London Theatre Magazine | June 2024

Meet The King

London

Photography by Emilio Madrid

Music by Alan Menken Lyrics by Glenn Slater Book by Cheri Steinkellner

Based on the Touchstone Pictures Motion Picture “Sister Act” wri en by Joseph Howard

Bill Steinkellner

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, Isaac Ouro-Gnao

PUBLISHER

ConcepTonic Ltd

Welcome

This month, London’s theatres will see the arrival of many new musical productions, set to delight audiences. From the West End transfers of hits including Next to Normal and Kiss Me, Kate, to new productions of beloved titles like Starlight Express and hot new musicals like Mean Girls and Your Lie in April. Meanwhile, new plays set to premiere include the acclaimed and controversial Slave Play and James Corden’s return to the West End in The Constituent. These great new shows join a busy and full West End, with every theatre hosting a different and unmissable piece of entertainment. With so much to explore, londontheatre.co.uk is your perfect guide to discovering shows that are right for you!

NEXT TO NORMAL

Playing Features 12

6 24

6. Top Theatre

June sees a stellar mix of shows in the West End – from new comedies to timeless classics and serious dramas.

11. Pick of the Month

Tom Holland and Francesca AmewudahRivers are the tragic lovers Romeo and Juliet at the Duke of York’s Theatre.

12. Looking Ahead

The classic Fiddler on the Roof is being revived for summer. Plus, Shrek and Fangirls come to London.

14. Cover Feature

We meet Myles Frost, the thriller who’s been channeling the King of Pop in MJ the Musical

21. My London

Frozen’s Jammy Kasongo tells us his favourite London hot spots.

24. Feature

Playwright Yve Blake talks about the inspiration for her latest musical, Fangirls, about teenagers and pop idol obsesssion.

26. Interview

Caissie Levy and Jamie Parker talk about bringing the dramatic musical Next to Normal to the Wyndham’s Theatre.

28. Extra Director-choreographer Casey Nicholaw on what he looks for in a cast for Mean Girls

Reviews and More

31. Reviews

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

33. Playing Now!

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

40. Tony Awards

Who are the favourites to clean up at this year’s Tony Awards? Get our picks for 2024’s big night.

45. Rising Stars

Jenna Innes comes from a respected line of Veronica Sawyers in Heathers the Musical. And now she’s back!

49. Meet the Crew

Ophélie Hillairet, Sound No.3 for Matilda The Musical, on making the maggots audibly magical.

50. Close-up

We ask our five questions of dance legend Adam Cooper, currently starring in A Chorus Line

Top Theatre

Babies the Musical

The Other Palace until 14 July

Heartstopper’s Bradley Riches stars in Jack Godfrey and Martha Geelan’s coming-ofage musical about a school’s sex education department that decides to take matters into its own hands after a rise in teenage pregnancies. Alongside the pressures of adolescence, the year 11 students are given the responsibility of caring for robot babies to teach them about the demands of parenthood. Babies is about what it is to be young right now, and the musical is sure to make you nostalgic for your school days.

Jaina Brock-Patel (SIX tour), Lauren Conroy (Shetland), and Zoë Athena (Breeders) also star.

Babies is at The Other Palace. Get tickets at londontheatre.co.uk

A View from the Bridge

Theatre Royal Haymarket until 3 August

The Crown’s Dominic West stars as working-class longshoreman Eddie in Arthur Miller’s classic play about hidden desires, forbidden love, and the boundaries of loyalty. Transferring from Theatre Royal Bath’s Ustinov Studio, which had a sold-out run earlier this year, the production also features Olivier and Tony Award nominee Kate Fleetwood, as well as Callum Scott Howells from the acclaimed series It’s a Sin.

People, Places & Things

Trafalgar Theatre until 10 August

Denise Gough reprises her Olivier Award-winning role of Emma in Duncan Macmillan’s groundbreaking play People, Places & Things almost 10 years after it premiered at London’s National Theatre. An in-depth look at the complexities of addiction, Gough’s performance attracted praise for its brave and realistic exploration of the issues faced by drug users. Jeremy Herrin also returns to direct, alongside a new ensemble cast that includes Sinéad Cusack (V for Vendetta), Kevin McMonagle (Scoop), and Malachi Kirby (Small Axe).

