Curtain Call - Issue 25 by Curtain Call

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ISSUE 25

A MAGAZINE FOR THEATRE FANS WRITTEN BY THEATRE FANS THE TEAM EDITORS IN CHIEF: CONSTANCE DRUGEOT AND LENAELLE FONTAINE CREATIVE DIRECTOR: LENAELLE FONTAINE EDITORS: CONSTANCE DRUGEOT, CLELIA GESSNER CONTRIBUTORS: DOROTHY GRACE FRANKLIN, HELEN SULLIVAN, ALECIA SOLORZANO, SOPHIA RUBINO, CLELIA GESSNER PHOTOGRAPHER: CLAUDIA VINATEA

Letter from our team Dear CurtainCall readers, September has come and gone and the holiday spirit is right around the corner already! As we’re getting ready for the celebrations to kick off, we’re also thinking about new beginnings and the joy both this new school year and 2024 will bring. More passion. As we get to keep sharing our love and passion for theatre, as well as the hard work of all the performers and creatives we get to meet along the way. More kindness. Because who doesn’t need a little gesture of love and understanding from time to time? Be kind to each other, be it performers, fellow theatre fans or theatre professional. More tolerance. More patience. More peace. More love, always. Look for the light.

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content Sunset Boulevard p. 6-9 The Time Traveller’s Wife p. 10-11 The Great Gatsby p. 12-15 Workin’ Boys p. 16-17 Hamnet p. 18-21 Behind The Curtain with Inez Budd p. 22-27 Guys and Dolls p. 30-31 Here We Are p.32-35

Behind The Curtain with Ron Elisha and Alexis Fishman p. 36-41 Operation Epsilon p. 42-45 Shucked p. 46-49 Mamma Mia! I Have A Dream p. 50-51 The Theatre Cafe p.52-53 Curtain Call! p. 54-65 Stars Of Broadway p. 66-67 MORE CONTENT ON CURTAINCALLBWAY.COM

Look For The Light Only Murders In The Building You’ll Never Walk Alone Carousel The Song Of Purple Summer Spring Awakening

Playlist of the month look for the light

You Will Be Found Dear Evan Hansen Louder Than Words Tick, Tick... Boom! Unruly Heart The Prom It Means Beautiful Everybody’s Talking About Jamie From Now On The Greatest Showman Waiting For Life Once On This Island When I Grow Up Matilda

SHOW REVIEW

SUNSET BOULEVARD AT THE SAVOY THEATRE © Marc Brenner7

WHEN THE OPPORTUNITY ARISES TO SEE THE CLASSIC THAT IS SUNSET BOULEVARD AT THE SAVOY THEATRE STARRING NONE OTHER THAN NICOLE SCHERZINGER, THE ANSWER IS ALWAYS YES! AND THIS REVIVAL BY JAMIE LLOYD DIDN’T DISAPPOINT IN THE LEAST. Written by Don Black & Christopher Hampton with beautiful music by Andrew Lloyd Webber, this production – based on the 1950 movie of the same name – tells the dark story of the relationship between a former silent film star whose glory fell apart through the years and a young screenwriter. Taking place in Hollywood in the 1950s, Sunset Boulevard intertwines modern and vintage elements so cleverly that it feels like we are travelling back in time and living the story through our own camera lenses. From the very beginning, even before the show starts, the audience is put through a silent observation coming from the stage. Standing behind a transparent curtain in the dark, lit only by a single beam of light, a young Norma Desmond, the star of the story, is keeping a watchful eye on us. As soon as the curtain goes up, she dances away, giving way to the dancing ensemble and the electric score, while the older Norma Desmond, played by legend Nicole Scherzinger, is sitting down upstage as an ominous presence. This was probably one of the best and most thrilling openings I’ve seen in a while and it manages to ground you from the very start into the dark themes of the musical: constant surveillance and dramatic emotions. Nicole Scherzinger is mesmerising as the leading lady of Sunset Boulevard. From the moment she steps in front of us until the very last scene of the show, she captivates our attention and is beautifully frightening in her acting. Although she at first seems quite desperate in her attempts to recover her lost fame through this young screenwriter - played by Tom Francis - we quickly perceive her frenzied actions as

uncontrolled madness and delusion and we come to rightfully - fear her. Her impromptu dance movements and her lust towards the onstage camera (the live feed is projected for the audience to see), which zooms almost uncomfortably close to her face, give her the ressources to shape her character and keep us on the edge of our seats in wait for her next move. Scherzinger is completely in control of her acting and facial expression throughout the musical, which makes her the perfect fit for the role. Her singing is as remarkable as her acting and her interpretation of the iconic song ‘As If We Never Said Goodbye’ is both hypnotic and alluring. As the light goes out on her bloodied body, as she thanks her audience in character at the end of the show, you cannot but give her the most impressive round of applause for her brilliant performance. Tom Francis offers a meditative and enigmatic portrayal of Joe Gillis. Playing Norma’s young lover and latest obsession, he seduces us from the opening scene, as he begins to retell the story of his murder. Moving drastically away from his role as the loveable yet foolish Romeo in & Juliet, Francis is able to show himself in a brand new light in this show where passion, delusion, and mania meet in a dreadful storyline. Much like Scherzinger, Francis keeps his acting controlled and precise as the camera zooms in on his every move and he becomes Norma’s pet – watched not only by us but also by a paranoid Norma, who senses his upcoming betrayal. Francis also gives an impressive performance at the beginning of Act Two when the camera follows him backstage and outside of the theatre while he brilliantly sings the title song ‘Sunset Boulevard’. Although the main cast of Sunset Boulevard is rather small, I have to talk about David Thaxton who plays Norma’s butler and bodyguard, Max Von Mayerling. Starting out only as a dedicated valet, his character slowly becomes darker and more extreme as the story progresses and much like Norma with Joe and her former glory, Max is terrifyingly obsessed with Norma. Throughout the entire show, Thaxton keeps his face cold and unreadable, even in the most dramatic or laughable scenes. His acting and performance are quite remarkable and I wouldn’t see anyone play Max as he does. Grace Hodgett Young as the young editor Betty

© Marc Brenner Schaeffer brings hope and lightness to this heavy show and her chemistry with Francis is palpable to the point that - for those who might not know the story - we fear for her due to the paranoid grip Norma has over Joe. Their rendition of ‘Girl Meets Boy’ and ‘Too Much in Love to Care’ is beautifully captivating. However, it is quite a shame that the rest of the cast and the ensemble aren’t used as much as I would have expected. Apart from a few scenes and dancing interludes, the show very much revolves around these four main characters and there is only limited space for the rest to shine. Their moments on stage are brief and even though alluring to watch, they don’t help drive the story in any way. As the show unfolds, the stage becomes darker and the use of cameras intensifies until the final rush of emotions leaves Norma alone on the stage, covered in Joe’s blood at the height of her madness, greeting us one last time. Director Jamie Lloyd alongside set & costume designer Soutra Gilmour and lighting designer Jack Knowles were rather successful not

only in bringing to life the atmosphere of Hollywood in the 1950s but they also played cleverly with lights and set - or rather lack thereof - to create an enigmatic and gloomy black and white ambience in the Savoy Theatre. With the camera projecting the faces of Scherzinger, Francis and the other characters at the back of the stage, we could almost forget that we were inside an auditorium, much less that it was a sunny London afternoon. One could say however that this significant reliance on the camera is a pity, especially during the second act, where it feels more like a cinematic piece rather than a theatrical one. This is what live theatre is all about, after all. Ultimately, Sunset Boulevard remains a remarkable piece which combines great and controlled acting with magnificent music and a dark compelling story that will keep you on the edge of your seat until the last note is played.

Words by Constance Drugeot

AAA ALBUM REVIEW

THE TIME TRAVELER’S WIFE Based on the 2003 novel The Time Traveler’s Wife, Joss Stone and the Eurythmics’ Dave Stewart have concocted a musical version (and added another “l” to ‘traveler’). In an out-of-order sequence, we meet Clare the sculptor and Henry the time traveller. For those going blindly into this recording, as I did, leave all expectations at the door. Stewart and Stone have crafted music to allow audiences to sympathize with the seemingly ridiculous problem of being unable to control when you’re transported to another time, and what it’s like to love someone you might not see tomorrow. Henry (David Hunter) and Clare (Joanna Woodward) make love prevail as they share their story of searching out one another in a task that seems impossible. Their voices carry the folk-rock sound the album establishes and originate songs that are certain to soon be found in every performer’s audition book. “Masterpiece” lives up to the title, balancing sincerity and synth in the band. It is revealed to us that Henry has been visiting Clare since she was young and that they were separated for years until the day that the song is taking place. No need to worry about a lack of context going into the listening– the songs include just enough information for you to understand what’s going on without having to search for a plot. The show’s second track, titled “Wait For Me”, is the expression of Henry’s fear of not being loved by Clare because of his constant disappearance. Hunter’s vocal

performance comes across with ease, and has just the right amount of husk to highlight the folkiness in the track. Since this is a show centered around time travel, we’re exposed to young Clare (Eve Corbishley) in “One Day”, and her dream to grow up and be the perfect version of herself. Woodward and Corbishley’s voices blend so well together you’d think time travel was really used to capture young Woodward’s voice. The violins in the fourth track “Damn Fool Love” feel time travel-ish, paired with the strong bass which brings a Eurythmics style groove. The exact plot is not revealed, but the lyrics make it seem as though Clare is dating an abusive man and a character named Gomez (Tim Mahendran) is trying to protect her from him. “I See Her” follows “Damn Fool Love,” and we’re back to Henry’s story. An emotional duet between Henry and his father details the lament of the death of Henry’s mother and how he cannot get her back. Henry disagrees with his father about being able to bring her back for them, saying “trust me, we can’t change the past.” The halfway point of the record is an uptempo song titled “Who Are We”. Clare and Henry recognize their rare situation and agree to abandon their fears and commit to the love they have for one another. This is the closer of Act I, ending on a positive note that encourages the audience to commit to love, despite any mistakes made. The melody is overly repetitive, but it includes a great message.

