London Theatre Magazine | April 2024

Guys & Dolls

Olivier Awards predictions

Jane Horrocks

Candlelight concerts

Kedar Williams-Stirling swaps Sex Education for football glory in Red Pitch

EXECUTIVE EDITOR

Stephen Crocker

MANAGING EDITOR

Steven DeVries

ASSOCIATE EDITOR

Olivia Rook

CREATIVE DIRECTOR

David Gregory

DESIGNER

Kurt Thesing

ADVERTISING

Adam Dunseath at TodayTix Group

PROJECT MANAGEMENT

Lauren Rodgers, Natalie Trim

CONTRIBUTORS

Bev Hislop, Gillian Russo, Marianka Swain, Danny Kaan

PUBLISHER

ConcepTonic Ltd

Welcome

April is the most exciting month on the West End calendar, with the prestigious Olivier Awards taking place. It truly is an honour just to be nominated this year, when London had a seemingly endless stream of massively acclaimed and successful plays and musicals. Leading the nominations is Jamie Lloyd’s now-iconic revival of Sunset Boulevard with 11 nominations, and Dear England, the Rupert Goold-directed footballing epic, which received nine. It is also a great year for The National Theatre with 15 nominations for its productions, which doesn’t even include Standing At The Sky’s Edge, its acclaimed West End musical that got eight nominations in 2023, winning Best Musical for its original run.

No matter who wins, the Olivier Awards caps off another incredible year in the theatre capital of the world – and opens the doors to a whole new crop of brilliant shows that will triumph in the 2025 awards!

Photo: Olivier Awards with Mastercard

6. Top Theatre

This month brings a combination of acting legends to the stage, along with bold new works.

11. Pick of the Month

A modern take on The Picture of Dorian Gray now playing at Theatre Royal Haymarket.

12. Looking Ahead

A Chorus Line returns to London after more than 10 years. Plus, Fawlty Towers prepares to open.

15. First Look

Sheridan Smith takes on a role that hits a bit close to home in Opening Night – see a first image.

16. Cover Feature

Kedar Williams-Stirling on the West End transfer of Red Pitch and finding success on Sex Education

22. Behind the Scenes

Find out what it takes to run one of London’s most lauded immersive shows, Guys & Dolls.

26. Special Events

A new series of Candlelight concerts is coming to London – hear some of your favourite music in a whole new way.

31. My London

The Lion King star Merryl Ansah gives us the lowdown on her favourite places to go around the capital.

32. Olivier Awards

The Olivier nominations have been announced, and our expert Mickey-Jo Theatre gives his predictions.

36. Interview

Sam Tutty and Dujonna Gift talk about Two Strangers (Carry a Cake Across New York)

39. Reviews

We score some of the biggest new shows playing in the West End.

41. Playing Now!

Find out what’s playing, and where, with our full list of London’s must-see productions.

48. Across the Pond

Our quick look at the spring season of shows preparing for the approach of the Tony Awards.

51. Rising Stars

We speak to Tanisha Spring, who is dazzling as the Moulin Rouge! The Musical dancer Satine in the hit West End show.

52. Meet the Crew

Resident Director Jo Parsons talks about his responsibilities on the mega musical, Les Misérables.

54. Close-up

Ab Fab and Little Voice star Jane Horrocks talks about hitting the stage in Nachtland

Player Kings

Noël Coward Theatre until 22 June

Two Sirs unite in Player Kings, when six-time Olivier Award-winner Sir Ian McKellen takes on the role of drunken knight Sir John Falstaff. Robert Icke’s adaptation of Shakespeare’s Henry IV Parts I and II builds toward the climactic Battle of Shrewsbury in 1403, but with McKellen cast as Falstaff, it’s likely a great deal of the action will be focused on his antics with King Henry IV’s eldest son Prince Hal. McKellen’s most recent Shakespearean role was Hamlet at Theatre Royal Windsor which, at the age of 82, made him the oldest actor to play the part. It’ll be thrilling to see what he does with this new challenge. Ted Lasso’s Toheeb Jimoh and Richard Coyle (Fantastic Beasts: The Secrets of Dumbledore) also star as Hal and King Henry IV.

Player Kings is at Noël Coward Theatre until 22 June. Get tickets at londontheatre.co.uk

Priscilla the Party!

HERE at Outernet until 30 September

It’s time to go Down Under in Priscilla the Party!, a new immersive party based on the Oscar®-winning 1994 film and the Tony® and Olivier Award-winning musical about a group of drag queens who travel across the Australian Outback to perform their cabaret show. The party will showcase over 500 costumes and more than 200 head-dresses, with a score that includes pop hits such as “Hot Stuff”, “It’s Raining Men”, and “Girls Just Wanna Have Fun”.

Minority Report

Lyric Hammersmith Theatre from 20 April

The year is 2050 and neuroscientist Dame Julia Anderton is ready to launch the next phase of her pioneering PreCrime programme, which detains people for crimes before they are committed. Intrigued? This is the premise of Philip K Dick’s thrilling science fiction novella, now adapted for the stage by David Haig, in a production directed by Max Webster, who brought Life of Pi to the West End. Prepare to feel unsettled by this terrifying look into the future.

Guys & Dolls Bridge Theatre

Listen up, guys and dolls! Now is your chance to secure tickets to see the new cast of Nicholas Hytner’s immersive, award-winning production of Guys & Dolls at the Bridge Theatre, with Owain Arthur and Timmika Ramsay starring as the new Nathan Detroit and Miss Adelaide. The show will transport you from the streets of Manhattan to a bar in Havana, and follows a couple of big city gamblers and the women who love them.

The Cord Bush Theatre from 12 April

Bijan Sheibani, one of the writers of the One Day Netflix series, brings a new play about the challenges of fatherhood to the Bush Theatre, a home for new writing in London. This premiere production sees writer/director Sheibani reunite with the creative team behind his 2019 Bush Theatre hit The Arrival. Lucy Black (Till the Stars Come Down), Irfan Shamji, and Eileen O’Higgins star as the family adjusting to a new arrival.

Nachtland

Young Vic until 20 April

What would you do if you found a piece of art in the attic painted by none other than Adolf Hitler? Satirical playwright Marius von Mayenburg’s new play asks just that, in a show alive with sibling rivalries and dysfunctional family dynamics. Patrick Marber, who recently won a Tony® Award for Leopoldstadt, directs a cast that includes Dorothea Myer-Bennett (also of Leopoldstadt fame), Absolutely Fabulous and Little Voice star Jane Horrocks, and Peep Show’s Angus Wright.

Instructions for a Teenage Armageddon

Garrick Theatre until 28 April

Teen angst is taken to another level in Rosie Day’s darkly comic one-woman show

Instructions for a Teenage Armageddon, which is playing every Sunday at the Garrick Theatre and sees break-out Bridgerton star Charithra Chandran make her West End debut. She plays a 17-year-old social misfit, who has to grow up quickly following the death of her sister. The show also stars Shelley Conn (Bridgerton), Philip Glenister (Life on Mars), and Isabella Pappas (Stranger Things: The First Shadow), who appear on screen as part of the show’s unique video design.

The Picture of Dorian Gray Theatre Royal Haymarket until 11 May

Succession’s Sarah Snook dazzles as not one character but 26, in Sydney Theatre Company artistic director Kip Williams’s ground-breaking adaptation of Oscar Wilde’s classic tale, which sees a young man fall into sin after chasing eternal youth and beauty. Impressive live and pre-recorded camera work, as well as lightning-quick changes between the 26 different personas on stage, make this star turn from the Emmy®- and Golden Globe-winning actress one to remember. Watch out for inventive modern twists, including references to TikTok and Instagram filters, and revel in Snook’s brave and vanity-free performance.

The Picture of Dorian Gray is at Theatre Royal Haymarket until 11 May. Get tickets at londontheatre.co.uk

Looking Ahead

Coming Soon

A Chorus Line

Sadler’s Wells from 31 July

Broadway sensation A Chorus Line is returning to London’s West End after more than 10 years, with a production originally staged at Leicester Curve in 2021. Dancer and choreographer Adam Cooper (Singin’ in the Rain, Matthew Bourne’s Swan Lake) and West End star Carly Mercedes Dyer (The Drifters Girl, Anything Goes, Dreamgirls) will reprise their roles as Zach and Cassie in this celebration of musical theatre’s chorus dancers.

Kathy & Stella Solve a Murder!