Next to Normal

Wyndham’s Theatre from 18 June

Tom Kitt and Brian’s Yorkey’s impassioned Pulitzer Prize-winning musical about a mother diagnosed with bipolar disorder returns to the West End this month, along with the Donmar Warehouse’s original cast, including Broadway star Caissie Levy, Eleanor Worthington-Cox, and Jack Wolfe, all of whom were Olivier-nominated for their performances. Don’t miss this incredible show, which intimately explores mental health, fizzes with humour, and enthralls with a breathtaking score.

BOOK NOW TO SEE THE SPELLBINDING ORIGINAL PALACE THEATRE

Kiss Me, Kate

Barbican from 4 June

It’s time to brush up your Shakespeare, because Cole Porter’s classic musical is heading to the Barbican! Line of Duty’s Adrian Dunbar and Broadway actress Stephanie J Block play director Fred Graham and his ex-wife Lilli Vanessi, as well as Petruchio and Katherine – the stars of Shakespeare’s The Taming of the Shrew – in this metatheatrical comedy. A talented ensemble cast includes Charlie Stemp, Georgina Onuorah, Nigel Lindsay, and Hammed Animashaun.

Kathy and Stella

Solve a Murder!

Ambassadors Theatre until 14 September

Lovers of true-crime need look no further than Kathy and Stella Solve a Murder!, an exciting tale about two amateur sleuths whose podcast gets a boost when their favourite author is murdered and they become real-life detectives. Following hot on the heels of other popular, original British musicals currently creating a storm in the West End, such as Standing at the Sky’s Edge, Kathy and Stella is set to have a bright future. Bronté Barbé (Newsies) and Rebekah Hinds (Oklahoma!) star as the detectives.

Sister Act

Dominion Theatre until 31 August

One incredible talent is about to be swapped for another in Sister Act the Musical, as Alexandra Burke takes over from Beverley Knight as lounge singerturned-nun Deloris Van Cartier. Can I get a hallelujah? But the talent doesn’t stop there in Alan Menken and Glenn Slater’s musical, which features toe-tappers such as “Take Me to Heaven” and “Raise Your Voice”. Lemar, Lizzie Bea, Lesley Joseph, and Clive Rowe also star in this much-loved show about an undercover nun.

Pick of the Month

June

Romeo & Juliet

Duke of York’s Theatre until 3 August

Following his success with the Olivier Award-winning Sunset Boulevard, director Jamie Lloyd is back in the West End with Shakespeare’s Romeo & Juliet. Spider-Man’s Tom Holland is cast as Romeo, in his first major theatre role since his debut in Billy Elliot: The Musical in 2008, and Juliet is played by rising star Francesca Amewudah-Rivers, who makes her West End debut. Freema Agyeman and Michael Balogun also star as the Nurse and Friar in this tale about young, star-crossed lovers caught in an age-old feud between their two powerful families.

Looking Ahead Coming

Soon

Shrek

Eventim Apollo from 19 July

Singer-songwriter Todrick Hall, who is best known for judging RuPaul’s Drag Race, will join the cast of Shrek as the loveable Donkey for its six-week run this summer. The musical follows ogre Shrek, who leaves his swamp on a rescue mission to save Princess Fiona from a tower, which is fiercely guarded by a dragon. Expect an uplifting soundtrack, plenty of fairytale characters, and a heartwarming message about friendship, inner beauty, and acceptance.

Fangirls

Lyric Hammersmith Theatre from 15 July

The sublimely talented Australian playwright Yve Blake ensures superfans will never be undermined again in her uproarious new musical Fangirls, which is about the lengths one fan will go to to ensure she is noticed by her favourite boy band star Harry. Following record-breaking runs in Australia, the musical makes its UK debut at the Lyric Hammersmith, and is based on the stories of more than 100 fans. Get ready for a raucous original score that will make you feel like you’re at a pop concert.

Fiddler on the Roof

Regent’s Park Open Air Theatre from 27 July

Joseph Stein, Sheldon Harnick, and Jerry Bock’s musical is set in pre-revolutionary Russia and tells the story of a poor milkman, who is determined to find good husbands for his five daughters. This classic musical of joy, revolution and community won nine Tony Awards when it opened on Broadway in 1964 and held the title of longest-running Broadway musical for nearly 10 years. Now it is being revived in the West End in a new production directed by Jordan Fein (Oklahoma!)