© Ant Clausen The powerful Entr’acte does the work of a time machine and transports us back to the show. Henry is a “Journeyman” in the opening song of Act II. My favorite song on the record, it’s dark and powerful and deals with love and loss. Male grief is seldom discussed, but the allconsuming sadness that is losing someone you love is a powerful theme explored by this story. After a rockballad, the more acoustic and slow “This Time” expresses Clare’s struggle with being left alone without Henry and how she’s unsure whether she can be put through this for the rest of her life. Two secondary characters, Gomez and Charisse (Hiba Elchikhe) lead “A Woman’s Intuition”. The song is about the difference in a man’s opinion on a situation and a woman’s. Though unclear to us from just the album, Henry seems to be asking Gomez for advice on whether he should be honest with Clare about “something” and Gomez advises him to lie. That’s when Charisse comes in and declares that lying is no use due to a woman’s intuition. By the end of the song, it is revealed that Henry’s secret was having a vasectomy, and Charisse takes back her previous statement and advises to lie. It seems as though Henry decides to tell Clare his secret anyway, because the next track, “I’m in Control”, is all about how heartbroken and untrusting Clare has become. She feels as though their marriage can no longer survive, and ultimately kicks Henry out. Woodward’s vocals command her anger well, but prevent her from accessing her upper register in certain regards. Having

children of their own might not be possible, but we do get another visit from young Clare as she seems to be spending time with present Clare as they make a project together and “Make It New”. 55 seconds in, the whimsical and child-like melody switches to an uptempo swing beat. A trio of young Clare, Clare, and Henry create an original sculpture. The eleven o’clock number, “On and On”, reveals that Henry has a daughter. “Life doesn’t end when we’re gone/It goes on,” sings Henry as he voices his regret in not being a better husband while he’s still around. Clare joins in part way through, and romanticizes the quaint parts of their lives and how they’ve been through so much together. To conclude their feelings from before and the show itself, the final number “Love Wins the Day” brings back melodies from “Masterpiece” to show that, in fact, time has passed. The uplifting ensemble number closes the show with positivity and a feeling that if a woman and her time-travelling husband can make love work, so can you. The production’s opening night took place on November 1st at the Apollo Theatre in London’s West End. If you desire to see this unconventional story unfold in front of you, don’t waste time and get your tickets today!

Words by Sophia Rubino

SHOW REVIEW

THE GREAT GATSBY MUSICAL AT THE PAPERMILL PLAYHOUSE 13 © Papermill Playhouse

HOPEFULLY A GREEN LIGHT TO BROADWAY Based on the famous book by F. Scott Fitzgerald, The Great Gatsby musical at the Paper Mill Playhouse is stunning and surely has the potential to make it to the Broadway stage. I was fortunate enough to see the show shortly after its opening and was starstruck. The classic novel set in the Roaring Twenties is the basis for this piece. It was an era of extravagant wealth and societal excess. The story in its original format is narrated by Nick Carraway which carries over to the musical as well, for the most part. Carraway quickly finds himself entangled in the lives of his cousin, Daisy Buchanan, and his enigmatic neighbor, Jay Gatsby, who lives across the bay. Gatsby is known for his wild parties and mysterious past. This, of course, is all in an attempt to rekindle his former romance with Daisy. The biggest ideas that the novel covers are the concepts of wealth, love, and the American Dream. This is ultimately the demise of our main characters and reveals the tragic consequences of obsession and illusion. These themes and major plot points are present in the musical and don’t change a lot from the source material which was very appreciated by myself and audience members alike. Starring Jeremy Jordan and Eva Noblezada, the musical utilizes these two powerhouses to create the characters of Jay Gatsby and Daisy Buchanan in a theatrical setting. Whether it is a solo or a duet from these two, their voices are almost perfect to bring these two classic literary characters to life with a little modern twist. In addition to them, Nick Carraway and Jordan Baker’s romance adds a captivating subplot. Noah J. Ricketts and Samantha Pauly bring a charismatic quirkiness to this part of the story that makes you fall into their love story alongside Gatsby and Daisy’s. Of course, their voices are phenomenal. As for the music itself, it is a contemporary spin on a Roaring Twenties aesthetic which makes it fun to move around in your seat a little. The big group numbers in particular show this heavily. As for the solos and duets that are a little bit slower and ballad-like, they are almost gut-wrenching in a way that keeps drawing you in. We may be a bit biased but Jeremy and Eva certainly both have that effect as individuals and it is magnificent

for this story and these characters. Ricketts also does a wonderful job with his storytelling. He amplifies this aspect of Carraway in an extremely entertaining way. As for Pauly, her powerhouse vocals make Jordan Baker a sassy and vibrant woman. She is certainly the character that feels the most unapologetically bold. Hopefully, we get a Broadway transfer and a cast album so that we can all have access to this score! Another aspect fully worth mentioning is the set. Holy cow! This is one aspect of the show that I hope stays the same. Seeing the visuals that this set provides simply felt like the book was being brought to life right in front of my eyes. With many moving pieces and elements, it is almost simple and complex at the same time. It utilizes set pieces multiple times in multiple different ways. Major props to Paul Tate dePoo III for the set design. It felt very real. Lastly, the audience engagement was ecstatic. The energy in the room felt like we were always on the edge of our seats even though people who knew the story likely knew what was coming next. The captivation of this piece was executed greatly. I felt a kinship with the audience and cast throughout the musical and can see this continuing if The Great Gatsby receives a Broadway transfer. We here at Curtain Call certainly hope that it does. Of course, Jeremy, Eva, Noah, and Samantha also propelled this in a way that I expected but didn’t necessarily see coming. Overall, a wonderful job by all of the cast and crew. Marc Bruni’s direction feels authentic since the source material is preserved in a way that we haven’t seen too often in the movie to musical adaptations. Although, if I could give a rating, I would certainly give 4/5 stars with only minor critiques regarding the book to musical transfer. There were certainly a few elements of the book that I felt got shifted in a way but it wasn’t major, which is why I appreciate the immense amount of preservation that did go into this. Of course, the show is just beginning so a few of the other minor production issues that I noticed are bound to get fixed as the show continues to grow. The star-studded cast, crew, and story made my night and we can’t wait to see where this goes… hopefully Broadway!

Words by Alecia Solorzano

15 © Papermill Playhouse

SHOW REVIEW

STARKID’S WORKIN’ BOYS A couple issues ago I reviewed StarKid’s new musical Nerdy Prudes Must Die, which recently was posted on YouTube (fully produced proshot), as is the usual procedure for StarKid’s work. I’ve said it before and I will say it again, they are absolutely the best at making their shows accessible to all, all the while making sure all cast and crew get paid a fair wage. One of the ways they manage this is through their crowdfunding. Back in 2019, after the smashing success of their musical The Guy Who Didn’t Like Musicals on YouTube (7.4M views and counting!), the company launched a crowdfunding campaign to fund a second installment in their Hatchetfield series (TGWDLM being the first), horror comedy Black Friday. To encourage fans to donate, the team offered the possibility of filming a short musical film entitled Workin’ Boys, expanding on the musical-within-the-musical by Pr Henry Hidgens, a key character in TGWDLM, as he explains the plot of his masterpiece in the song “Show Stoppin Number”. Fans were enthused by this idea–me included–and the next funding target was quickly reached. Black Friday was produced in late 2019 and released on YouTube in early 2020 as promised, but then March rolled on and the Covid pandemic halted all productions, ruining all hopes of seeing Workin’ Boys made for a very long time. Instead, the company produced two seasons of Hatchetfield short stories

performed by the company’s actors from their own homes (Zoom/radio play format), entitled Nightmare Time. The very first of these stories, “The Hatchetfield Ape-Man”, actually features Pr Hidgens himself as he plots a scam to fund his musical Workin’ Boys. In fact, if there is one thing to know about Hidgens as a character, it is that he will go to any lengths to produce this musical of his. It shows in other Nightmare Time down the line as well… and in the eponymous short musical film which was finally produced this year, four years after the initial plans. As a backer for the 2019 campaign, I was sent an email to watch it for free–it is harder to come by for the general public but I am sure it will be made available to all at some point. I did not really know what to expect of this except that the role of Hidgens was taken over by Jeff Blim, who has written the music for all Hatchetfield-related content, including this short. There are five songs in this 29mn short, all composed for the occasion except the title song, performed by Mariah Rose Faith Casillas, which was included in the song “Show Stoppin Number” in TGWDLM. I thought the inclusion of this segment really helped tether the short to elements that fans are familiar with, which was nice considering there are so many new aspects! Indeed not only is the main role in the short played by a different actor, but the premise of the short is also

