West Witch Story, Margaret Hamilton etc…) a hidden Olaf and some swanky costumes which are truly Ozian. However, act two is a little bit lacking as a whole, with the video aspect which is so effective in act one, becoming gimmicky and a little basic, especially when showing the wicked witch’s army and the flying monkeys. Moments which could have been really awe-inspiring are instead brushed over and there’s never a true wow moment.

A way the production does soar is in how it pays heartfelt homage to the original book by Frank L. Baum, incorporating references that will surely delight fans. The inclusion of Dorothy's return to Kansas in her Oz dress adds a touch of nostalgia, serving as a loving nod to the source material. These thoughtful gestures elevate the production, reminding us of the timeless charm that made the story a classic in the first place.

It’s not a faultless show but The Wizard of Oz offers a delightful escape into a world of fantasy and adventure. With its talented cast, striking visuals, and heartfelt nods to the original, this production is well worth seeing. Whether you are reliving cherished childhood memories or experiencing the magic for the very first time, this show will transport you to a place where dreams come true and a trip to Oz should definitely be part of your summer plans.

Reviewed on Wednesday 12th July 2023 by Olivia Mitchell
Photo Credit: Marc Brenner

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Thursday 6 July 2023

Cast Announced for Pretty Woman the UK & Ireland Tour


The popular West End production, Pretty Woman: The Musical, is going on a UK and Ireland tour! The tour will kick off at the Birmingham Alexandra Theatre on October 17, 2023.

The cast includes: Amber Davies as Vivian Ward, Ore Oduba as Happy Man/Mr. Thompson, Oliver Savile as Edward Lewis, and Natalie Paris as Kit De Luca. They will be joined by Becky Anderson, Rebekah Bryant, Josh Damer-Jennings, Ben Darcy, Andrew Davison, Lila Falce-Bass, Noah Harrison, Sydnie Hocknell, Elly Jay, Rachael Kendall Brown, Michael Kholwadia, Joshua Lear, Stuart Maciver, Victoria Rachael McCabe, Eleanor Morrison-Halliday, LJ Neilson, Annell Odartey, Curtis Patrick and Chomba Taulo.

Amber Davies, currently seen as Lorraine Baines in Back to the Future: The Musical, has also performed in 9 to 5 the Musical and Bring It On. Ore Oduba, known for his role as Brad Majors in The Rocky Horror Show, has also appeared in Curtains and Grease. Oliver Savile's credits include Fiyero in Wicked, Whizzer in Falsettos, and performances in The Phantom of the Opera, Les MisĆ©rables, Cats, and Joseph and the Amazing Technicolor Dreamcoat. Natalie Paris, nominated for an Olivier Award for her role in SIX, has also been part of Sunday in the Park with George, Billy Elliot, and Les MisĆ©rables.

Pretty Woman: The Musical is a spectacular romantic comedy set in Hollywood in the late '80s. The story follows Vivian and Edward's unforgettable love story, brought to life on stage in a dazzling and theatrical way. Prepare to be swept away by this sensational show that will warm your heart and lift your spirits.

The musical features original music and lyrics by Bryan Adams and Jim Vallance, a book by Garry Marshall and J.F. Lawton, and is directed and choreographed by Jerry Mitchell, a two-time Tony Award winner.

The production includes the iconic song "Oh, Pretty Woman" by Roy Orbison and Bill Dee, which served as inspiration for the beloved romantic comedy film of the same name released in 1990.

photo credit: Dan Kennedy

Initial Cast Announced for Elf the Musical at the Dominion Theatre this Winter


Celebrating its 20th anniversary since the original release of the motion picture featuring the talented Will Ferrell, the worldwide sensation and holiday classic, Elf, is set to grace London's Dominion Theatre once again. Following its overwhelming success last year, the smash-hit musical adaptation returns for a second consecutive year, delighting audiences from 15 November 2023 until 6 January 2024.

Returning to reprise their memorable roles are the talented Georgina Castle, known for her performances in Dirty Dancing and Mamma Mia, as Jovie, and Rebecca Lock, renowned for her roles in The Phantom of the Opera and Avenue Q, as Emily Hobbs. Nicholas Pound, recognised for his appearances in Cats and The Rocky Horror Show, brings Santa to life once again, while the multi-talented Kim Ismay, known for her roles in Wicked and Saturday Night Fever, takes on the character of Debs. Dermot Canavan, celebrated for his performances in Hairspray and Oklahoma!, embodies the Store Manager. Stay tuned for further casting announcements, including new actors who will portray the roles of Buddy and Walter Hobbs.