Ambassadors Theatre from 25 May

The Olivier Award-winning team behind Fleabag has done it again with musical Kathy & Stella Solve a Murder!, which follows best friends and true crime podcast co-hosts Kathy and Stella, who are thrust into a murder mystery of their own when their favourite author is killed. Bronté Barbé (Newsies) and Rebekah Hinds (Oklahoma!) star in Jon Brittain and Matthew Floyd Jones’s musical, which will keep you guessing until the very end.

Fawlty Towers

Apollo Theatre from 4 May

Nearly 50 years after it first hit TV screens around the country, John Cleese’s muchloved British sitcom Fawlty Towers is heading to the West End’s Apollo Theatre. The play, adapted by Cleese, will star Adam Jackson-Smith as bumbling Torquay hotelier Basil Fawlty and Anna-Jane Casey as his long-suffering wife Sybil. Caroline Jay Ranger (Only Fools and Horses The Musical, Monty Python Live) directs.

Exclusive First Look Opening Night

First Photo

Images have just been released of Sheridan Smith’s star turn in the brand new musical Opening Night at the Gielgud Theatre. Directed by the brilliant Belgian theatre maker Ivo van Hove, renowned for his innovative use of video in his productions, Rufus Wainwright has written the songs for the show. Adapted from the iconic 1977 movie about an actress going off the rails as her opening night draws closer, it sees life imitating art imitating life, in this play within a play. The sensational cast also includes Nicola Hughes and Hadley Fraser.

Williams-Stirling

Sex Education’s Kedar Williams-Stirling starred in Red Pitch at the Bush Theatre in 2022. Two years later, he and the original cast have brought the play to the West End

Back of the Net

By Olivia Rook

Arriving for a photoshoot following a full day of rehearsals for Red Pitch at @sohoplace, Kedar Williams-Stirling is tired but focused, stopping only to give the photographer’s dog a cuddle and scratch behind the ears. The east London-born actor plays 16-year-old Bilal, an amateur footballer desperate to succeed in Queens Park Rangers tryouts, in Tyrell Williams’s debut play, which is in the West End after two sold-out runs at London fringe venue the Bush Theatre.

“The energy that Bilal inhabits is relentless,” Williams-Stirling says. “The show doesn’t let up, and there’s no interval. The amount of energy that the characters have is probably the biggest challenge.”

Williams’s play follows three teenage boys living in a part of south London that is steadily being gentrified. They dream of dazzling football careers and discuss everything from girls to their ambitions on the fading pitch they call home, which is based on the football grounds Williams himself played on as a teenager.

“They’re trying to figure out what it means to be 16 years old: girls, friendships, school, what it means to be a man, what it means to be a Black man. There is so much transition happening for these boys and what’s beautiful about it is the end of the piece kind of feels like the beginning of their journey,” says Williams-Stirling.

Unlike Williams-Stirlings’s Red Pitch co-stars Emeka Sesay and Francis Lovehall, who were talented footballers in real life already, he’s had to brush up his skills, and is heading to football practice when our shoot wraps at 8pm. The Arsenal fan also explains that director Daniel Bailey, who he’s known since he was 14, has a rule that if you’re late for rehearsals, you have to do 50 press-ups on the spot. “Two minutes [or] 10 seconds [late], he’s like ‘50 press-ups.’ But that’s good, that’s training,” he says.

Williams-Stirling and his co-stars Sesay and Lovehall have been with the production since its premiere in 2022. How does it feel to be a part of the show’s West End transfer? “It feels good, it feels healthy,” he says. “It feels like the natural progression of the piece. We’ve been in it for quite a while, so it’s great to see it given the dues it deserves. @sohoplace is a beautiful space, and it’s a blessing that we’re able to keep everybody that was in it from the beginning.”

He continues: “The show has just gotten richer. The more time we’ve been able to spend with the characters, the more we’ve been able to delve deeper into their family

dynamics or the boys’ relationships, and decipher the differences between each of the three boys.”

Despite spending nearly 20 years in the industry, with early roles as Young Simba in The Lion King in 2006 and Scud in Moira Buffini’s Welcome to Thebes at the National Theatre in 2010, and a prominent screen role in the hit Netflix series Sex Education, Williams-Stirling remains an enigma, keeping silent about his private life and opinions in the media. He is modest about his achievements and says his reticence to take up space in newspapers and magazines is “because there’s so many things going on in the world, so for something to be printed on me, is that necessary?

Should that piece of paper be taken up by something more important?”

He speaks carefully and reflectively about his contribution to the acting world, adding “but who knows? Maybe what I’m doing, my work, and my message is important.”

So what else is there to know about the 29 year-old from Plaistow? WilliamsStirling says that he “stumbled” into acting and had his talents first picked up during a school play when his mum

and the headteacher noticed he knew the lines of every character. He moved to Croydon because his mum believed he would have better opportunities in a school outside east London, but he ended up applying for Sylvia Young Theatre School after seeing it featured in a documentary.

Williams-Stirling went on to the Barbara Speake Stage School and Italia Conti Academy of Theatre Arts, which were positive experiences, but he believes the pressure placed on kids from a young age “leads to quite a toxic mentality, because when you leave [performing arts school], you have a certain perception of the industry, and yourself, that isn’t real. You felt like [you were] conforming.”

Williams-Stirlings’s big break came in 2019 when he was cast as school jock Jackson Marchetti in Sex Education, the ground-breaking teen sex comedy drama. During four seasons on the show, his character faced a number of challenges from mental health struggles and a cancer scare, to the search for his biological father, as well as plenty of sexual exploration. Being a part of the show was an education: “What I learned about myself was just to give myself more space and that

‘‘What I learned about myself was just to give myself more space and that you don’t have to conform’’

Kedar in season one of Sex Education. Photo Jon Hall and Netflix

you don’t have to conform. You don’t have to be a certain way or have to be so finite in your perception of yourself,” he says.

He praises West End star Hannah Waddingham – “big up Hannah” –who played one of his on-screen mums in the show, saying: “She’s such a lovely person, she’s so bright. I went to her show Hannah Waddingham: Home for Christmas, and she’s killing it in the singing game. Knowing that she came from that background and she’s now killing it in the acting as well, it’s great to see she’s still holding on to that aspect of her singing.”

Waddingham and Williams-Stirling are just two of a raft of actors to have their profiles raised as a result of Sex Education. While Waddingham’s career then went stratospheric with Ted Lasso, other cast members such as Aimee Lou Wood and Olivier Award nominee Tanya Reynolds landed West End roles in Cabaret and A Mirror following the show.

Williams-Stirling explains that one of the things he loves about theatre is the co-operative nature of the work, and says that Red Pitch playwright Williams has been instrumental in making the

actors a part of the play’s journey.

“It’s been really healthy to have Tyrell in the room. That’s what has been so great – the whole piece being really collaborative and grounded and really unifying from the jump. It’s not been this hierarchical space where nobody feels like they’re heard,” he says.

Finding the right emotional support for actors on stage and screen has become a more pressing concern in recent years and Williams-Stirling was one of the first to benefit from having an “intimacy co-ordinator” on Sex Education, which was a fairly novel idea at the time. Another first for him has been having the support of a drama therapist as part of Red Pitch. “I’ve never had that in my entire life,” he reveals. “How important is that? Why would you not have that? It’s so vital to have somebody to help you create some distance between what is going on with your character and what is going on in your normal life.”

There are parallels between Red Pitch and Ryan Calais Cameron’s For Black Boys Who Have Considered Suicide

When the Hue Gets Too Heavy, which is playing at the Garrick Theatre and also enlisted the support of a wellbeing practitioner to coach the actors

‘‘They’re trying to figure out what it means to be a man, what it means to be a Black man’’

through the play’s challenging themes. While vastly different in many ways, both shows are shining a light on the young, Black, male experience and are shaking up traditional programming in the West End. When Williams-Stirling first read the script for Red Pitch, he says, “I felt like it was a piece that examined the relationship with three, young, Black men, and the nuance of that intimacy and that dynamic was something that I’d never read before. I love that, it felt like it was about time.”

He continues: “I’m really grateful for the fact this piece is alive, because everyone that’s seen it from the Bush, quite a lot of the conversations show that they felt seen. Especially in the theatre space, that can be quite elitist, it’s nice to be part of something that gives back.”