© All Rights Reserved that Hatchetfield’s Starlight Theatre agrees to produce Hidgens’s musical only if it is changed to “Workin’ Girls’, with an all-female cast. The format itself is also quite different from what StarKid fans are used to–most of their content is performed live. This is a fully produced short film directed by Nick Lang, shot on location at a blackbox theatre–stage, backstage and house, as the story takes place in the Starlight Theatre. Another familiar aspect however is the cast, picked from the entire catalogue of Hatchetfield characters (from TGWDLM, Black Friday and Nerdy Prudes Most Die alike). Interestingly, they still chose to do some double-casting on film, which is unusual but in my opinion works here specifically because we are used to seeing these actors play these different roles. For context, almost every actor in every StarKid musical plays multiple roles–think of it like Lafayette/Jefferson in Hamilton for example. So, we’re used to seeing them in different roles within the same show, but we’re also used to seeing both Linda Monroe (Black Friday) and Ruth Fleming (NPMD) played by Lauren Lopez, with different wigs and signature costumes, so it is not too distracting to see Lopez both on stage and in the audience in the short film… but it could be to a new, uninformed viewer.

The short also leans into the horror genre in a more graphic way than ever seen before in StarKid content, however it is very brief so people who are easily scared (like myself ) should be fine. It is difficult to comment on the performances for such a short amount of content but overall I felt that everyone was giving exactly what they were supposed to be giving–I honestly wish it were a little longer so we could have seen more! The end as it is almost felt anti-climactic to me as I would have loved to know what happened afterwards–one (supernatural) character is mentioned but absent and his arrival is announced and anticipated but never actually comes, which was disappointing. However, I do get that you can only do so much with a short format and that is what was promised from the start, so I respect it. We already have so much Hatchetfield content that I can’t really complain! All in all, it was very nice to finally get to watch this long-awaited short film with many familiar faces, and it makes me even more excited for a third season of Nightmare Time if it does happen, as teased by the team!

Words by Clelia Gessner

SHOW REVIEW

HAMNET AT THE GARRICK THEATRE

‘Agnes’s husband’. Throughout the play, we get to see their love story come to life, from the first time they meet, and evolve through the years and the pain that almost breaks them apart.

WE ALL GO TO THE THEATRE FOR DIFFERENT REASONS. To be entertained, to escape our reality, to feel things. In that way, theatre serves as catharsis in our life. When I went to see Hamnet at the Garrick Theatre, I knew the story would revolve around loss. After all, it is common knowledge that Hamnet, Shakespeare’s only son, dies tragically at the age of eleven years old. Yet, I was still completely taken aback by how powerful the characters’ emotions affected me. Drowning in my personal grief, I went to the theatre to distract myself more than anything. There is nothing worse than being left alone with your thoughts in times like these. But while I watched Hamnet, I felt trapped within the characters’ sorrow. It wasn’t poor, young Hamnet who was dying in front of my eyes, but my dad–and as Agnes, Hamnet’s mother wailed and screamed, I was weeping alongside her, feeling her pain as my own. Theatre is a strange thing. It can make you feel such strong emotions. Especially while retelling a story that is 500 years old, a story about people long gone. A story that still manages to link to the present and find emotions buried deep within ourselves. Hamnet isn’t only the story of Shakespeare’s son, it is a story about family and loss. It is a universal story and it shook me right down to my core. Based on Maggie O’Farrell’s book of the same name, Hamnet centres on Agnes Hathaway’s life and family, including the tragic death of her son, Hamnet at the age of eleven. Brilliantly adapted by Lolita Chakrabarti and performed by the Royal Shakespeare Company, the play sheds light on the hidden life of the famous British playwright and the woman who gave him inspiration and purpose. It is important to note that the show focuses more on Agnes than William, who becomes more of a secondary character in her family life, something that is highlighted within the programmes themselves where he is referred to as

Designed similarly to the inside of The Globe’s theatre, the stage has a very simple outline with a table at the centre and an elevated platform flanked by two opposite ladders. Wood is used to evoke not only Shakespeare’s iconic play stage but also the time period of the story, and without moving much in between scenes, the stage cleverly becomes a market, a church, a home, and a theatre. The show spans across a long period in both Agnes and William’s life and the performers are able to take us on this moving and heart wrenching journey with them. Madeleine Mantock is simply breathtaking as Agnes Hathaway, for lack of better words. From the very beginning, she manages to steal our hearts - and William’s - with her boldness and sharp tongue. Her and Tom Varey’s (William) chemistry is so intense we can see sparks fly during their first meeting. Mantock gives us a charming yet fearless Agnes who goes for what she wants and doesn’t let anyone get in her way. In all of this, she also shows a more gentle and empathetic side of herself, especially in the second act of the play. Hamnet embraces womanhood and motherhood as we witness Agnes’ pregnancies and childbirth in all of its aspects, Mantock always giving incredible performances. Her acting evolves in the second act as she becomes a more grounded character, having to raise her children and maintain a home while her husband is away. I was particularly moved by the strength of her performance when her children are battling the illness and then when Hamnet succumbs to it. Mantock as Agnes communicated her terrible pain that the whole auditorium was shaken with sorrow. The final scene where Agnes sees her son through Hamlet in Shakespeare’s play is both heartbreaking and beautiful and like her, we are able to witness the power of theatre: Hamnet will live forever. Ajani Cabey and Alex Jarrett as twins Hamnet and Judith are another highlight of the play for me. The two young actors appear on the stage from the start of the show as some kind of constant presence within Agnes’ story, Mantock always seeming to have

a connection with them. Like any children, they are running all over the stage, playing and laughing, their voices echoing together throughout the auditorium as an everlasting spirit. Cabey and Jarrett act as one body and mind, their bond seemingly unbreakable, until sickness strikes and there is only Judith. The dark and painful scene where Hamnet dies is so brilliantly done that, even if everyone in the audience knew what would happen, we were still devastated when the realisation hit us all. Cabey reappears as some kind of spirit, always in connection with his mother, the most important link between them all, and then, in the final scene, playing Hamlet in his father’s play. Both actors’ performances were achingly beautiful and their bond even more exceptional to witness. Although he doesn’t have much part in the play, Tom Varey plays a striking and endearing William Shakespeare. As the story focuses more on Agnes and their family, William becomes a side character. We are charmed by his dreamy and passionate nature, but compared to his wife’s fire, he is portrayed as quite dull and feeble - the picture of a man who runs away when times get hard. His love for Agnes is however never doubted and Varey forms a remarkable duo with Mantock. The last scene of the show ends with them both learning to live with their grief and finding solace within Shakespeare’s works.

The entire cast gave a powerful and heartfelt performance throughout the play and managed to bring this inspiring story to life beautifully. So kudos to Gabriel Akuwudike, Sarah Belcher, Will Brown, Phoebe Campbell, Mhairi Gayer, Frankie Hastings, Karl Haynes, Hannah McPake, Liza Sadovy and Peter Wight. Hamnet tells the story of a mother’s love and grief and it is ever more striking to know it comes from women’s writings and staging. With a mainly female creative team, the play was brought to life by Lolita Chakrabarti and director Erica Whyman. Alongside them, we have dramaturg Pippa Hill, movement director Ayse Tashkiran, fighting director Kate Waters, music director Alice Brown, lighting director Prema Mehta, and casting director Amy Ball CDG. Hamnet is a poignant tribute to motherhood, grief, and love which ultimately celebrates the essence of theatre. As Hamnet breathes out ‘Remember me’ before leaving the stage for the last time, theatre is forever. Don’t miss out on this extraordinary adaptation of Hamnet, playing at the Garrick Theatre until 17 February 2024.

Words by Constance Drugeot

BEHIND THE CURTAIN WITH

INEZ BUDD Inez Budd is currently starring as Katherine Howard in Six the Musical in the West End. She was previously in Heathers: The Musical, Dirty Dancing and But I’m A Cheerleader.

Can you tell us about your background in the arts? What was your training and your inspirations growing up that inspired you to pursue the arts? For me, it’s been a bit of a weird journey. I mean, I’ve always known that I wanted to sing ever since I was very little, but in my head, I grew up wanting to be a pop star. Then when I was younger, I went to this youth theatre group that did all three–singing, dancing and acting–and thought, okay, let me give this a go. But what’s interesting now is that I’m in a show which obviously is a musical, but essentially it’s kind of like a pop concert! So, you know, at the moment I’m kind of fulfilling my six-year-old self’s dream of being a pop star in Six the Musical. I’ve always known that I wanted to be a part of the arts. I don’t think I could ever see myself doing anything else.