Based on the beloved 2003 New Line Cinema hit, Elf features a captivating book by Tony Award-winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone), accompanied by enchanting songs composed by Tony Award nominees Matthew Sklar and Chad Beguelin (The Wedding Singer).

This production will once again be brought to life under the expert direction of Philip Wm. McKinley, with choreography by Liam Steel. The original set and costume designs by Tim Goodchild, along with lighting design by Patrick Woodroffe, immersive sound by Gareth Owen, and video design by Ian William Galloway, will transport the audience into Buddy's world. The casting process will be overseen by Grindrod Burton Casting.

Elf tells the heartwarming and humorous tale of Buddy, a baby who accidentally finds himself in Santa's gift bag and is whisked away to the North Pole. Raised as an elf, Buddy remains unaware of his human origins, but his size and toy-making struggles eventually lead him to discover the truth—he's not an elf and will never truly fit in at the North Pole. With Santa's blessing, Buddy embarks on an extraordinary journey to New York, in search of his birth father, to uncover his true identity, and to remind the city of the genuine spirit of Christmas.

photo credit: Mark Senior

Saturday 10 June 2023

We Will Rock You at the London Coliseum review: Still Has 'A Kind Of Magic'


We Will Rock You
London Coliseum
★★★

After a ten year absence from the West End, the ‘show must go on’ for We Will Rock You (WWRY) as it takes up its summer residency at the London Coliseum. Set on the iPlanet, a corporate cyberspace where live music is forbidden, this iconic musical follows a group of rebellious bohemians in their search to rediscover the legendary art of rock and roll.

Unfortunately, jukebox musicals have come a long way since WWRY last graced the West End. Unlike newer examples such as &Juliet which prioritise cohesive and earnest story-telling, Ben Elton’s book is inarguably weak. It’s tiring to watch several scenes cynically shoehorned in to allow for a fan-favourites to feature in the show. Musical numbers often feel bookended awkwardly between immature dialogue, rather than moving the narrative along through song. However, these criticisms have been levelled at the show since its first inception, so no surprises there!

This production is clunky and cringeworthy at times. Scenes at GlobalSoft, Gaga High and Gaga Mall are cheapened by dated, distracting graphics and garish costumes. While clearly a deliberate aesthetic, for a show set decades from now it presents a futuristic vision that is firmly rooted in past. Fortunately, the overall design improves greatly when we’re invited into the rebel stronghold at Heartbreak Hotel. The set, designed by Stufish Entertainment Architects, becomes warm and inviting, with miscellaneous scraps and festoon lights cluttering the stage.

If the world of GlobalSoft is silly and contrived, then sadly so is their leader. A WWRY veteran, Brenda Edwards is vocally strong but her Killer Queen is more pantomime villain than ruthless technocrat. Lee Mead is woefully underused. He brings gravitas to his role as sidekick Commander Khashoggi and his performance of the Seven Seas of Rye is a great fun to watch as he peacocks across the stage with an air of gleeful sadism.

The show finally finds its heart when we meet the Bohemians, the first act belonging entirely to Christine Allado as Meat and her spellbinding delivery of No One But You. She is joined by the brilliant Adrian Hansel as hopeful believer Brit, creating a truly dynamic duo.

Elena Skye shines as Scaramouche. She’s feisty and spunky, with cracking comic timing and stellar vocals. Ian McIntosh gives an outstanding performance as the unsuspecting messiah of rock Galileo. He is an absolute vocal powerhouse, having the audience eating out the palm of his hand on more than one occasion. Together their chemistry is palpable and their bickering rendition of Hammer To Fall is a real treat.

Special mention must go to Ben Elton as rebel leader Pop. A singer he is not but he remains a joy to watch as he lives his best life in a world of his own creation.

At risk of being a relic of jukebox musicals past, WWRY still holds up as a night of rousing entertainment and the payoff is immense when it finally reaches its electric and euphoric finale of Queen’s greatest hits. Overall, it’s safe to say it still has ‘a kind of magic’ that will bring audiences back time and time again.

Reviewed on Friday 9th June 2023 by Hope Priddle
photo credit: Manuel Harlan

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Friday 9 June 2023

The Curious Case of Benjamin Button at the Southwark Playhouse review: A masterclass in storytelling


The Curious Case of Benjamin Button
Southwark Playhouse
★★★★★

If you're wanting to see arguably the most mesmerising production in London right now, then look no further than The Curious Case of Benjamin Button the musical at Southwark Playhouse. From the stunning writing to the exceptional performances, this production is a moving celebration of life and the boundless capacity to find joy in unexpected places.