Red Pitch is at @sohoplace until 4 May. Get tickets at londontheatre.co.uk

Portrait Photography: Michael Wharley Grooming: Alesha Ledeatte-Williams

Behind the Scenes

Guys & Dolls

Dolls’ House

By Bev Hislop

Over 350,000

People have been to see the show since it opened

The production of Guys & Dolls at The Bridge Theatre is a technical masterclass – part theatre-in-the-round, partimmersive, it offers audiences a theatrical experience unlike any other in the capital

“It’s definitely challenging,” laughs Stage Manager David Kane, who admits Guys & Dolls is the most complex show he’s ever worked on. “Because it’s set in the round, people can come on from any of the 14 automated lifts, plus there are three different entrances.” The assorted rectangular-shaped platforms that form the stage rise and fall around the performers and immersive audience, giving the show a fluidity impossible to achieve in a traditional proscenium arch theatre. Multiple stage management staff, movement stewards and crew are employed to move furniture, props and the immersive audience around the action, and Kane’s job is to ensure the smooth running and safety of all involved. “The lifts can raise up to five feet and there are no handrails, but the performers are very well drilled and everything is choreographed and directed and blocked to within an inch of its life.”

Dance Captain Charlotte Scott admits that performing on some of the narrower platforms can be daunting. “In rehearsals, when there are no spectators, you’re aware of the steep drop, but when the audience are in they’re at eye level, so I feel like if I do fall off then I’m just going to crowd-surf!”

And how compliant are the public when it comes to being moved around the space?

“The first three or four minutes of the show are really intense,” notes Kane. “There’s so much to look at – we have people coming out of manholes, people with pretzel carts, people running in all directions. So, we set those boundaries from the beginning and the audience get the idea of what we’re trying to do.” Scott admits she loves getting up close and personal with the public.

“It’s not your regular show, that’s for sure – it’s organised chaos!”

“It sounds really cheesy, but you can see the joy you’re bringing. The first time I performed in ‘Sit Down, You’re Rockin’ the Boat’ was like a spiritual experience – everyone loves that number and we’re right up in people’s faces,” she says.

For the recent cast change, Director Nick Hytner decided to revamp the show by inviting members of the public to come up on stage and join the ensemble. “Last night, we were running around at the last minute trying to find someone,” recalls Kane. “And the guy

– David Kane

we chose got really into it – I reckon he’d been in an amateur production of the show. Afterwards someone actually asked if he was part of the regular cast.”

Perhaps it’s partly this potential for the spotlight that attracts repeat visits. “It’s funny the number of people I meet who say it’s their second, third, fourth time seeing the show,” says Scott. “Some say that they originally had seats but were so jealous of the immersive crowd that they had to rebook standing tickets. My favourite thing when I’m not on stage is to stand at the side watching people’s faces when the platforms start to rise.”

Kane agrees that being part of the action is one of the highlights of his Guys & Dolls experience. Dressed as a police officer, he mingles with the crowd every night and relishes the opportunity to share the space with world-class performers. “To be honest, I don’t know how they do it, but we just try and support them as best we can. It’s not your regular show, that’s for sure – it’s organised chaos!”

Guys and Dolls continues at the Bridge Theatre. Get tickets at londontheatre.co.uk

600 can experience Guys & Dolls from the immersive world of the set

enjoy the show from the stalls or the galleries above the stage floor Seated Audience Members

Olivier Award nominations

9 Performance Crew needed to move furniture, props, and the immersive audience around the action 4

14

Automated Lifts

raise and lower platforms throughout every show

Photography by Manuel Harlan

Special Events

Candlelight concerts

concerts at The Actors’ Church in Covent Garden

A West End show can be an unforgettable experience, but what if you could enjoy the essence of musical theatre in a more intimate setting?

TodayTix’s Candlelight concerts offer just that, bringing the enchantment of popular musicals to historic London venues. Among these magical experiences, Musicals by Candlelight stands out, captivating audiences with its blend of beloved theatre songs and exquisite musical performances.

Returning to The Actors’ Church in 2024, Musicals by Candlelight promises an hour of sheer delight. Hosted by the award-winning string quartet, Icon Strings, this concert series presents instrumental renditions of iconic songs from hit musicals like The Lion King, Les Misérables, My Fair Lady, and West Side Story

The combination of world-class musicianship and timeless melodies creates an unparalleled musical experience.

With sold-out concerts and glowing reviews, Musicals by Candlelight has earned its place as a must-see event in London. Critics and audiences alike have praised its enchanting atmosphere and breathtaking performances. As one review from Lost in Theatreland puts it, “If you have never seen a Candlelight production, this is your sign to do so!”

This historic church, consecrated in 1633, is located in the heart of London’s bustling West End

But Musicals by Candlelight is just one facet of the Candlelight Concert series. TodayTix offers a diverse range of experiences, including tributes to artists like Taylor Swift, nostalgic journeys through the Nineties, and enchanting renditions of beloved film soundtracks. Previous concerts have included seasonal favourites like Christmas by Candlelight and romantic evenings of Love Songs by Candlelight, held at iconic venues such as Union Chapel and St-Giles-in-the-Fields.

At the heart of these Candlelight concerts lies Icon Strings, a collective of some of London’s most accomplished chamber musicians. Comprising prize-winning graduates from prestigious conservatories and boasting extensive global performing careers, Icon Strings brings a touch of glamour to every performance. Their commitment to diverse programming ensures that audiences of all tastes can find something to enjoy.

Icon Strings' association with TodayTix has allowed them to showcase their

talents at The Actors’ Church in Covent Garden, officially known as St Paul’s Church. This historic church, consecrated in 1633, is located in the heart of London’s bustling West End. Known affectionately as the “Actors’ Church”, it has long been associated with the theatrical community. The church is not only a place of worship but also a venue for performances, rehearsals, and commemorations of significant figures in the arts.

One notable feature of St Paul’s Church is its memorials to prominent individuals from the world of entertainment. Among these commemorations is a memorial to the great British actor, Charles Macklin, known for his influential performances in the 18th century. Additionally, the church houses a plaque in memory of Grinling Gibbons, the renowned sculptor and woodcarver whose exquisite craftsmanship adorns many historic buildings across Britain.

Individually, the members of Icon Strings are making waves in the UK

and international music scenes. Their performances at renowned venues such as the Royal Albert Hall and the Wigmore Hall, as well as appearances on prestigious platforms like BBC Radio 3 and the BBC Proms, attest to their exceptional talent and versatility. Beyond the concert stage, they contribute to music education through initiatives like Kids’ Concerts and coaching on renowned music courses.

For anyone seeking a unique musical experience in London, Candlelight concerts at The Actors’ Church offer an unforgettable journey through the timeless melodies of musical theatre.

Whether you’re a seasoned theatregoer or simply looking for an evening of enchantment, these concerts promise to leave you spellbound. So, immerse yourself in the magic of live music and let the candlelight illuminate your musical soul.

Candlelight concerts continue at The Actors’ Church. Get tickets at londontheatre.co.uk

Photos by Danny Kaan

THE ICONIC AWARD-WINNING MUSICAL LIKE YOU’VE NEVER SEEN IT BEFORE!

In London’s newest and most fabulous venue, HERE at Outernet, the next adventure begins...

My London

Originally

has starred in many shows, including Crazy For You and Beautiful, and is now starring as Nala in Disney’s spectacular musical hit The Lion King.

Favourite Restaurant?

Gold – Notting Hill or La Trompette –Chiswick for special occasions. (@goldnottinghill / goldnottinghill.com) (@latrompettechiswick / latrompette. co.uk)

Favourite Cocktail in London?

Chilli Martini – Sophie’s Soho. (@sophiessoho / sophiessteakhouse. com)

Favourite Pub?

The star of The Lion King takes us on a tour of her favourite London haunts

post-show drink. (@thehouseofkoko / thehouseofkoko.com)

Favourite Coffee?

Iced Pistachio Latte – Caffé Nero. I’m not really a coffee drinker, but when summer comes around I seek these out!

Favourite Neighbourhood?

Richmond. Especially in the summer, it’s so beautiful to explore and walk along the Thames!

Favourite Non-Theatre

Thing to Do?

Either getting lost in food markets, wandering the Saatchi Gallery or going bouldering.

Favourite Hotel in London?

Landmark Hotel. I’ve never stayed there, but even the lobby is stunning! (@the_landmark_london / landmarklondon.co.uk)

The Lion King continues its run at the Lyceum Theatre. Get tickets at londontheatre.co.uk

DRINK DINE DANCE

BOOK NOW FOR THE BEST PARTY IN TOWN!