What did you know about Six? Obviously, it’s a big phenomenon. It’s been all over the world. But had you seen the show, what were your impressions before you auditioned? Well, I remember when it first came out, I was training at drama school, and I remember hearing the album and thinking, “Oh, okay, that’s cool.” But I was still very much in my musical theatre ways. I think it only really came about when I gave the album a proper listen, later down the line. I just thought, “This is really cool, I want to be a part of it.” Well, me getting this job would be audition number

three. I auditioned for it the past two times. Always got so close! Funnily enough, I was seen for Parr but they just thought I’d be suited for a better queen– and actually, now I get it. I get it! It just makes total sense in the way that it’s been cast, and I don’t see myself as anyone else but Howard anymore.

workout. Some days are harder than others, don’t get me wrong, but I feel like what helped me with Six is I really tried to maintain that mindset and it helped me think. It’s got me where I am.

So within this new Six cast, you have a mini Heathers reunion. What’s it like being And to be able to do it in the West End every night– with Kayleigh and Hannah again after all it’s a dream. It’s such, such a good show, such great that time? music. And also, it’s so funny with the parallels in terms of what the queens go through and how you can surprisingly relate that to current times.

It’s so lovely. It was funny because I had bumped into them in the audition process as well, and we were kind of joking about it a little bit, but not expecting it to happen. So when it did happen, it was so amazing.

About the audition process–I’ve heard from different Queens how different it is from other auditions. So what was your own experience like? Also, Hannah and I share the exact same birthday I mean, right from the get-go, you walk into the room and you can tell it’s such a safe space and how they just allow you to do your own interpretation of the Queen–if anything, they encourage that. One interesting thing was how in the auditions you have to make eye contact with the panel, so they can see how you can engage with an audience. With my training, we were taught to never do that! It’s always “you look ahead, you look above the panel, never look at them.” So that was a completely different experience, and quite gruelling during the dance auditions actually because it is such a physically demanding show.

and we actually started rehearsals on our birthday as well, which was really wild! It helped alleviate the first-day-of-rehearsals nerves. But weirdly enough, I didn’t really get that same feeling walking into a room with female-identifying people. It was just such a lovely environment. I think having Kayleigh and Hannah there helped too, knowing that we’ve always got each other’s backs. And in such a short amount of time, we’ve all kind of really bonded together–all of us as a group. So yeah, it’s nice. It’s lovely.

I know that during the rehearsal process, you do a little bit of research into the Tudors and the Queens. What was the I probably didn’t expect it to be as physical, but even most interesting fact about the Tudors in though the show is only an hour and 17 minutes, general that you have learned and about you are on your feet the entire time. You’re moving Katherine Howard? all the time. And so in the audition, I think I really enjoyed how dancey it was. I wasn’t expecting that.

And just how you embrace the other queens, you know, how we interact with each other. It’s funny because Reca, Thao, and Nikki, who play Cleves, Boleyn and Aragon, were in my dance audition actually, and I just remember getting a warm feeling from them. We were just vibing and I think the casting team really looked out for that genuine kind of sisterhood, that authenticity, if that makes sense. Most importantly, it was just fun. I kind of go into auditions not expecting to get any further; I try to treat it as a fun workshop so if nothing comes from it, at least I had a good time, or I had a good

Well, actually, there is a fact that I learned a couple of days ago: Katherine Howard was buried next to Anne Boleyn, thankfully, but they poured this sort of chemical over her bones so that there’d be no remains left of her. So there is absolutely nothing left of Katherine Howard, and I just find that incredibly sad. At least she’s buried next to Anne Boleyn, but just find her whole life story incredibly sad.

I find it interesting that very little is known about her life. There are some things we know, but a lot of it is sort of up in the air. Yeah. Because, our good friend Henry decided it was a good idea to get rid of all traces of her, and also some of her family members got executed because of her actions. So really, all we have left is people’s

descriptions of her, I suppose. But apparently, she also had a dog that she carried around. I don’t know where I know that fact from, but I read it somewhere, and it makes me happy. It wasn’t all doom and gloom.

didn’t really sink in. It still didn’t feel real. But then I had to keep going back for fittings, and it was so cool watching the costume just fit more and more right to my body! Even now when I put on my little outfit… I can’t believe I get to wear this every night. This is a dream. A pink, fluffy dream.

So within the rehearsal process, did you have any favorite moments and did And do you like the pink ponytail? anything surprise you? A lot of the show is making the audience feel super included, and we want to make sure that they feel like they’re able to come up on that stage with us and be a part of the group. So, to try and rehearse that in an empty space with our three lovely creatives there watching us, trying to create that energy is really hard. And I think again, it’s why the audition is set up the way that it is. We have to look at every single person directly in the eye. And it got to a point where we got so confident with the show, it was like, “Okay, we need to be on that stage now. We need to have that audience interaction.” It’s also basically like army training. We had to wear these weighted jackets for like 15 minutes a day and then towards the end, 30 minutes a day, but split into two just so that we could get used to how it would be in costume. I would say the costumes are so restrictive, so having the weighted jackets helped us fight through that. That was very interesting–I’d never had anything like that in a rehearsal process before! Look, don’t get me wrong, rehearsals are never a smooth ride. And, you know, there have been some moments that were really hard towards the middle where you just kind of think, “Can I really do this?” And this show is so iconic and it has so many loyal fans so it’s easy to get in your head. Luckily, the group that we have, all the people that have been working with us–cast and creatives–have been super supportive and have really ensured that the space that we are working in is really safe so that we are allowed to make mistakes.

How did it feel to try on the costume for the first time? I was obsessed. I couldn’t even stop looking at myself in the mirror. I was just in shock. We had to have quite a few separate costume fittings actually, before rehearsal started. When I tried it on for the first time I was obsessed and even then, it just

Yes! I always find myself just swishing it unnecessarily, whenever I can. Just because I can! It’s making me think maybe I should just dye my hair pink. Like I think I’ll be fine. It’s a colour that I never thought suited me, but you know, pink is my new colour!

Is it heavy? Is it hard to dance in? I’m quite used to wearing hairpieces because I have afro, textured hair. Sometimes I’ll have my hair in braids. So, I’m used to having a lot of weight there, but the first time I did the show in costume, it changed everything in terms of how I move. Because let’s say we’re doing a turn–I have to account for the delay of the ponytail being whipped around, and I have to adapt so the ponytail doesn’t move with so much vigor.

You just debuted in Six not that long ago. What was that experience like? What were you feeling before, during and after? It felt like a fever dream. It went by so, so quickly. I just remember being so nervous the first time. At the top of the show when we’re doing our intros, facing our backs to the audience, my knees were shaking like crazy. But as soon as you sing the first “live” riff and it’s go time, you’re on that train and you’ve just gotta keep it running. It goes in a flash. So you feel the nerves before, and then once the show is going, it’s fine. You are totally immersed in it. When it was over, I couldn’t believe it happened. And also, hearing where all the laughs land and being able to feed off of the audience’s energy–a lot of things that maybe felt a little bit off in rehearsals automatically just clicked and made sense. Being able to hype up a crowd and to engage with the crowd is so rare. I’m so used to being on stage when our world is separated from the audience. But no, this is a full on concert. And it’s wild! I’ll never forget it.

What’s your favorite number that is not from a very young age. I’m not sure how she would be in real life, but she was very full of life, apparently. yours? You know what I really enjoy? “House of Holbein”. Because it’s so weird. It just comes in the middle of the show, so different from anything else. And just as you realize it started, it’s over–back to normal programming. I just think that’s so silly. It makes me laugh. And our little neon ruffs and our glasses! And we’re being super, super serious right there! It’s just so silly and fun. My favorite song, I probably would say “I Don’t Need Your Love”. The first time I heard it in rehearsals, I genuinely started to well up. I’ve been on such a journey with it, having been seen as Parr before, and even if I knew I wasn’t right for it, I still loved the song. And the way Janiq sings it honestly gives me goosebumps every single time. I’m just so lucky to be able to hear it every night.

So how would you describe your personal take on Howard ?

So we’re kind of on the same page, full of life and just a delight to be around.

What is your favorite part about being in Six? It’s hard to pinpoint a single thing because all of it is just fantastic. To see all of us together in costume, we just look so powerful! And to be able to tell these women’s stories that in the past have rarely been told, that’s incredible and so empowering. But mostly it’s when I see little girls in the audience– it’s so lovely to watch in real time, them looking at us on stage and potentially thinking, “I can do that,” or “I can do whatever I want in this life.” It’s really heartwarming and I don’t have the words to really express this feeling because I feel like that was me not long ago. And so being on the other end of it is… wow. Just wow.

What do you want audience members to I try to keep her as light and bubbly as I possibly take away from the show? And specifically, can, because then I feel that when she gets to what do you want them to know about the end of her song, if she’s always been serious Katherine Howard? throughout the show, it doesn’t make as much of an impact. There is not much information on Katherine Howard, so I think it’s really important for me to actually do her some justice, because a lot of the time when you bring her up to anyone who doesn’t know the show, you either get “Who’s that one?” or, “Oh was that the slutty one?”, which is really sad. And I think she deserves more than that. I think it’s kind of a trauma response in a way for her. You’re trying to keep everything light and bubbly on the surface, but you’re falling apart on the inside. And so she has to actually go there, and it’s gut-wrenching.