The writing (book and lyrics by Jethro Compton and music and lyrics by Darren Clark) is nothing short of extraordinary. It beautifully captures the essence of F. Scott Fitzgerald's timeless story, seamlessly translating it into a theatrical masterpiece which sweeps you up and takes your heart on an incredible journey. The script is both poignant and thought-provoking, delving deep into the profound themes of aging, love, and the significance of every moment we encounter. The fast paced lyrics are witty and woven together so well. The musical tenderly tugs at the heartstrings, leaving the audience reflecting on their own lives and the choices that shape our existence.

One cannot help but be enthralled by this show which really is the whole package. Every single moment feels well thought out and you can't help but notice how much care has gone into creating this show. A very strong aspect of this musical is the attention to the sound and lighting which accompanies the story. Zoe Spurr's lighting design has whimsical elements and the interplay between light and shadow creates a really magical visual tapestry, accentuating the emotional depth of the narrative. Each scene is carefully crafted to transport the audience through the passage of time, immersing us in the ever-changing world of Benjamin Button. Luke Swaffield's sound design further enhances the atmosphere, adding depth and texture to the production, as well as being perfectly balanced so that the music packs a punch and hits you in the gut but doesn't come across too loud or over the top.

Cast wise, The Curious Case of Benjamin Button features universally delightful performances. Each member delivers stellar vocals, acting and music (each person plays various instruments throughout), bringing the characters to life with authenticity and charisma. Their vocal prowess and impeccable timing are truly commendable, adding another layer of brilliance to an already captivating production. The chemistry among the cast members is palpable, creating an enchanting dynamic that draws the audience deeper into the story.

It's hard to mention specific people because the cast are a constellation of stars but mention must go to Jamie Parker who is astounding as Benjamin Button. His performance is incredibly layered and transformative. It really is a masterclass in how physicality and subtle changes can completely make a performance. As his love interest, Molly Osbourne is glorious and also shows excellent growth and character development. Across the board the vocals are divine so hopefully a cast recording is on the way!

This is a perfectly wrapped show that delivers on every base. 

To sum it up, The Curious Case of Benjamin Button the musical at Southwark Playhouse is an absolute triumph. With its stunning writing, this production is a must-see for anyone who loves good storytelling. It's the sort of show you want to bottle up and bring out when you're feeling down. I wish I could see it again for the first time but I know that any subsequent visits will be just as endearing and wonderful. Don't miss your chance to embark on this enchanting journey of love, loss, and the beauty found in every moment of life.

Reviewed on Wednesday 7th June by Olivia Mitchell
photo credit: Juan Coolio

{AD PR Invite- tickets gifted in exchange for honest review}

Wednesday 31 May 2023

Unmissable Summer Theatre Ticket Sale From London Box Office | ad


*this post contains sponsored content*

As the days grow longer and the temperature rises, the vibrant spirit of summer fills the air. And what better way to embrace the season than by indulging in the magical world of theatre? London Box Office, the hub for all things stagey, and trusted ticket provider has announced an unmissable summer theatre ticket sale that will have you seeing your favourite shows for less. Whether you want to see something new or visit an old faithful, London Box Office's summer sale promises to get you there with the best prices.

The Summer Theatre Ticket Sale which runs from 29th May to 11th June brings you a host of incredible shows that promise to leave you spellbound. From iconic long-running musicals to critically acclaimed plays, they've curated a selection of the best performances the West End has to offer. Whether you're a fan of heartwarming stories, adrenaline-pumping dramas, or toe-tapping musical numbers, there's something for everyone.

London Box Office is committed to making theatre accessible to all, and their Summer Theatre Ticket Sale ensures that you can witness these world-class productions without breaking the bank. With exclusive discounts and tickets from £25, you can enjoy incredible savings. Don't miss out on this chance to experience the magic of the West End - book your tickets today and get ready for an unforgettable summer of entertainment!

To find out all the shows included in this stagey sale, click here

Tuesday 9 May 2023

Operation Mincemeat at the Fortune Theatre a review: The must see musical of 2023


Operation Mincemeat
Fortune Theatre
★★★★

If you're looking for a unique and intriguing musical, then look no further than Operation Mincemeat in its West End transfer to the Fortune Theatre. This production tells the incredible true story of a WWII deception operation, that although morally grey, helped Britain win the war and it does so with style, charm and heart in spades.

The star of this exciting musical is undoubtedly the music which manages to be both catchy and poignant, with some of the wittiest lyrics in the West End right now. The book, music and lyrics are expertly constructed by SpitLip founders David Cumming, Natasha Hodgson, ZoĆ« Roberts and Felix Hagan (four of whom also star) and the whole show is maelstrom of musical magic. You'll find yourself continually laughing out loud and then all of a sudden wiping tears from your eyes as this hug of a musical manages to wrap you around its theatrical finger.