PRISCILLATHEPARTY.COM

The People’s Park Tavern – Hackney. There’s always a great atmosphere in there!. (@peoplestavern / peoplesparktavern.pub)

Favourite Pre- or PostTheatre Haunt?

The House of Koko for a

Favourite Theatre in London?

@sohoplace to watch shows (there really aren’t any bad seats!) or The Old Vic to perform in. (sohoplace.org) (@oldvictheatre / oldvictheatre.com)

Favourite Park? Bushy Park.

from Virginia, Merryl Ansah

Tottenham Court Road

Photo by Danny Kaan

And the Olivier Award nominations are…

The West End’s most important night is just around the corner. Our expert Mickey-Jo Theatre is taking a look at the nominees in some of the main categories, and gives us his predictions...

It’s important to remember that in such a busy season in which plenty of plays and musicals were entirely overlooked and huge names were shut out of creative and acting categories alike, it really is a privilege for this year’s shortlist just to have been nominated. That being said, I still have plenty of thoughts.

Best New Play

• Dear England at National Theatre & Prince Edward Theatre

• The Hills of California at Harold Pinter Theatre

• The Motive and the Cue at National Theatre & Noël Coward Theatre

• Till the Stars Come Down at National Theatre

What will win: Few plays had the momentum of James Graham’s Dear England, which had audiences gripped like a World Cup final crowd.

What should win: I loved The Motive and the Cue, but Dear England has truly kicked the medium forwards and deserves this likely win.

Best New Musical

• The Little Big Things at @sohoplace

• Next To Normal at Donmar Warehouse

• Operation Mincemeat at Fortune Theatre

• A Strange Loop at Barbican Theatre

What will win: I predict a big win for Operation Mincemeat, a great ending to this show’s fringe-originated success story.

What should win: I’m a huge fan of Mincemeat, but A Strange Loop was an underappreciated contemporary masterpiece.

Best Revival

• The Effect at National Theatre

• Macbeth at Donmar Warehouse

• Shirley Valentine at Duke of York’s Theatre

• Vanya at Duke of York’s Theatre

What will win: The amount of buzz surrounding Andrew Scott’s one-man take on Chekhov’s Vanya has me convinced it will clinch the victory.

What should win: Shirley Valentine – there’s much to be said for David Pugh’s careful producing, finding the perfect star and maintaining affordable pricing.

Best Musical Revival

• Groundhog Day at The Old Vic

• Guys & Dolls at Bridge Theatre

• Hadestown at Lyric Theatre

• Sunset Boulevard at Savoy Theatre

What will win: Sunset Boulevard and Guys & Dolls are both heavyweights here with their reimagined stagings, but Sunset will take this one.

What should win: The brilliance of framing a story about Hollywood through a cinematic lens is exactly why this award exists – Sunset Boulevard.

Sir Peter Hall Award for Best Director

• Stephen Daldry & Justin Martin for Stranger Things: The First Shadow at Phoenix Theatre

• Rupert Goold for Dear England at National Theatre & Prince Edward Theatre

• Jamie Lloyd for Sunset Boulevard at Savoy Theatre

• Sam Mendes for The Motive and the Cue at National Theatre & Noël Coward Theatre

Who will win: It stands to reason that Rupert Goold will pick this one up as the captain of what I expect to be the winning team, Dear England.

Who should win: No director’s bold, boundary-breaking vision has been felt more acutely this year than Jamie Lloyd’s for Sunset Boulevard.

Best Actress

• Laura Donnelly for The Hills of California at Harold Pinter Theatre

• Sophie Okonedo for Medea at @sohoplace

• Sarah Jessica Parker for Plaza Suite at Savoy Theatre

• Sheridan Smith for Shirley Valentine at Duke of York’s Theatre

• Sarah Snook for The Picture of Dorian Gray at Theatre Royal Haymarket

Who will win: Sheridan Smith and Sarah Snook’s marathon solo shows shouldn’t be underestimated, but my money is on Laura Donnelly.

Who should win: Laura Donnelly has a gift of a role (penned by her husband Jez Butterworth), and who but her could have navigated its smoky dualities so skilfully?

Best Actor

• Joseph Fiennes for Dear England at National Theatre & Prince Edward Theatre

• Mark Gatiss for The Motive and the Cue at National Theatre & Noël Coward Theatre

• James Norton for A Little Life at Harold Pinter Theatre & Savoy Theatre

• Andrew Scott for Vanya at Duke of York’s Theatre

• David Tennant for Macbeth at Donmar Warehouse

Sunset Boulevard

Who will win: I’m expecting Joseph Fiennes to take this one for his charismatic performance as Gareth Southgate in Dear England

Who should win: In a category filled with arduous turns, it would be lovely to see Mark Gatiss win for his nuanced portrayal of Sir John Gielgud.

Best Actor in a Musical

• David Cumming for Operation Mincemeat at Fortune Theatre

• Tom Francis for Sunset Boulevard at Savoy Theatre

• Daniel Mays for Guys & Dolls at Bridge Theatre

• Charlie Stemp for Crazy For You at Gillian Lynne Theatre

Who will win: I’ve a feeling that an Olivier win will be the final destination of Tom Francis’s infamous walk around the block during Sunset Boulevard

Who should win: I’ve been ready to personally inscribe this award for Charlie Stemp since opening night of Crazy For You. Since the interval, in fact.

Best Actress in a Musical

• Natasha Hodgson for Operation Mincemeat at Fortune Theatre

• Caissie Levy for Next to Normal at Donmar Warehouse

• Nicole Scherzinger for Sunset Boulevard at Savoy Theatre

• Marisha Wallace for Guys & Dolls at Bridge Theatre

Who will win: Nicole Scherzinger’s Norma Desmond set the West End ablaze, there’s no way we won’t be hearing her acceptance speech.

Who should win: Scherzinger’s tour de force notwithstanding, I’d hand this to Caissie Levy, who broke as many hearts with a subtler stroke.

Best Actor in a Supporting Role

• Will Close for Dear England at National Theatre & Prince Edward Theatre

• Paul Hilton for An Enemy of the People at Duke of York’s Theatre

• Giles Terera for Clyde’s at Donmar Warehouse

• Luke Thompson for A Little Life at Harold Pinter Theatre & Savoy Theatre

• Zubin Varla for A Little Life at Harold Pinter Theatre & Savoy Theatre

Who will win: This category often begets wins for understated turns, and Will Close will surely be numbered among Dear England’s goals.

Who should win: Will Close’s gentle performance was in many ways the heart of Dear England, this is well deserved.

Best Actress in a Supporting Role

• Lorraine Ashbourne for Till the Stars Come Down at National Theatre

• Priyanga Burford for An Enemy of the People at Duke of York’s Theatre

• Haydn Gwynne for When Winston Went To War With The Wireless at Donmar Warehouse

• Gina McKee for Dear England at National Theatre

• Tanya Reynolds for A Mirror at Almeida Theatre & Trafalgar Theatre

Who will win: I predict a posthumous win for the late, legendary Haydn Gwyne, on this her fifth Olivier Award nomination.

Who should win: The inexplicably snubbed Tuppence Middleton, whose Elizabeth Taylor was the magnetic catalyst of The Motive and the Cue

Best Actress in a Supporting Role in a Musical

• Grace Hodgett-Young for Sunset Boulevard at Savoy Theatre

• Zoe Roberts for Operation Mincemeat at Fortune Theatre

• Amy Trigg for The Little Big Things at @sohoplace

• Eleanor Worthington-Cox for Next to Normal at Donmar Warehouse

Who will win: There’s much love for The Little Big Things, and Amy Trigg’s charming performance may earn her a win as its only nominated cast member.

Who should win: History’s youngest Olivier winner Eleanor WorthingtonCox should be adding a second to her trophy cabinet.

Best Actor in a Supporting Role in a Musical

• Jak Malone for Operation Mincemeat at Fortune Theatre

• Cedric Neal for Guys & Dolls at Bridge Theatre

• David Thaxton for Sunset Boulevard at Savoy Theatre

• Jack Wolfe for Next to Normal at Donmar Warehouse

Who will win: Cedric and David are both nominated for previously Olivier-winning roles, but this will be a photo finish between Jack and Jak.

Who should win: I will be jumping up and down if Jak Malone takes this. His is one of the few performances I’ve seen truly stop a show.