I just want everyone to feel empowered by the message of the story and I also want to challenge those who might have had a preconceived idea of the queens–you know, they weren’t all scandalous, loud mouthed. And to be honest, ultimately I just want people to have a good time. I want people to be able to come to the theater and leave whatever they have going on in their lives, forget about it for an hour and hopefully just brighten up your evening or day.

Finally, if you could take any historical You have official Queenspirations, but event and turn it into a musical, what do you draw from any other pop stars or would you want to do and why? performers? To be honest, because I am such a big Ariana Grande fan, it’s always been a no-brainer for me. Katherine Howard is just Ariana to me and also some early Britney Spears I would say, because they were both child stars, really. So I think it makes sense for Katherine Howard to draw inspiration from these two pop stars, because she was the youngest of all the queens and was very much thrust into that life

You know what? Cleopatra, I don’t think there is a right one on Cleopatra. She would just be fabulous. Her life was wild. That is a musical! But then I feel like a good two-hour musical wouldn’t be able to do her whole life justice because there’s just so much that went on. I feel like there’s a theme here in terms of allowing the women in history to have their say in how their story is told. Let’s make it happen.

Words by Hellen Sullivan

MEET TH

QUE

HE NEW

EENS

29 © Claudia Vinatea for CurtainCall

AAAAA ALBUM REVIEW

GUYS AND DOLLS seems on the verge of disbanding, the unlikely pair ANYTHING BUT CRAP or Sister Sarah Brown (Celinde Schoenmaker of The Light in the Piazza and Marry Me a Little acclaim) and While Frank Loesser’s 1950 musical Guys and Dolls gambler Sky Masterson (Andrew Richardson in his centers on a game of crap, the 2023 London cast professional stage debut) discuss what love means recording is anything but that. As one of the most to them in the iconic, “I’ll Know.” beloved shows in the musical theatre catalog, Nicholas Hytner had a large job in directing. Switching narratives, we’re brought to see Miss Luckily enough, from an auditorial standpoint, he Adelaide’s nightclub to experience her act, “A helped emphasize the show’s pristine reputation. Bushel and a Peck” and the star-power Wallace Orchestrated by Charlie Rosen, a 14-piece swing emits. Adelaide shows her true colors in “Adelaide’s band transports those listening at home to New Lament,” and voices her despair brought upon by York, a nightclub, and even Havana. With “Overture a long engagement. The titular song explores the / Runyonland” serving as your plane ticket, the hour union of men and women, while really highlighting and twenty-eight minute long recording wins a the difference in mindset between the two when it record for fastest travel time. comes to love. Proving the words of Nicely-Nicely Johnson and Benny Southstreet to be true, Sky Fugue for Tinhorns,” “Follow the Fold,” and “Oldest takes Sarah on a romantic getaway to Havana. While Established” integrate the audience into the in Cuba, Sarah tries Sky’s “Cuban Milkshake” without world that is Guys and Dolls, with the ensemble of realizing it contains alcohol and–in a drunken gamblers (Jordan Castle, Cameron Johnson, Cedric state–kisses him (“If I Were A Bell”). Schoenmaker’s Neal, and Mark Oxtoby) introducing the audience powerful soprano and comical take on this classic to “Good ole reliable” Nathan Detroit (Daniel Mays). make it a standout on the record. A central plot of the show, Nathan Detroit and his fiancée of almost fourteen years, Miss Adelaide Richardson’s Sinatra-esque baritone in “My Time (Marisha Wallace), begin to ponder what the of Day,” and then into “I’ve Never Been in Love fourteen years have amounted to. While one couple Before” make him an instant star. Richardson and

© Manuel Harlan Schoenmaker reinvent the duet at the end of the act, with their incredibly well blended voices and strong emotional capacities. This moment of tenderness is cherished on the record–due to the strong comedic themes explored throughout, this genuine display of love is a special piece. For jazz lovers, make sure not to skip the instrumentals. The “Entr’acte” is not to be missed. The hidden gem, though, on this record is Anthony O’Donnell’s “More I Cannot Wish You”. Not only is it a strong orchestral performance (especially on the flute), but a vocal one as well. An elder passing wisdom to his granddaughter will always tug your heartstrings if you let it. More often than not, a show will have all its best songs in the first act, then leave the second one not as strong musically.

wonderful to have a moment between two women (even if they’re still discussing men). For those who’ve never seen the show, the plot might get lost upon you. Contextually speaking, it can be a lot when you’re already sat (or standing in this specific case) at the show; nevermind only having the music! Luckily, this score is so immersive that you’ll feel as though you’re actually in the Bridge Theatre! Complete with neon lights and displayed in the round, this inspired take on Guys and Dolls is making the 50s modern again. The record is closed out by a reprise of certain songs and carried by the orchestra. If you can make the trip, this music and cast deserve to be experienced with your eyes and not just your ears.

The same cannot be said of Guys and Dolls as “Luck Words by Sophia Rubino Be a Lady” and the not once, but twice encored “Sit Down, You’re Rocking the Boat” keep the audience musically satisfied for the entire length of the show. Adelaide’s and Sarah’s introduction makes for one of the show’s greatest duets, “Marry the Man Today.” It might seem excessive, but Sarah receiving advice produces some of the best songs on the record. And, for a show that deals almost entirely with men, it’s

SHOW REVIEW

HERE WE ARE AT THE SHED

ONE LAST CURTAIN CALL FOR STEPHEN SONDHEIM Last summer in Marriage Frères, a salon de thé in Paris, I sat with my phone, anticipating the release of tickets. By the stress I was feeling, you would think I was buying tickets for the Eras Tour or Beyonce. But it was for Stephen Sondheim’s final original work, which was making its world premiere offBroadway at The Shed. This was not a theater event to be missed and I was determined to be there! The musical, titled Here We Are, had been under development for a decade but was left unfinished before Sondheim’s death in November of 2021. The composer’s death left uncertainty as to whether the work would ever be produced. Previous

readings had been delayed because of incompleteness. Playwright David Ives and director Joe Mantello worked to finish the piece with the songs that Sondheim had written and a world premiere was announced for the fall of 2023. Here We Are is a beautiful send-off to a man whose impact on theater will be felt for years to come. Stephen Sondheim has explored many themes and his latest is surrealism. Here We Are is based on two Luis Bruñel films–The Discreet Charm of the Bourgeoisie and The Exterminating Angel. The first act follows a group of friends trying to find a space for brunch only to find difficulty getting food at any restaurant they go to. The second act finds the same group stuck in a room, unable to leave. The majority of

the songs are in the first act with a couple at the top of the second as Sondheim was unable to finish the score with the bulk of the act consisting of scenes written by Ives. Surrealism is not an obvious choice as a sub genre for a musical but Sondheim was never afraid of taking risks, making this a fitting farewell for the late composer. Here We Are has an all-star ensemble cast that is a joy to watch and rises to the occasion of the moment. Bobby Cannavale and Rachel Bay Jones play a couple who forget they have invited their friends for brunch. Jones is a delight and really shines in the second act during a conversation with a priest played by the ever wonderful David Hyde Pierce. In a stark contrast from her Tonynominated role in Parade, Micaela Diamond is Jones’ younger sister

© Emilio Madrid and a staunch revolutionary who believes the end times are coming. Jeremy Shamos and Amber Gray play a power couple who are hiding secrets from each other while Steven Pasquale is an ambassador who is having an affair with Gray’s character and lusts after Jones’s. The core group is joined by Pierce, a colonel and soldier played by the underutilized Francois Battiste and Jin Ha, who gets a standout solo in the first act. There is certainly a missed opportunity to utilize the talents of the cast in the songs but what you do hear makes you wish Sondheim could have completed the score.

another, not able to find food. This contrast in tone is also seen in the set design by David Zinn, who also did the costumes. The simple white background is joined by neon signs that descend from the ceiling to make up the restaurants. Towards the end of the act, a more detailed set for the ambassador’s embassy also provides the setting for the second act where the characters are stuck in the sitting room. This act is more serious in tone as the group struggles to survive trapped in the room.

and I felt honored watching what he worked on up until his death. There is no shortage of Sondheim musicals with the current revivals of Merrily We Roll Along and Sweeney Todd on Broadway. Here We Are has charm and intellect that is seen in Sondheim’s body of work and should not be missed.

Words by Helen Sulllivan

The musical may feel unfinished and we will never know what it could have been if The two acts, being based Sondheim had been alive, but it on two different films, have a is nonetheless a treat to see the stark contrast in tone. The first final work of a brilliant career. has more comedy as the group There will never be another new goes from one restaurant to musical from Stephen Sondheim

BEHIND THE CURTAIN WITH

As described on the show’s website, “Anne Being Frank moves between three worlds. The secret annex where she and her family are in hiding, Bergen Belsen where she lives out her final days, and an unlived future in a swanky New York publishing house. Here we meet the bright, debut author who with devastating new insight into the depths of human depravity has rewritten her entire diary. On a quest to tell the truth, she crosses swords with the literati, who dearly wish to maintain the innocence of the original.” I was fortunate enough to be able to speak to the playwright, Ron Elisha, and Alexis Fishman, the lead actress playing Anne Frank. Both creators had plenty of amazing things to say about the piece and really showed how long this process has been and how hard they have worked to put the show together. Please be aware the contents of this interview may contain harsh topics such as references to the Holocaust and mentions of antisemitism.