Myles Frost

Myles Frost has brought his award-winning performance as MJ to the West End. We meet the man behind the icon, and discover an artist in his own right

The Man in

By Isaac Ouro-Gnao

the Mirror

Thousands of artists across the world have made it their life’s work to pay tribute to Michael Jackson. His signature moonwalk, sequined costumes, and timeless songs have become a pop culture staple, beckoning young and old to try their hand at emulating the icon. But for Myles Frost, the star of the hit MJ the Musical, portraying the King of Pop has been about embodying “the essence of Michael as opposed to an imitation performance”.

It’s quite clear the American performer has succeeded, with critics and audiences raving about his “jaw-dropping” ability to “transform into MJ before our eyes”. Frost plays an adult Jackson as he navigates personal and professional trials and tribulations during rehearsals for his ambitious 1992 Dangerous World Tour. Scenes are anchored to him and two other actors playing younger

versions of MJ from the Jackson 5 era, through to his solo career and numerous accolades.

Since the Tony Award-winning Broadway musical’s transfer to the West End in March, London audiences have fallen in love with Frost’s portrayal of MJ – a mesmerising, precise, humorous and, at times, hauntingly uncanny performance.

How does Frost embody MJ’s essence, and what does he have that others do not? For starters, a bit of luck coupled with raw talent and hard work. The actor and singer’s musical theatre journey began at his high school. “I didn’t know anything about theatre,” he says. “I was an artist before I even got into the theatre world. I had a band, I was playing piano and singing, so I wanted to be the next Michael Jackson, just in my own way.”

Frost describes himself as a “kid who kept to himself”, especially after moving to the predominantly white Thomas S Wootton High School in Maryland. It’s here that a chance meeting with a teacher, Ms Ingram, impacted his life. She heard and saw something in Frost as he played the piano and thought he’d be perfect for the Hairspray musical being staged at the school. “She changed my life,” he says. “I’d never heard of a musical before, I didn’t even know about Hairspray. I watched the movie with my mum that night.”

Frost breaks into a soft soothing falsetto as he recounts his favourite character, Seaweed, and a smile forms on his face.

“I saw him [in the film] and I was like, ‘I want to be that guy!’”

This was his first taste of musical theatre, and a rewarding one too as it gave him the platform to

“really express myself singing and dancing on stage”. Frost went on to perform in several school musicals (notably as Warner in Legally Blonde, and as Lord Pinkleton in Cinderella), and his growing love of the stage bloomed at a talent show in 2016, when he eased into the essence of MJ in his performance of “Billie Jean” to a crowd of cheering classmates and parents.

His mother Charmayne Strayhorn, his biggest cheerleader, filmed the performance and uploaded it to YouTube. Frost’s crisp melodies, energetic moonwalk, smooth jazz splits, and charismatic stage presence captivated the producers of MJ the Musical years later, and led to an audition where he won the hearts of author Lynn Nottage and director and choreographer Christopher Wheeldon.

“That’s how this whole thing started,” he says, a smile playing across his lips. While an undergraduate at Bowie State University in Maryland, the 21

year-old got the call for the audition “and they were wondering if I could do a newer rendition of ‘Billie Jean’. I hadn’t done any Michael material since I was 16, but [...] I could at least try.” What followed was a gruelling 10 hours of auditions, as he diligently rehearsed and studied MJ’s performance in the 1985 TV documentary Motown 25: Yesterday, Today, Forever.

But this incredible opportunity was almost ruined when 20 minutes into a rehearsal for the “Billie Jean” choreography, Frost suffered an allergic reaction to dust in the room. He had to wait over three hours for his mother to arrive with an EpiPen, but the next day, after a short recovery, he put everything on the line.

“This is where faith comes in,” he continues. “I was like ‘God, if you put me through all of this, please let me get this role so it can be worth it.’ So, I walked into the audition and I introduced myself.

I said, ‘Hi, my name is Myles Frost, and I’ll be auditioning for the role of Michael Jackson.’ I always strive to leave an impression so that even if they choose somebody better than me, they’re still thinking ‘but Myles did that thing I can’t stop thinking about!’ I think that’s the biggest lesson I learned. This is step one – just go for it and see what happens.”