The Olivier Awards 2024 will take place on Sunday 14 April 2024 at the Royal Albert Hall. It will be broadcast on ITV1.

Check back in our May edition for our coverage of the night.

Follow Mickey-Jo on Instagram and X at @mickeyjotheatre, or on YouTube at youtube.com/MickeyJoTheatre

Caissie Levy in Next to Normal, with Trevor Dion Nicholas

Stranger Things: The First Shadow

Laura Donnelly in The Hills of California

Dear England

Interview

Opposites

Attract

By Marianka Swain

Olivier Award winner Sam Tutty and Dujonna Gift star in this new British musical set to hit the West End

Love is in the air as Jim Barne and Kit Buchan’s heartfelt musical rom-com

Two Strangers (Carry a Cake Across New York) comes to the West End. The show had a hugely successful premiere run last year at the Kiln Theatre in north-west London.

Two Strangers follows the oppositesattract duo of Tiggerish Brit Dougal, who has flown to New York for his estranged dad’s wedding, and cynical native Robin, whose scarily highpowered sister is the bride.

This intimate two-hander stars Sam Tutty and Dujonna Gift. Tutty won an Olivier Award for Dear Evan Hansen, while Gift’s West End shows include Hamilton and Motown: The Musical. The pair are reprising their acclaimed performances in this exciting new run at the Criterion Theatre.

Who do you play in Two Strangers?

Dujonna Gift: I play Robin. She’s caught up in a quarter-life crisis, living in a city that’s very much on the go whilst she’s feeling stagnant in life. I think that’s something many people can relate to. In the middle of helping her sister Melissa with wedding planning, she goes to JFK Airport to meet Dougal.

Sam Tutty: So that’s me. Dougal is flying to the US to go to his father’s wedding, and he bumps into Robin. He’s been described as “impossibly upbeat and optimistic”. It’s a fun dynamic between them.

What’s it like just having two cast members?

Gift: It’s unusual for sure. It allowed us to be really on it when it comes to communicating – both as Robin and Dougal, and as Dujonna and Sam. That’s been a lovely experience.

Tutty: It’s like playing a game of tennis. As soon as you finish your line, it’s

either you again or the other person. You have to be so present.

Gift: Now Sam will look at me across the stage, and I know immediately what he means – like if he’s missing a prop. Once you get to that level, there’s so much trust between you.

How do you evoke all those unseen characters?

Gift: We worked together on figuring out what each person was like and who they are to us. So, when Robin talks to Dougal about living with her family in Brooklyn, he gets to understand her better – or Robin learns what the stakes are for him, coming on this trip to meet his estranged father.

Tutty: In the first week of rehearsal we actually Googled celebrities who we thought, for instance, Dougal’s dad might look like! It helps us to visualise everyone when we talk about them.

Is it special getting to put your stamp on a new musical?

Gift: Yes, it’s been extra special with this creative team who are so keen on hearing us and allowing our own experiences to inform the characters. Neither of us has explored method acting before, but this gave us a newfound interest in it because there’s so much here we can relate to our everyday lives. Like Sam and Dougal are both from Crawley…

Tutty: Jim [Barne] and Kit [Buchan] asked me where I’m from, and then they put it in! Having that connection makes it more personal. Instead of the actor going towards the character, the character comes to you.

Are you both romcom fans?

Gift: Sam is much more than me…

Tutty: I can understand the idealistic, impossible dream that Dougal has

from viewing New York through the movies. Then he’s forced to see the realistic side of the city, so you get a bit of both: the light and the dark.

What’s your favourite song?

Tutty: It changes all the time. Currently mine is “About to Go In”, but sometimes it’s “American Express”, sometimes it’s “Dad”, sometimes it’s watching Dujonna do “Be Happy”.

Gift: My favourite to perform is “This Year”, because it’s Robin’s discovery song, but my favourite as a whole number is “American Express” – it’s a fun song and it fits perfectly, even though it comes out of nowhere.

Are you proud to take this new British musical into the West End?

Gift: Really proud. I think there’s so much room right now for new writing – the success of Two Strangers at the Kiln has proven that. Which is not to say we should kick revivals to the kerb, but if we nurture original work too, we find these really great new artists and new stories to be told.

Tutty: Yes, it’s lovely to have both. You can mount huge musicals about very important people, and then you can also have a show that’s about two people who don’t change the world, but it’s honest and natural. We’re really proud to have worked at the Kiln – we need brilliant off-West End venues like that to grow new shows – and now we’re so happy to bring this to new audiences in the West End.

Two Strangers opens at the Criterion Theatre on 4 April. Get tickets at londontheatre.co.uk

MACHINAL

A play by SOPHIE TREADWELL

11 Apr–01 Jun

‘One of the great theatre nights of

the decade’

WhatsOnStage

‘Rosie Sheehy is astounding’

The Guardian

Star

BOOK NOW — TICKETS FROM £13

A Ustinov Studio, Theatre Royal Bath production in association with The Old Vic

REVIEWS

Hadestown

The spellbinding West End incarnation of this beloved folk musical was worth the wait

By Marianka Swain

Hadestown’s evolution from Anaïs Mitchell’s intimate project to a West End spectacle has been a journey spanning nearly two decades, marked by critical acclaim and the reception of eight Tony® Awards. Its residency at the Lyric Theatre serves as a fitting backdrop for Mitchell’s poetic rendition of the timeless Greek myth of Orpheus and Eurydice. The production’s setting, reminiscent of Depression-era New Orleans, adds layers of depth and intrigue, though intentionally veiled in temporal ambiguity.

This British incarnation of Hadestown offers a unique twist with its cast embracing their natural accents, providing an authentic and diverse portrayal of characters. Notably, Dónal Finn’s portrayal of Orpheus infuses the character with a gentle charm and a haunting falsetto, while Grace Hodgett Young’s Eurydice exudes authenticity and vulnerability, showcasing her burgeoning talent in musical theatre.

Melanie La Barrie’s portrayal of Trinidadian Hermes injects the production with vibrant energy, stealing scenes with her expressive patois and soulful vocals.

Gloria Onitiri’s portrayal of Persephone, trapped in the depths by her husband Hades, is a testament to resilience and survival. Despite the challenges posed by Zachary James’s interpretation of Hades as a thuggish business figure, the ensemble – led by the dynamic trio of Fates portrayed by Bella Brown, Madeline Charlemagne, and Allie Daniel – elevates the production with their captivating performances.

Rachel Chavkin’s direction and Rachel Hauck’s atmospheric set design create a mesmerising backdrop for Mitchell’s eclectic score, ranging from jazz to gospel, seamlessly woven into the fabric of the narrative. Its spellbinding journey from conception to stage is a testament to the collaborative spirit of theatre, making it a production well worth the anticipation.

Hadestown is now playing at the Lyric Theatre. Get tickets at londontheatre.co.uk

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

Ryan Calais Cameron’s show remains a beautiful piece of theatre

By Olivia Rook

Ryan Calais Cameron’s play, For Black Boys, demands attention. For too long, the young, Black, male stories at its heart have been absent on the stage. But now in its second West End run in just under a year, this play is showing no signs of slowing down. The talented new cast captures the challenges and joys of being a young, Black man through a series of vignettes. Cameron’s seamless transitions between monologues, poetry, rap, dance, and song are captivating. The production fearlessly tackles divisive topics, and despite its weighty themes, there is so much light in the play. This startling, gut punch of a show remains a beautiful piece of theatre for all audiences, but particularly for the Black boys who inspired its title.

Playing at the Garrick Theatre. To read the rest of this review or to get tickets visit londontheatre.co.uk

REVIEWS

Standing at the Sky’s Edge

This triumph of British musical theatre continues to enchant

By Marianka Swain

Standing at the Sky’s Edge finds a new home at the Gillian Lynne Theatre, after runs at the Sheffield Crucible and National Theatre. Under Robert Hastie’s direction, bolstered by Richard Hawley’s melodies and Chris Bush’s script, this musical evolves into a masterpiece. Bush’s narrative spans generations at Sheffield’s Park Hill Estate, weaving personal stories against a changing Britain. From hopeful beginnings in 1960 to a sanctuary in 1989 and a fresh start in 2015, the estate reflects societal shifts.

Led by Laura Pitt-Pulford, Rachael Wooding, and Elizabeth Ayodele, the ensemble delivers powerful performances. Hawley’s songs, with Tom Deering’s arrangements, provide a stirring soundtrack. Ben Stones’s design captures the Brutalist building’s essence, immersing the audience. Bush’s exploration of themes like hometown pride and love, infused with humour and empathy, gives the musical a captivating charm. Standing at the Sky’s Edge is a testament to community resilience.