What inspired you to create this show? well. It’s hard to recall precisely how long that took. How did you work together as a writer/ The writing of the first draft itself would’ve taken about a week, which is about my average. actor to do so? Ron: I was inspired by an article I read in the What was the production process like for Smithsonian Magazine, by Dara Horn, who stated you guys? How are performances going? (amongst other things) that Anne Frank’s statement that “in spite of everything, I still believe that people are basically good at heart” was written just three weeks before she met someone who wasn’t. This led me to imagine how her diary would’ve read if it had been written AFTER her arrival at Bergen-Belsen concentration camp. I met Alexis early in the pandemic, over a Zoom meeting organized by our agent (we share one), who was doing a fair bit of that while we were all in lockdown. I sent her ‘Anne Being Frank’, which she loved, and we’ve been working on it since, via both Zoom and email. We did a couple of Zoom readings, with different directors, she gave me feedback, I rewrote, and so it went for three and a half years.

Alexis: The genesis of the show is really quite

cool. When COVID happened, my agents, who Ron mentioned, were just incredible at keeping their clients sort of buoyant and connected. For the record, their names are David Smith, Tania Macdonald of Smith and Macdonald Creative Management, based in Sydney, Australia. They started to organize sort of Zoom happy hours and opportunities for their clients to connect and they started to introduce their playwriting clients to their acting clients. As a result of this, I was sent a whole lot of Ron’s plays and Anne Being Frank was one of them. As Ron mentioned, I just fell in love with the play immediately, thought it was breathtaking, and knew I just had to play this role one day. So, we just started to work together and go back and forth on drafts. We worked with a couple of different directors on it and got a whole lot of feedback. Then a year ago, we had an opportunity to present it as part of Emerging Artists’ Theater stage reading series. So it has been three and a half years which has been amazing.

How long did it take for the first script to be created? Ron: I had to read Anne Frank’s diary and, as a

result, several other books by other people who were involved in the story (those who survived, obviously), and there’s a ton of material online as

Ron: You’d have to ask Alexis about the production

process. I’ve been here in Melbourne whilst she’s been out hustling. She’s the one who got the play onto the radar of the Emerging Artists’ Theater, as a result of which all this has happened. Every so often, once she was in rehearsal with Amanda, the director, she and/or Amanda would give me a progress report, or ask for some line changes, but that was the limit of my involvement.

Alexis: The production process has really been

quite amazing because Amanda Brooke Lerner (my director) and I have been working on this play for a very, very long time. We obviously rehearsed leading up to the stage reading last year but then from that point, we actually just kept working together. We were meeting once a week on Zoom just to sort of continue to dig into this play because it’s really just quite an incredibly–I mean it’s a very difficult, very deep, lots-of-layers play. It’s heavy and also I do four different accents. It’s 90 minutes of dense text, so we just knew there was a lot to do and we needed as much time as we possibly could get. It’s really been in me for a very long time. Performances are going really, really well. Audiences are really moved and challenged. They have a lot to think about at the end of the night. We are very proud of the work we’ve done and hope that as many people as possible can get out to see it because it’s a unique take on a story that the entire world knows very well.

What has been the most fulfilling part of this entire experience? Ron:

Finding an extraordinarily talented, intelligent, dedicated and hard-working actress whose theatrical aesthetic aligns so beautifully with my own and who’s prepared to get out there and hustle (an activity at which I suck, despite my best efforts). That is such a rare thing. Going forward, we have plans to try and get several more of my scripts onto the stage, in time.

Alexis: The opportunity to really give this play the treatment it deserved. As the actor, it’s such a rich, deep, difficult play and I knew the minute I read it

that it was gonna require a lot of work and effort. I feel really satisfied that we have been able to do that and that I’ve been able to properly rehearse this piece. It was really a pipe dream when I first read the play–I know how difficult it is to get plays on stage and we had done the reading which was a lovely sort of teaser of the breath of work I knew this play needed. I feel so thrilled that we’ve been able to rehearse and present properly and to have a beautiful design. Our fabulous designers have done a fantastic job and that really has been the most gratifying part for me.

Can you give me three words to describe this show? Ron: Poignant. Passionate. Provocative. Alexis: Surprising, important, breathtaking. What’s challenging about bringing this script to life (as a writer and an actor respectively)?

“POIGNANT. PASSIONATE. PROVOCATIVE.” Ron: Because Anne Frank’s diary is still under copyright in the US, I had to be very careful to avoid any kind of infringement. So I went to the original diary (which is in Dutch and which is already in the public domain) and ran it through Google Translate (which is also in the public domain). This gave me a basic script I could use, and the fact that it probably wasn’t using Anne’s actual language was an advantage, as it gave me the basic ‘facts’ without putting her words in my mouth, as it were. I then rewrote all of the diary-related parts of the play in my own words, taking care to change any word that might be tagged. The next step was quite liberating as, in setting up the conceit that Anne was rewriting the diary from memory and from an entirely new perspective, I was then able to make the diary go in all sorts of directions that wouldn’t have been possible if I’d stuck religiously to the original text. The further challenge was finding a practical, doable way of moving from one ‘world’ to another without confusing an audience and driving the actor/director crazy, as the play takes place in three distinct ‘worlds’ – the famous annex, in which the family hid, the concentration camp, and an imagined world of success as a writer in Manhattan, dueling with her editor.

Alexis: What isn’t challenging about bringing this

play to life? It is a mammoth effort for an actor, for me. It’s 90 minutes of just me on stage solo so even just the memorization of this piece was a challenge. I’ve done a lot of solo work before, a lot of cabaret and musical plays. This is really different because it’s tough, there’s no music backing me up, there’s no singing, and there’s no opportunity to indulge in a long note and take a second to breathe and refocus with some applause that might happen between numbers. It’s been a real lesson in learning how to focus on the stage, stay in the moment and not mess up the lines. So that’s been a real challenge. In terms of the play, I’m playing five different characters in four different accents, none of which are my own. Within that, the physicality and emotional life of those characters have to be explored, understood, and presented. Also, the subject matter is incredibly heavy so there’s an emotional toll. In preparing to exist in the world of a Nazi concentration camp in the world of a young girl hiding in an annex, all of those things are not easy, and not scenes that are immediately accessible to me from my lived experience. It’s a big challenge but what has made it gratifying is that I’ve been able to take it on and do it.

© Richard Rivera The show has strong themes surrounding antisemitism and the Holocaust, how did you decide to approach and utilize these topics to tell this story? Ron: Dara Horn’s argument is that the Anne Frank

story has been so extraordinarily popular throughout the world because it lets us – the ‘audience’ – off the hook. It reassures us that our fellow humans are basically ‘good at heart’. But if that is indeed the case, how do we explain the phenomena of antiSemitism (which is rapidly on the rise once more) and the Holocaust, which is its ultimate expression (as well as being the quintessential expression of Evil)? The play introduces us to the realities of these phenomena, on very much a personal, human scale, in relation to an iconic figure whom we had folded into a particular part of our collective consciousness that we thought was ‘safe’ and ‘settled’. The play begs to differ.

“THE PLAY INTRODUCES US TO THE REALITIES OF THESE PHENOMENA, ON VERY MUCH A PERSONAL, HUMAN SCALE.” 39

What is your favorite part/scene in the piece? Do you think this will be the same for audience members? Ron: My favorite sequence is Anne’s description of

the fate of Mr. Van Pels and its relationship to the presence or otherwise of God. The reference is swift, skewering, utterly uncompromising in the way it delivers its gut punch, but I doubt it will be the audience’s favorite, as it puts them right back on the hook from which Anne released them. The audience, I feel, will respond most readily to the jousting that goes on between herself and her imagined New York editor, these sequences providing the relatively light relief in the play (whilst, at the same time, delivering its message).

Alexis: My favorite part of the play is the ending.

I feel like the whole thing just erupts into this beautiful, heartbreaking, confronting culmination where I feel quite deeply in my presentation of it as the actor but I also know that it’s the climax for the audience. It’s a fun part to play because of the emotion that is drawn upon and a lot of juicy bits I can sink my teeth into. It’s the final interaction between the two major characters I play so that’s a fun part for me. I’m not sure what the audience would connect to, I think they probably appreciate the light relief of those interactions between those two characters a bit early on in the play, but of course each audience member is different so we’d have to ask them what their favorite part is.

“SURPRISING, IMPORTANT, BREATHTAKING.”

What is the most important message of the show and what do you hope audience members take away from it? Ron: Life is not Hollywood. Things in this life can end very badly, and they can do so due to the efforts of people acting with evil intent and in spite of the best efforts of those opposing them. We need to understand and accept this as a reality whilst recognizing that this is what we’re up against if we wish to introduce good into the world. You can’t achieve anything meaningful if you don’t really know your enemy.