Every performance from the talented cast -completed at this performance by Claire Marie Hall, Jak Malone and Geri Allen (in her cover debut)- is a standout one. The precision with which they perform is just astounding and thanks to the script, there's a perfect balance between humour, satire and drama.

Aesthetically, Operation Mincemeat is a sleek mission. Ben Stones' set and costumes are perfectly evocative of MI5 and wartime London, as well as having a healthy dose of camp dramatics. One scene in particular features costumes perfect for a bedazzled version of Sweeney Todd! Really clever direction by Robert Hastie and joyous choreography by Jenny Arnold both let the story and performances to soar and ideally balance the line between allowing the performances to be genuinely funny without being cringe inducing. Shoutout must also go to Publicity Designer Bob King Creative for the genius artwork which accompanies the show. Once you see it, you won't un-see it!

In summary, this show is the epitome of fun. Poking fun at everyone and everything it is a satirical, stupendous, stomper of a show that will have you entertained and inspired. The new must-see musical, it needs to be booked immediately!

Reviewed on Tuesday 2nd May 2023 by Olivia Mitchell

{AD PR Invite- tickets gifted in exchange for honest review}

Friday 21 April 2023

Ain't Too Proud at the Prince Edward Theatre review: A tumultuous tale told through stellar performances


Ain't Too Proud
Prince Edward Theatre
★★★★

A hit on Broadway, Ain't Too Proud: The Life and Times of The Temptations, has finally opened in the West End and is a thoroughly entertaining, charismatic and soulful journey. The musical, with a book by Dominique Morisseau is a breathtaking celebration of the legendary Motown group, The Temptations, and their iconic music. Taking you on a journey through the highs and lows of stardom, it showcases how some of the most famous music was created and provides a really really fun night out.

The heart and soul of this musical are the performances which are unanimously nothing short of spectacular. The cast deliver powerhouse vocals that charm and mesmerise throughout and there are so many standout moments. The whole cast are spectacularly strong but mention must go to Cameron Bernard Jones, Tosh Wanogho-Maud, Ryan Carter and Michael James Stewart who really shine in their solo and ensemble moments. Each member who becomes part of The Temptations, does so with a real sense of nuance and the varying personalities and talents are showcased throughout; really capturing the essence and ethos of the original group.

Above all this is an ensemble piece, with some of the strongest moments coming when the cast unite both vocally and choreographically. Sergio Trujillo's choreography is some of the best in the West End right now, the sheer slickness and precision is a wonder to behold and the energy created on stage is supremely infectious. Featuring iconic hits like My Girl, Papa Was a Rolling Stone, and Ain't Too Proud to Beg, the show is a top-tapping fest of gusto and spirit.

The storytelling is mostly compelling, and the narrative (led by Sifiso Mazibuko) is engaging from the start. Spanning the long and tumultuous history of The Temptations, from their humble beginnings to their rise to stardom the show has a lot to fit in, and especially in the first act it feels a bit too much. Whilst every performance is engaging, it does feel a little too long and seems to keep going even when there's a natural break point. However, the story is a poignant and emotional one that delves into the personal struggles, triumphs, and dynamics of the group and includes some powerful messages. Alongside the musical elements, the show touches on themes of friendship and brotherhood, as well as shedding light on the social and political challenges faced by The Temptations and African American artists during that era. A poignant reminder of their impact on American music history and the enduring legacy they left behind, Ain't Too Proud is a strong celebration of The Temptations.

Ain't Too Proud is a wonderful addition to the West End that features dazzling production value, and timeless music. A celebration of The Temptations and their impact on Motown, it will leave you humming their hits long after the curtain falls. 

Reviewed on Wednesday 19th April 2023 by Olivia Mitchell
photo credit: Johan Persson

{AD PR Invite- tickets gifted in exchange for honest review}

Friday 31 March 2023

Cast Announced for 42nd Street Tour


David Ian for Crossroads Live and Jonathan Church Theatre Productions are thrilled to announce that Samantha Womack will star as Dorothy Brock, alongside Michael Praed as Julian Marsh, Faye Tozer as Maggie Jones, Les Dennis as Bert Barry and Nicole-Lily Baisden as Peggy Sawyer in the UK tour of 42nd Street.