Playing at the Gillian Lynne Theatre. To read the rest of this review or to get tickets visit londontheatre.co.uk

Cruel Intentions

An Enemy of the People

★★★★ – ShowScore 83

Until 13 April

Thomas Ostermeier’s An Enemy of the People punkifies Ibsen, shattering the fourth wall boldly. Matt Smith’s comeback as Dr Thomas Stockmann exposes a polluted spa, reflecting modern crises. Smith’s intense portrayal challenges norms, with audience involvement intensifying the political fervour. Ostermeier’s adaptation sparks vital discourse, a theatrical revolution.

Duke of York’s Theatre (map ref. 15)

Back to the Future

★★★★ – ShowScore 90

The West End musical adaptation remains faithful to the film, incorporating the original creative team. The show balances wit and sincerity, exploring 1950s nostalgia while playfully deconstructing it.

With iconic pop hits and impressive theatre magic, it offers an immersive, fun experience that appeals to both movie fans and theatregoers alike. Adelphi Theatre (map ref. 1)

The Book of Mormon

★★★★★ – ShowScore 91

Portrays the adventures of two young Mormon missionaries, Elder Price and Elder Cunningham, as they head to Africa on a life-changing mission.

Despite satirical elements, the show’s comedy never turns vicious or cruel, resonating with audiences

worldwide. With an outstanding cast, flawless performances, and an infectious atmosphere of laughter, The Book of Mormon promises to remain an unforgettable hit.

Prince of Wales Theatre (map ref. 38)

Cabaret

★★★★ – ShowScore 92

Rebecca Frecknall’s high-concept production of Cabaret is a world away from reality, pulling audiences into the glitzy Kit Kat Club. The ensemble, led by Julia Cheng’s choreography, adds depth to this haunting tale of love and life amid rising Nazi darkness. In a society facing its own struggles, Cabaret’s message resonates deeply.

Cara Delevingne and Luke Treadaway are the latest stars to play the roles of Sally Bowles and the Emcee.

The Kit Kat Club (map ref. 22)

The Choir of Man ★★★ – ShowScore 93

This is a show that celebrates blokes, booze, and song, finding its home in a pub-like atmosphere. While the songs are captivating, the show’s narrative framework feels flimsy, with characters thinly defined by their hometowns. The pub setting encourages audience interaction and drink takes precedence over performance at times. While the music shines, the overall experience might leave you wanting more substance.

Arts Theatre (map ref. 6)

Cruel Intentions: The ‘90s Musical

– ShowScore 91

The 1999 cult classic film gets a stylish musical treatment in this campy stage hit. The plot revolves around sociopathic step-siblings engaging in manipulative bets and revenge. The show thrives on gleeful nostalgia, boosted by recognisable ‘90s songs. Standout performances, especially by Rhianne-Louise McCaulsky as Kathryn, make it an absolute blast. Period costumes and a lively band enhance the guilty-pleasure experience. The Other Palace (map ref. 32)

For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy ★★★★★ – ShowScore 92

Despite its dark title, this is not a gloomy play; instead, it’s an uplifting reflection on modern British Black men’s lives. It explores racism, microaggressions, and more through the stories of six Black men in a support group. The choreography enhances the central themes, and despite the serious subject matter, the play is surprisingly joyful, celebrating resilience and healing. (See review on page 40.)

Garrick Theatre (map ref. 17)

Frozen – The Musical ★★★★★ – Show Score 91

Frozen mesmerises audiences with an expanded story, additional music, and captivating effects. The powerful message of sisterhood and embracing

one’s true self resonates with all, as Elsa and Anna’s emotional journey comes to life through brilliant performances. The grandeur of Michael Grandage’s production, enhanced by new set pieces and magic, makes the show a true spectacle. After three magical years in the West End, Frozen closes its doors this September.

Theatre Royal Drury Lane (map ref. 45)

Guys & Dolls

– ShowScore 94

Director Nicholas Hytner strikes gold with this revival. Guys & Dolls is that rare show in which the book is the equal of the score and this staging redefines the classic, allowing for depth and addressing misogyny. The production impresses with choreography, a superb cast, and an earned happy ending.

Bridge Theatre (map ref. 8)

Hadestown

– ShowScore 89

Anaïs Mitchell’s Tony®-winning musical reimagines the Greek myth of Orpheus and Eurydice. The show, which had a run at the National Theatre in 2018, heads to the West End for the first time. See review on page 39.

Lyric Theatre (map ref. 26)

Hamilton

– ShowScore 93

Hamilton, an evolution of the American musical, continues its run in London with a stunning, diverse cast. LinManuel Miranda’s rap-based score and the vibrant staging create a historic tale that resonates deeply with contemporary audiences.

Victoria Palace Theatre (map ref. 49)

Harry Clarke

★★★ – ShowScore 94

Billy Crudup adeptly portrays 19 characters, notably the enigmatic Harry, whose unreliable narration captivates despite his flaws. The play delves into identity and deception, with Crudup’s skillful portrayal elevating the experience, even as Harry’s fractured self remains unresolved.

Ambassadors Theatre (map ref. 3)

Harry Potter and the Cursed Child ★★★★★ – ShowScore 91

A tremendous family spectacle that continues the beloved wizard’s

story 19 years later. The show skilfully brings Harry Potter to the stage, exploring themes of parenting and the battle between good and evil. Led by an exceptional ensemble, the play evokes theatrical magic and emotional depth, captivating both Potter fans and newcomers alike. This awe-inspiring production has the power to inspire a new generation of theatregoers. Palace Theatre (map ref. 33)

The Hills of California

★★★★★ – ShowScore 82

Set in Blackpool’s ‘76 heatwave, Jez Butterworth’s The Hills of California explores family dynamics. The Webb sisters’ journey, skilfully depicted, captivates. Butterworth’s script, under Sam Mendes’ direction, excels in wit and nuance. Rob Howell’s set adds depth, emphasising the dual timelines. Harold Pinter Theatre (map ref. 20)

Les Misérables

★★★★★

– ShowScore 94

The West End’s longest-running musical remains a thrilling triumph. Producer Cameron Mackintosh has always been about attention to detail and this glorious and spectacular restaging of the world’s favourite musical has given him an opportunity to prove his meticulous care. With a brilliant cast (all in stunning voice), the show remains an ensemble effort – while the production is given a fresh 21stcentury inventiveness with the use of painterly projections, inspired by Victor Hugo’s own paintings. Unforgettable. Sondheim Theatre (map ref. 43)

The Lion King

★★★★★

– ShowScore 91

Still reigns as London’s most-beloved musical 24 years after its debut. Julie Taymor’s innovative staging and breathtaking design continue to captivate audiences. The detailed costumes and puppetry create an immersive experience, making it a unique production. With recent refinements and timeless appeal, The Lion King remains an emotional and creative masterpiece, set to reign for years.

Lyceum Theatre (map ref. 25)

Long Day’s Journey Into Night

Brian Cox stars with Patricia Clarkson in this new production of Eugene

O’Neill’s iconic play about a family in the grips of addiction. Jeremy Herrin directs. Now playing. Review to follow.

Wyndham’s Theatre (map ref. 50)

Machinal

From 11 April Theatre Royal Bath’s acclaimed production of Sophie Treadwell’s shattering true-crime story about a woman who murders her husband and is caught up in the machinery of life...and death. Rosie Sheehy stars. Review to follow.

The Old Vic (map ref. 31)

Mamma Mia!

★★★★ – ShowScore 92

Mamma Mia! brings ABBA’s songs to life in an energetic and entertaining stage musical. The story follows Sophie as she invites her mother’s former lovers to her wedding, hoping to discover her father’s identity. The show’s campy humour and catchy tunes make for a delightful, fun-filled experience for ABBA fans and theatregoers alike.

Novello Theatre (map ref. 30)

Matilda The Musical

★★★★★ – ShowScore 88

Matilda The Musical brings Roald Dahl’s story to life with an impressive cast of child actors. The show captivates both young and old with its witty humour and heartwarming moments. Now entering its 13th year in the West End, this smash-hit show remains a hugely enjoyable treat.

Cambridge Theatre (map ref. 9)

Mind Mangler: Member of the Tragic Circle

Until 28 April

The Mind Mangler returns to the West End in this hilarious “two man solo show”. From the creators of The Play That Goes Wrong.