“YOU CAN’T ACHIEVE ANYTHING MEANINGFUL IF YOU DON’T REALLY KNOW YOUR ENEMY.” Alexis: This play is deep and there are a lot of

messages that can be taken away from this piece. For me, I think the most exciting part of this play is that it forces us to confront the real evil that is in the world in order for us to be aware of the world’s challenges and problems and what we need to do to overcome them and live in a world where love and respect truly are the primary guiding lights. I think this play shows us that people of the world don’t know Anne Frank’s story, they only know part of it, they don’t know the end of it. The end of her story is the horrifically tragic, unjust, putting it lightly, fate of 6 million Jewish victims of the Holocaust. Although the Holocaust is probably one of history’s darkest times, horror and evil have occurred since the beginning of time and occur today and I think this play forces us to confront that and teaches us that we need to be vigilant. The other big theme in this play is hope and what it is that hope means and represents and how it is that humanity clings to it in all times of life.

Words by Alecia Solorzano

SHOW REVIEW

OPERATION EPSILON AT THE SOUTHWARK PLAYHOUSE 42

IT’S THE END OF THE SECOND WORLD WAR AND THE ALLIES HAVE THE TEN MOST PROMINENT GERMAN NUCLEAR SCIENTISTS IN THEIR GRASP. What else could they do except keep them close at hand to learn their secrets and the ultimate truth? In this gripping retelling of a once-classified true story, Operation Epsilon delves into the minds and hearts of these ten geniuses in search of one answer: were the Nazis close to developing the atomic bomb? Written by Alan Brody and directed by Andy Sandberg, this two-hour play recreates the enclosed space in which our protagonists lived for months all the while recounting actual transcripts of these conversations through a thought-provoking and thrilling script. It played at the Southwark Elephant Playhouse, a small and intimate theatre which was the perfect setting to disclose this secret part of History. Upon entering the confined auditorium, not much is left to the imagination. A very realistic and lifesize replica of the space shared by the scientists is presented before our eyes from the 1940s living room to the upstairs bedrooms and even a small, private office for Major T. H. Rittner, the general in charge of

keeping an eye on them. The set is quite impressive and massive for the small stage and thus only four rows of seats are allowed, meaning that the audiences watching the show are rather restricted in number. Considering the heart of the story, it only makes sense that the theatre allows a small number of people: we are able to acknowledge more vividly the feelings and actions of the protagonists, trapped with them in this confined space. Moreover, the play remains very focused on the task at hand until the very last moment. There are no distractions, no music or even light-hearted breaks within the acting of the performers: the script is after all based on actual conversations that happened between powerful men of science in a warfare context; there is no room for improvisation or intended mishaps. Do be reassured, it’s not all serious all the time, there are a few amusing lines here and there that help lighten the mood. But mostly, the interactions between the characters unveil a poignant and thrilling tension that only begs to be released - and that couldn’t have been done without the riveting performances of this allmale cast! The eleven cast members were all impressive and enthralling in their renditions of this critical part of history. The chemistry in the room could be felt and

© Pamela-Raith each was a master of their character in simple yet revolved ways. Simon Bubb is particularly great as Major T. H. Rittner, playing a kind of ‘outcast’ in this group of scientists and yet managing to steal the scenes and bring both confidence, trust, and firm authority. Nathaniel Parker as Otto Hahn and Simon Chandler as Max Von Lue allow a more emotive and human side of these scientists to be displayed. The scene where Hahn learns about the bomb in Japan is heartbreaking and exposes for the first time the serious consequences of their actions. Parker is a wonder to watch on stage as his character goes through a myriad of emotions and self-condemnation until the very final scene of the show, where he realises the important role he is playing in the wrong side of the war. It was also very interesting to see the reactions of the others when they learned about it: some are more affected than others but most of them are rather focused on how they could have let the Americans be ahead of them – a scene that is quite chilling due to their disregard for human life or the aftermath of both the war and the nuclear bomb. All they can think about is their reputation and career, especially Gyuri Sarossi as Werner Heisenberg and Simon Rhodes as Kurt Diebner. Although Heisenberg appears more compassionate and sympathetic than the others at the beginning with his enthusiasm for music and

flair for leadership, he remains more focused on his mistakes in his scientific calculations than anything else. Diebner on the other hand never pretends to care about anything other than advancing German nuclear science at all cost and disregards the war and its effect on human life. Rhodes’ cold and detached acting is quite impressive and makes us dislike him from the very beginning, yet he maintains his character throughout the show with control and adroitness. Everyone, including Nicholas Armfield, Jamie Bogyo, Matthew Duckett, Jake Mann, Peter Prentice, Leighton Pugh and Gabriel Freilich, does a wonderful job bringing this fundamental story to life. It was very nice to see the audience as absorbed and attentive as I was in the play and we made sure to give the cast an explosive round of applause during the bows. Operation Epsilon allows us to shed light on a forgotten part of history in a thought-provoking and ethical play that brings out intense performances and gripping dialogues! Operation Epsilon played at the Southwark Playhouse Theatre until October 21st.

Words by Constance Drugeot

SHOW REVIEW

SHUCKED AT THE NEDERLANDER THEATRE

Despite being based in Europe, my first article for Curtain Call was about my first Broadway show (Moulin Rouge! Back in 2019). Well, I am happy to say I was lucky enough to go back to New York City in 2023 so I can tell you all about my experience seeing Shucked, a brand new musical which has not made its way out of New York yet!

So what is Shucked about, exactly? Yes, it is about corn, as the two narrators (played by Ashley D. Kelley and Grey Henson) tell you from the start. But really, it’s about Maizy (Izzy McCalla), who has lived in the same secluded place with the same people all her life. Cob County is surrounded by corn walls which isolate it from the rest of the world, and the entire population depend on corn for everything, it seems. So when the corn starts dying for no apparent reasons, Maizy decides to leave in order to try and find help, to save the corn–even though everyone tells her it’s a terrible idea, including her fiancé Beau (Andrew Durand). Maizy is arguably extremely naive so in Tampa when she meets a con man named Gordy (John Behlmann) pretending to know how to help her, she takes him home without hesitation. You’ll have to see the show for yourself if you want to know what happens next, but you get the gist!

The first thing I should mention is that Shucked is not doing things half-heartedly. You’ve probably heard about all the genius marketing they’ve been doing since before even starting previews at the Nederlander Theatre back in March. And surely, as soon as I made it to Times Square on the very first day of my trip, I spotted a man dressed in a corn costume near the TKTS queue, promoting the musical as “a show all about me!” A few days later when I was in line to enter the theatre, ushers were waiting with “Team Candy Corn” buttons to celebrate Halloween while still making it about corn (the playbills were modified for the occasion too), and they were even The country-folk score by Brandy Clark and Shane offering bites of corn to queuing patrons. McAnally is absolutely delightful–my favourite tracks are the ballad “Maybe Love”, the gut-wrenching Once inside, I was greeted with a gorgeously lit “Somebody Will”, the hilarious “Best Man Wins” and barn set, designed by Scott Pask, which serves as of course the showstopper “Independently Owned” a backdrop for essentially the entire show–but (although I wish the songs were longer; they’re it works! Indeed the plot only takes us out of Cob all so short!). But what really makes this original County once to Tampa, FL for a few minutes, where musical stand out is its tone. The hilarious, fasta couple moving pieces are enough to set the scene paced book by Robert Horn is simply packed with with reasonable suspension of disbelief. For the rest jokes all throughout the two hours of the show. You of the show, the barn and its surrounding corn walls honestly cannot ever sit back and dissociate for a make for quite a realistic set. second without missing one and finding the whole audience bursting into laughter! To be perfectly

© Matthew Murphy and Evan Zimmerman clear, a lot of these jokes are quite dirty so be aware of that–it might not be for everyone! But it is definitely hilarious for most, and the audience on that Friday night seemed to enjoy the humour as much as my friend, my mum and I did. It was genuinely a great night out! Now let’s talk performances. New to the company (she took over original cast member Caroline Innerbichler in September), Izzy McCalla definitely shines as Maizy. She’s funny, she’s endearing, and she can sing the hell out of her many solos. She has great chemistry with Andrew Durand’s Beau, who left me speechless after his first solo number and continued to impress me with very convincing and touching acting, as well as killer vocals.

role, with great crooning vocals too. Ashley D Kelley and Grey Hanson as Storyteller #1 and #2 are brilliant, joining in seamlessly during numbers and becoming more and more part of Cob County as the story progresses, even though they are technically not diegetic narrators at the top of the show. It is lovely to watch human literary devices turn more and more into fully-fledged characters!