The cast will be completed by Sam Lips as Billy Lawlor, with Erica-Jayne Alden, George Beet, Charlie Bishop, Kevin Brewis, Olly Christopher, Briana Craig, Jordan Crouch, Rhianna Dorris, Ashleigh Graham, Alyn Hawke, Aimee Hodnett, Connor Hughes, Deja Linton, Sarah-Marie Maxwell, Greta McKinnon, Ben Middleton, Benjamin Mundy, Anthony Ofoegbu and Jessica Wright.

Following its run at the Marlowe Theatre, Canterbury, the production will visit Leeds, Bristol, Plymouth, Cardiff, Glasgow, Milton Keynes, Liverpool, Manchester, Southampton, Newcastle, Woking and Belfast. Current tour schedule below, with further dates to be announced. 42ndstreettour.com

Samantha Womack most recently starred as the White Witch in The Lion, The Witch and The Wardrobe at the Gillian Lynne Theatre. Her other credits include the role of Rachel in The Girl on the Train both in the West End and on tour, Morticia Addams in The Addams Family UK tour, Nellie Forbush in the Lincoln Center’s production of South Pacific at the Barbican and on tour, and Miss Adelaide in Michael Grandage’s production of Guys and Dolls alongside Patrick Swayze. Her screen credits include Ronni Mitchell in EastEnders, Mandy in Game On, the titular role in Imogen’s Face and The Kingsman franchise.

Michael Praed’s theatre credits include Tom Beauregard in Darker Shores at Theatre Royal Windsor and on tour, George in War of the Worlds at the Dominion Theatre, Alex in Aspects of Love at the Prince of Wales Theatre, Lawrence Jameson in Dirty Rotten Scoundrels, Dexter Haven in High Society and Captain Von Trapp in The Sound of Music all on UK tours. His television credits include the role of Frank Clayton in Emmerdale, Prince Michael in Dynasty and the titular role in Robin of Sherwood.

Faye Tozer is best known as a member of BRIT Award winning pop band Steps. Her theatrical credits include Singin’ In The Rain at Sadler’s Wells and on tour in the UK and Canada, Everybody’s Talking About Jamie at the Apollo Theatre, and touring productions of In The Spotlight, Over The Rainbow, Me And My Girl, Love Shack and Tell Me On A Sunday. Faye was also a runner-up in BBC1’s Strictly Come Dancing in 2018.

Les Dennis most recently starred as Grandad Trotter in Only Fools and Horses The Musical. His other West End credits include Wilbur in Hairspray opposite Michael Ball at the London Coliseum, Amos Hart in Chicago and Bill in Me and My Girl. His touring theatre credits include Art, Legally Blonde, High School Musical 2 and Uncle Fester in the musical comedy The Addams Family. His many TV credits include Michael Rodwell in Coronation Street and a fictional version of himself in Extras.

Nicole-Lily Baisden’s theatre credits include the role of Nabulungi in The Book of Mormon, both in the West End and on tour, and Hope Harcourt in Anything Goes at the Barbican Theatre and on tour.

Sam Lips’ theatre credits include the role of Don Lockwood in Singin’ In The Rain and Scott Hastings in Strictly Ballroom, both in the UK and Canada. His Broadway credits Cats, Chicago, Pippin, Rodgers and Hammerstein’s Cinderella and The Cher Show.

This new production will be directed by Jonathan Church (Singin’ in the Rain, The Drifters Girl) with choreography and design by Olivier Award winners Bill Deamer and Rob Jones, lighting design by Ben Cracknell, sound design by Ian Dickinson and Gareth Tucker, video design by Jon Driscoll, musical supervision by Jennifer Whyte and orchestrations by Larry Blank.

This iconic song-and-dance spectacular features a hit parade of toe-tapping songs, including the title number, “We’re In The Money”, “Lullaby of Broadway”, “Shuffle Off To Buffalo” and “I Only Have Eyes For You”. 42nd Street is a timeless and inspiring showbiz fairy tale that combines breath-taking tap dance routines, backstage intrigue, classic romance and delightful comedy to dazzling effect.

Fresh off the bus from small-town America, young and beautiful Peggy Sawyer arrives in New York City dreaming of her name in lights. She quickly catches the eye of a big-time director and lands a spot in the chorus line of Broadway’s newest show…and when the leading lady gets injured, Peggy gets her shot at stardom.

42nd Street is a larger-than-life, massively entertaining celebration of musicals and the irrepressible spirit of Broadway that’s guaranteed to lift anyone’s spirits.

42nd Street has music by Harry Warren, lyrics by Al Dubin, and book by Michael Stewart and Mark Bramble, based on the novel by Bradford Ropes. Original direction and dances were by Gower Champion. The show was originally produced on Broadway by David Merrick.

The use of all songs is by arrangement with Warner Bros. and EMI Publishing Ltd.