Apollo Theatre (map ref. 4)

A Mirror

★★★★ – ShowScore 86

Until 20 April

Sam Holcroft’s A Mirror is a playful riff on free speech and censorship. Jonny

Lee Miller impresses as the hypocritical director of the Ministry of Culture Celik, while Sex Education’s Tanya Reynolds shines as Celik’s assistant Mei.

Holcroft’s satire reminds us how lucky

we are to be able to – freely – stage work like this and express an opinion about it.

Trafalgar Theatre (map ref. 47)

MJ the Musical

The smash-hit from Broadway arrives with its Tony® Awardwinning leading man Myles Frost wearing the iconic white glove. This spectacular examination of Michael Jackson’s fierce creative drive is set to send audiences moonwalking out of the theatre with delight.

Now playing. Review to follow.

Prince Edward Theatre (map ref. 37)

Moulin Rouge! The Musical

– ShowScore 90

Baz Luhrmann’s iconic film leaps onto the Piccadilly stage, embracing vintage and modern elements in Alex Timbers’s exuberant production.

It’s a theatrical feast dripping with opulence, dynamic choreography, and perfectly arranged pop songs. A celebration of family, community, and the indomitable human spirit,

this musical is a dazzling must-see. Piccadilly Theatre (map ref. 36)

The Mousetrap

– ShowScore 88

Running for over 70 years, The Mousetrap is the world’s longestrunning play, a testament to Agatha Christie’s fame as a renowned crime writer. Set in a guest house during a snowstorm, the play unfolds with a murder and a skiing detective who interrogates the eccentric guests. Christie’s captivating story and vivid characters have kept audiences guessing and entertained for decades. Experience this quintessential English murder mystery and unveil the secrets for yourself.

St Martin’s Theatre (map ref. 44)

Mrs Doubtfire

★★★★ – ShowScore 91

Wonderful news, poppets! The stage musical adaptation of Mrs. Doubtfire delights with its inventive storytelling and strong performances. Gabriel Vick shines in the title role, alongside a

set pieces make it a wild and joyous spectacle deserving of its pride of place in the West End. His Majesty’s Theatre (map ref. 21)

The Picture of Dorian Gray

★★★★★ – ShowScore 96

Sarah Snook’s return to the West End in The Picture of Dorian Gray is a groundbreaking spectacle. Director Kip Williams transforms Oscar Wilde’s classic with innovative staging, featuring multiple Snooks on stage and screens. Snook’s captivating performance, managing numerous roles seamlessly, is a marvel of stamina and skill. The production’s technological wizardry and thematic depth elevate this theatrical experience, showcasing Snook’s unparalleled talent. Theatre Royal Haymarket (map ref. 46)

Player Kings

Sir Ian McKellen plays Falstaff in this new version of Shakespeare’s Henry IV: Parts 1 and 2, under the direction of Robert Icke. The cast also includes Ted Lasso’s Toheeb Jimoh and Richard Coyle. Review to follow. Noël Coward Theatre (map ref. 29)

The Play That Goes Wrong

★★★★ – ShowScore 91

talented cast. The production blends zany farce with heartfelt moments, creating a thoroughly enjoyable theatrical experience that celebrates self-expression and family bonds.

Shaftesbury Theatre (map ref. 41)

Opening Night

Sheridan Smith is back in the West End in this new musical by Rufus Wainwright and directed by Ivo van Hove. Based on the iconic film, this tale of a leading lady falling apart before her big Broadway opening promises to thrill. Now playing. Review to follow.

Gielgud Theatre (map ref. 18)

The Phantom of the Opera

★★★★ – ShowScore 93

Andrew Lloyd Webber’s show continues to mesmerise audiences after three decades at His Majesty’s.

The haunting tale of the masked Phantom and his obsession with Christine endures as a romantic musical classic, and the show’s music and impressive performances still captivate. The grandeur and iconic

and community resonates deeply, with impressive stage fighting and a jubilant atmosphere that warrants a roaring ovation. See review on page 34. See cover story on page 16. @sohoplace (map ref. 42)

Sister Act

The popular musical comedy returns with a sensational cast for a limited season. Beverley Knight stars and promises to raise the roof as well as your spirits. Ruth Jones also stars. Now playing. Review to follow.

Dominion Theatre (map ref. 12)

Six The Musical

★★★★★ – ShowScore 91

Welcome to the Vaudeville Theatre, where Six reigns with girl-power brilliance. Toby Marlow and Lucy Moss’s musical is a breath of fresh air, tackling gender double standards through a reclaiming of “herstory”. The pop concert-theatre fusion welcomes non-traditional audiences, inspiring social media love.

Vaudeville Theatre (map ref. 48)

Standing at the Sky’s Edge

★★★★★ – ShowScore 89

In The Play That Goes Wrong, an amateur dramatic company’s efforts to stage a murder thriller hilariously crumble amidst chaos and a wobbly set. Mischief Theatre’s hit is gloriously silly and daft, expertly choreographed and performed with ceaseless energy. The show’s escalating disasters create relentless laughter, making it a genuine West End thrill. Duchess Theatre (map ref. 14)

Priscilla the Party

The beloved Australian musical hit is reinvented in the West End as an immersive party experience. This new version brings the full story, hilarious characters and iconic costumes to life in a whole new way. Review to follow. HERE at Outernet

Red Pitch

★★★★ – ShowScore 92

Tyrell Williams’s hit play returns with its original cast, delivering a captivating portrayal of Black British teenage life against the backdrop of football. The play’s exploration of friendship

it a must-see for Tina Turner fans. Aldwych Theatre (map ref. 2)

Two Strangers (Carry a Cake Across New York)

From 4 April

Well-deserved West End transfer for this charming rom-com (more com than rom) musical starring Dear Evan Hansen’s Sam Tutty and Hamilton’s Dujonna Gift, about a plucky young Brit on an adventure in the Big Apple. Criterion Theatre (map ref. 11)

Wicked

★★★★★ – ShowScore 89

Wicked’s enchanting spectacle still captivates audiences after 17 years in the West End. With its intricate set design, soaring score, and brilliant performances, the musical reveals a deeper layer to the Oz we know. Elphaba and Glinda’s friendship and the magical world of Oz continue to mesmerise theatregoers, making Wicked a timeless hit. Apollo Victoria Theatre (map ref. 5)

Witness for the Prosecution

★★★ – ShowScore 88

Chris Bush’s Sheffield-based musical, which follows the experiences of three families living in the same flat across different decades, comes to the West End. See review on page 40. Gillian Lynne Theatre (map ref. 19)

Stranger Things: The First Shadow ★★★★★ – ShowScore 90

Netflix’s theatrical debut is a gripping prequel to the acclaimed TV series. The play follows the strange goingson in Hawkins, Indiana and delves into the origin story of Henry Creel, who becomes the terrible Vecna. This otherworldly experience captivates with its intricate narrative, stunning effects, and exceptional performances. Phoenix Theatre (map ref. 35)

Tina – The Tina Turner Musical

★★★★ – ShowScore 94

Tina delivers a remarkable portrayal of Tina Turner’s life, tackling racism, adversity, and domestic abuse. The rock musical vibe surprises with full-power renditions of iconic hits like “River Deep, Mountain High” and “The Best”. Phyllida Lloyd’s staging, incorporating video backdrops, adds to the immersive experience, making

Transforming London County Hall into the Old Bailey for an immersive courtroom drama, the set effectively includes the audience, and Agatha Christie’s sharp dialogue between lawyers and judge adds authenticity and humour. However, the play lacks the intricate storytelling of Christie’s mysteries, leading to a less engaging experience, despite strong performances. County Hall (map ref. 10)

To read full reviews, plus the latest reviews and theatre news, visit londontheatre.co.uk. ShowScores correct at the time of printing.

ABOUT SHOW SCORE

Show-Score.com is a website where theatregoers can read and leave reviews and their scores for shows in the West End and on Broadway. Scoring a show is quick and easy, so to score the shows you have seen, or to check a show’s score before you book, visit show-score.com.

Alexia Khadime in Wicked

Broadway ACROSS THE POND

Spring Season

By Gillian Russo

Nineteen spring shows. That’s a lot even for Broadway’s busiest time of year: plays and musicals open in quick succession every March and April as the Tony Awards, held annually in June, appear on the horizon. The schedule may seem daunting, but it means audiences have plenty of new theatre to choose from, making spring one of the best times to see a Broadway show.