Finally, Kevin Cahoon rounds up the main cast with great comic relief all throughout the show as Beau’s brother Peanut–most of the dirty jokes do come from him but they also come from such a place of innocence and honesty that they become endearing somehow! He is definitely the one who sets the tone for the show the most–he actually It is well known that the star of the show is Alex even opens it. Newell, who has won a Tony for Best Featured Actor in a Musical for their performance as Maizy’ All in all, I would say that Shucked is not the next cousin Lulu. However, on that particular night Alex great Broadway musical (and it is sadly closing in was out sick, so we had the pleasure of discovering January), but it makes for an incredibly fun night their understudy Miki Abraham’s portrayal of Lulu. of entertainment, with cute love stories, thighThey did not disappoint even though those are big slapping humour, great tunes and delightful acting shoes to fill! I loved that Miki has their own version performances. It is also super refreshing to see a of “Independently Owned”, completely different completely original musical with new musical and from Alex’s, because it invites less comparison and an original story, so I would definitely recommend lets you appreciate their talent fully. They are still as it if you can catch the show on Broadway or during fierce as I can imagine Alex to be as Lulu, and it was their planned US tour/possible London run! an absolute pleasure to watch them. They also have great chemistry with John Behlmann, which proves Words by Clelia Gessner quite important in Act 2… Behlmann himself is very good too in the classic conman-turned-honest-man

ON YOUR SCREEN

ITV’s new show ‘Mamma Mia! I Have A Dream’ sees fourteen musical theatre hopefuls compete for a role in the West End production of the famous jukebox musical Mamma Mia!

following a search for a pair of romantic leads, as these fourteen young performers are either auditioning for Sophie or her fiancé Skye. I found this a clever choice as it allowed for chemistry to be taken into account, which After a beautiful rendition of the is such an important factor for a titular song, paying homage to the musical as romantic, and iconic, movie adaption, Zoe Ball, British as Mamma Mia! With a little help presenter and the show’s host, from its sponsor Jet2, the whole gives a spoiler-free recap of the show was shot in Greece–where show to help jog the memories the musical itself is set–giving this of fans, and to introduce new old recipe a unique flavour and viewers to the concept, before truly immersing the performers establishing the show’s format into their characters. and premise. When watching this first episode, I was reminded Four celebrity judges feature, of the theatrical reality shows including the incredible Samatha which were so popular during Barks, who got her big industry the 2000s, both in the UK and break 15 years ago when overseas. These famously include competing on ‘I’d Do Anything’ the 2006 ‘How Do You Solve A for the role of Nancy in Oliver! Problem Like Maria?’ (the problem Barks is a great example of how being how to find a leading lady such a show can truly change a for The Sound of Music), the 2007 life, as despite Barks not winning ‘Any Dream Will Do’ (where 12 the role, it kickstarted her career– dreamers competed to be Joseph she has since made a name as and don his famous Technicolour Eponine in the film adaptation of Dreamcoat), the two Grease Les Misérables and is now Elsa in reality shows that also aired in Disney’s Frozen. She did in fact get 2007, (the British ‘Grease is the around to playing Nancy during a Word’ and the American ‘You’re UK tour of Oliver! Pop star and selfThe One That I Want’), as well as proclaimed Mamma Mia! super2008’s ‘The Search for Elle Woods’ fan Jessie Ware also features as or 2010’s ‘Over The Rainbow’, a judge, bringing a lovely mix of and many more. ‘Mamma Mia! I pop expertise, which will be vital Have A Dream’ follows the rough when performing ABBA’s classic formula found in the genre of pop staples, and admiration for audition reality shows: talented musical theatre. Personally, I was young people competing for a most excited to see Amber Riley, role in a highly broadcast version who has most notably played the of callbacks. roles of Mercedes Jones in Glee and Effie White in Dreamgirls, However, it of course comes appear. Indeed not only does with a twist. Unlike with many of she have significant experience its predecessors, excluding the blending an array of pop songs Grease reality shows, not only with musical theatre techniques, do we follow actors competing such as was done on Glee, but for one leading role, but we are she also has incredible skills as

a triple threat. British treasure and multi-talented icon Alan Carr completes the judges’ table, stating that ‘people might be surprised to see me as a judge on a musical because, y’know, I can’t sing and I can’t dance and stuff, but do you know what? I know what’s good.’ Overall, with judges coming from every side of the performing arts industry, we are sure to get a broad overview and assessment of skills. Each contestant was introduced during the number ‘I Have a Dream’, where we got our first official glimpse into their abilities. Auditioning for the role of Sophie, we have Stephanie, Maddy, Maisie, Stevie, Leah, Desmonda and Esme, and going for the role of Skye, we have Owen, Zackiel, Tobias, Callum, Marcellus, Darcy and Craig. All of these performers have one goal in mind: to secure a year-long West End contract in this global musical sensation, yet only two will walk away booked and blessed. With such high stakes, combined with living together on a Mamma Mia! themed villa, emotions and tensions are sure to build; however I was glad to see that friendships appear to be blossoming early on. As the show progresses, I cannot wait to see these talented performers showcase their skills, urging both the judges and the audiences to ‘Take a Chance On Me’!

Words by Dorothy Grace Franklin

t h w i o s n d n A

o i t c i v E « On the 23rd of October 2023, the beloved Theatre Cafe in London’s West End announced its immediate closure after issues arose over rent arrears which occurred as a result of COVID-19.

The Theatre Cafe has been open since January 2015 and is run by the family-managed ticket agency London Theatre Bookings. Host to open mics, live performances and incredible theatre-themed menu items, the Theatre Cafe quickly became a staple of West End tourism, with theatre-goers making pilgrimages to see iconic props adorning the walls and perform their favourite songs during open-mic sessions. They were originally located on 66 Shaftesbury Avenue, near the Shaftesbury Theatre and the Gielgud Theatre, moving into a larger space on 99 St Martin’s Lane in June 2019. Then, in October 2022, a sister location by the name of The Theatre Cafe Diner opened, staffed with singing waiters and sections specifically themed around certain shows and providing ‘a full theatrical dining experience like no other’. An unexpected announcement occurred on the 23rd when notices appeared on the doors from the two landlords, the Marquess of Salisbury and his son Viscount Cranborne. These signs were shared over social media, stating that the landlords had re-entered the premises, forfeiting the lease and seizing the property, requesting for all items to be collected by the 6th of November or they would be disposed of.

s deadline

Theatre fans took to social media to express their thoughts about this sudden closure, with one fan stating ‘Regardless of your opinions [on] the theatre cafe, people have lost their jobs and that’s really sad’ (@sharnaswestend). Another stated that ‘I’ve just realised, the Theatre Cafe took their musical theming a LITTLE too far then…’ (@ EmiGarside)

Lovers of this theatrical staple are wondering what lies ahead in The Theatre Cafe’s future. The official Theatre Cafe social media pages released a brief statement, saying that ‘Due to unforeseen circumstances, The Theatre Cafe is closed. But our other incredible venue, The Theatre Cafe Diner, is still open and our talented staff are ready to entertain you!’ A more formal statement was released to WhatsOnStage, where The Theatre Cafe owners stated that the property was seized over unpaid rent relating to the economic effects of the COVID-19 pandemic.

and ‘Bingo with Ruby Violet’, are hoping to be rescheduled or moved to the Diner, but no official changes have been revealed so far. The Theatre Cafe also expressed a desire to ‘come back bigger and better at a new venue’, thanking everybody on social media for their support and stating that the Theatre Cafe team were ‘looking forward to sharing exciting news with you all in the future about a new The Theatre Cafe “Opening Up’’ so hopefully we will see the cafe’s quick return.

a y p r

All upcoming performances and events, Words by Dorothy Grace Franklin such as ‘The Theatre Cafe Does… Villains’

LIVE REPORT

THE TIME TRAVELLER’S WIFE AT THE APOLLO THEATRE 55

BLOODY ELLE AT THE SOHO THEATRE

stars OF

Theatre

Eden Espinosa

Eden Espinosa is known for her Broadway debut in the original cast of the musical Wicked in 2003, initially as a standby for the role of Elphaba. She later took over the role. Espinosa also originated the lead role in Brooklyn the Musical and took on other notable roles, including Maureen Johnson in the original Broadway production of Rent. Additionally, she played the lead in Lempicka at the Williamstown Theatre Festival and La Jolla Playhouse which is now making its way to the Broadway stage.

Ryan Vasquez Another star-studded actor on our list is Ryan Vasquez. Vasquez will be starring alongside Woods in The Notebook musical next year. Previously, Ryan starred in big-name productions like Wicked, Waitress, and Hamilton. In fact, Vasquez was a standby for almost every principal role in Hamilton and even became a replacement for a few.

Ato Blankson-Wood

A Tony nominee and Broadway star for many years, Ato BlanksonWood continues to shine. Ato earned a Tony nomination for his role in Slave Play. Before that, he starred in shows such as Hair and Lysistrata Jones. Now, Blankson-Wood will be joining the Broadway revival of Cabaret as Cliff.

Joy Woods

Known for her powerhouse vocals, Joy Woods is moving her way up in the theatre scene. Woods made her Broadway debut in Six as Catherine Parr. While she was only in the production for a few months, she made her move to star as Audrey in the OffBroadway production of Little Shop of Horrors. It was recently announced that her next big endeavor will be starring as Allie in The Notebook musical which will open on Broadway early next year.

Nick Fradiani

Nick Fradiani was a solo singer on American Idol in its 14th season. He actually won the show when he was on in 2015. His extensive musical background is now bringing him to a different medium on the Broadway stage. Nick took over the role of Neil Diamond in A Beautiful Noise on Broadway beginning this Halloween.