The West End is always well represented on Broadway and vice versa, and this spring is no different. Rebecca Frecknall’s celebrated, immersive Cabaret revival started up at the August Wilson Theatre on 1 April, with Eddie Redmayne reprising his Olivier Award-winning performance as the Emcee. A few blocks away, Will Keen returns to his own Olivierwinning role of Vladimir Putin in Patriots, which premiered at the Almeida Theatre in 2022. Emmy Award nominee Michael Stuhlbarg replaces Tom Hollander as Putin’s rival, Boris Berezovsky, for the Broadway premiere of Peter Morgan’s political thriller.

And while Matt Smith is starring in An Enemy of the People in the West End, Succession’s Jeremy Strong is doing so in a separate production of Henrik Ibsen’s play. A new adaptation of the Chekhov classic Uncle Vanya starring Steve Carell also just began performances, and these revivals join starry new plays like Mother Play with Jessica Lange and Mary Jane with Rachel McAdams.

Broadway is known best, though, for its musicals, of which spring always has plenty. Three “page-to-stage” adaptations – The Notebook, Water for Elephants, and The Outsiders, all based on best-selling novels – perform in theatres on the same block, with a fourth, The Great Gatsby, playing eight blocks away. Those seeking an original musical might instead look to Suffs, about the American women’s voting rights movement; Lempicka, about a Polish painter who blazed a trail for female artists; Hell’s Kitchen, a coming-of-age story powered by the music of Alicia Keys; or The Heart of Rock and Roll, a sweet love story set

to the songs of Huey Lewis and the News (of “The Power of Love” from Back to the Future fame).

Rounding off Broadway’s spring line-up are the musical revivals: Cabaret is joined by the first revival of The Who’s Tommy, based on the landmark album that propelled the English rock band to global fame, and a fresh take on The Wiz, with multi-award-winning actor, comedian, and musician Wayne Brady playing the title role in the Black retelling of The Wizard of Oz, known for tunes like “Ease on Down the Road” and for the film adaptation starring Michael Jackson and Diana Ross.

In terms of storylines, source material, musical styles, and stars on stage, no two spring Broadway shows are quite the same – and there truly is something to satisfy everyone’s taste in entertainment.

Learn more about all spring Broadway shows and get tickets at newyorktheatreguide.com

Booking until 2025, dears!

SHAFTESBURY THEATRE

MrsDoubtfireMusical.co.uk

A Sparkling Diamond Rising Stars

Tanisha Spring worked in the corporate world before she set her sights on the West End. “My analytical brain loved [being an accountant], but my body hated it and I kept falling asleep,” she says. Since making that decision, she has been cast in a number of shows, including Groundhog Day, The Prince of Egypt, Caroline, or Change, Beautiful – The Carole King Musical, and Moulin Rouge!, in which she currently stars as the courtesan Satine.

London Theatre Magazine spoke with Spring about why alternates are so important in the industry and why her dream role hasn’t been written yet.

Before landing the role of Satine, you played her alternate. Why are alternates so important in theatre?

I loved being an alternate, I loved the all or nothing aspect. It was just after Covid, so I had picked up a production course and I was learning Japanese, and it meant I had the time to do that, as well as do a great show. I wouldn’t ever become an alternate with the hope of taking over. We sometimes put leads on a pedestal unnecessarily, because it takes a whole army to make a show work. It diminishes the roles of alternates, swings, and covers, who, at the drop of a hat, will have to go on. Eight shows is so hard, and as an alternate, I loved the fact that I did a couple of [performances as Satine] a week and I had a fresh voice.

How have you approached the character?

When the show came out, I didn’t audition the first time round because I didn’t feel there was going to be a place for me in the show. Thankfully I was very wrong. The creative team hasn’t tried to make any of us carbon copies of Nicole Kidman, or even each other, because we’re all very different women. I was the first dark-skinned woman to play Satine, and dark-skinned women often aren’t spoken about [in the way] Satine is [described] throughout the musical. For somebody at that time to get to where she was, it would have been a graft. I wanted to honour that because it would reflect in her personality and inform parts of her personality.

Do you have a dream theatre role?

I don’t think she’s been written yet. I’ve been lucky enough to open new shows, and I love the creation of a new role. Solving problems is my favourite part of scripts or scenes. It does mean that I have no idea what I will do next.

Moulin Rouge! The Musical is playing at the Piccadilly Theatre. Get tickets at londontheatre.co.uk

By Olivia Rook

Tanisha Spring dazzles as Moulin Rouge dancer Satine in the hit West End show

Tell us about your role on Les Misérables.

As Resident Director, I am responsible for maintaining the artistic vision of Les Misérables. Alongside a fantastic resident and associate team, I rehearse the cast change, understudies, and children into the production whilst “noting” the show [watching and giving feedback to the company] at least two times a week and keeping in touch with all departments.

How did you get your start with the show?

I was an actor in the original production of Les Misérables at The Queen’s Theatre in 2015 and expressed an interest in becoming part of the creative team in the future. Following the pandemic, I received a call to meet [Director] James Powell to discuss the role of Resident Director on the new production about to embark on a UK tour. James and I hit it off and I have been lucky enough to work on the production on tour and now in the West End ever since.

What’s one of the most rewarding parts of your role?

I really enjoy rehearsing. Whether that be new principals, understudies, or children. I love the journey from the first rehearsal to their opening night or the first time a cover goes on. Obviously, the show has been running for 39 years and there are moments that audiences come to expect, but when an actor discovers a moment and that sits within the direction, that is really magical.

What is a fun detail of your work on the show that few audiences would notice? It’s not so much my work but that of the Set and Image Designer, Matt Kinley. In this production we use projections throughout to give an indication of where we are. It’s very filmic and beautifully lit, but not many people would know that the majority of the projections are paintings by the author Victor Hugo. I think that is a really special and classy idea.

What is your favourite part of your work each day?

Although the show may appear the same, the performances are different every day. A new company member, an understudy, a different swing. Every cast member brings something new to the show and evolves the storytelling in a different way. It’s not often you finish work and 1,200 people stand up and applaud you, eight times a week for 52 weeks of the year.

Les Misérables continues its run at the Sondheim Theatre. Get tickets at londontheatre.co.uk

The stage and screen star returns in Nachtland, the brilliant satire at the Young Vic

1. What is Nachtland about?

Nachtland is about lots of different things – it’s about greed, it’s about grief, it’s about moral conscience.

I play Evamaria, who is a Hitler art expert, and she comes in to verify a Hitler painting that two siblings have found in their father’s attic, following his death.

2. What were your first thoughts when you read the script for Nachtland?

I thought it was very unusual; it’s certainly not your run of the mill play. Structurally it’s very interesting, there’s lots of twists and turns and I really responded to that. It’s a bit Brechtian in breaking the fourth wall and talking directly to the audience. I liked the Germanic style of it too, it’s quite brutal. Patrick Marber’s an absolutely delightful director too. In rehearsals he allows actors to make their own versions of the characters and supports

their choices in what they come up with, and that’s very liberating.

3. How does it feel to be staging this play in the current climate, given the rise in anti-Semitism?

It feels very potent. It premiered in Germany in 2022 but it seems so much more recent, almost as though it was written this year, because it’s so relevant right now.

4. What do you hope audiences take away from Nachtland?

It’s a great play for conversation. What I’ve experienced so far is that it’s food for thought and people have been digesting it for days afterwards as topically there’s so much in it. It’s been interesting because I’m not playing a particularly likeable character, that’s a challenge in itself as people don’t quite know what to say to you afterwards.

There’s the saying that actors always want to be loved, and often resist

playing unlikeable characters, and Evamaria’s not even a loveable rogue, she’s despicable really. She still has great admiration for Hitler and what she believes he created for Germany. There are often gasps in the audience with what she comes out with. Even some of my closest friends haven’t known what to say afterwards in case it might come across as saying something positive about the character.

5. You’ve had an incredible career on stage and screen so far. Do you prefer performing on stage or screen, and why?

It varies really, I enjoy doing screen work and sometimes I crave to do stage. I’d not done stage work for four years since before lockdown and I really wanted to get back. They’re both very different so I wouldn’t say I have a preference for either.

Nachtland is at the Young Vic until 20 April. Get tickets at londontheatre.co.uk

SUPER TROUPER YEARS

NOVELLO THEATRE