Since then, Frost’s star has only continued to rise. He was the youngest person to win the 2022 Tony Award for Best Actor in a Musical, setting Broadway alight with his talents. And the validations kept on flowing. “I met Prince Jackson, Michael’s son, during one of our previews on Broadway,” he adds. “In our first conversation, he said: ‘Thank you for not impersonating my father.’ It meant the world to me.”

Frost has managed to create a clear separation between himself and Michael during his time in the role. “One mental health tidbit

Myles prepares for the premiere performance. Photos: Emilio Madrid

“Everybody’s excited just to see if I can do the moonwalk. I know people are on the edge of their seats”

‘‘Everything that you think you know, you have to unlearn to relearn. I’m a part of something much bigger than myself’’

that I’ve learnt is I don’t walk into the theatre with my make-up on, so I don’t leave the theatre with my make-up on,” he says. “Whenever I meet somebody at stage-door or backstage, I meet everyone as Myles, not Michael.” This learning comes from his experience and the support of the creative teams and collaborators involved.

Chief among them are two incredible dance artists who have a long history of performing with MJ. “I met these two incredible Samoan brothers, Rich and Tone Talauega,” he says, “and they just carry this spirit of Michael in how you’re supposed to feel when you’re doing the moves and how Michael’s swag is supposed to be portrayed.”

For the most part, Frost is a selftaught singer, dancer, and pianist. “But when I met them, they humbled me very quickly,” he says, breaking into laughter. “It was like everything that you think you know, you have to unlearn to relearn. This deepened a level of understanding that I’m a part of something much bigger than myself. I’m very humbled to be a part of [MJ the Musical].” The musical’s success has been

the talk of the West End all spring, and the Prince Edward Theatre is reaping the rewards, seeing lines wrap around the building on to Greek Street before matinees and evening shows. “I love our London audiences, they listen very intently to everything,” he says. “The demographic is the same as America, which I think is a testament to how great Michael was, and how his music really spans generations.”

But the “Billie Jean” and “Thriller” numbers, in particular, get London audiences singing, dancing, and on their feet. “Largely because everybody’s excited just to see if I can do the moonwalk,” he continues. “Some of those moments are iconic, and I know people are on the edge of their seats for [them].”

What makes the experience even more enticing is Wheeldon’s approach to the choreography. He has shifted away from replicating the iconic music videos and stage dances, which are etched in the collective memory of MJ fans. “We don’t do the original choreography, we do choreography that you’ve never seen before,”

Frost says. “I think a lot of people aren’t prepared for it. It allows Michael’s diehard fans to be open to a different experience.”

Frost is assured this translates to audiences being more focused “on how well am I expressing this new choreography in the style of Michael, and am I doing that the correct way?” The proof is in the number of people returning to experience the musical all over again. “We get a pretty consistent audience,” he says. “You see guys in their eighties and women in their eighties who remember seeing Michael on The Ed Sullivan Show for the first time. Then on the flip side, you’ve got a nineyear-old dressed in full ‘Thriller’ attire. It’s really cool to witness that and I strive in my own artistry to have that same impact for years to come.” One thing is for certain: Frost’s depiction of MJ will have a long-lasting impact on the London theatre scene.

MJ the Musical is at Prince Edward Theatre. Get tickets at londontheatre.co.uk

(L) The show’s opening night and, right, Myles with Michael Jackson’s sons Prince and Bigi Photos: Emilio Madrid

Jammy Kasongo My London

The Frozen star takes us on a tour of his favourite London spots

Jammy Kasongo has appeared in some of the West End’s best-loved musicals, including Tina – The Tina Turner Musical and Beautiful: The Carole King Musical. Now he is starring as rugged iceman Kristoff in the Disney musical Frozen the Musical, alongside musical theatre royalty Samantha Barks.

Favourite Restaurant?

I love Blacklock for their non-alcoholic Old Fashioned, as well as their white chocolate cheesecake, which is unreal. And they have one of the best burgers in London.

Favourite Cocktail in London?

A Paper Plane at Soho House on Greek Street. I did a gig there and didn’t know what I wanted, so I ordered an Old Fashioned. The waiter grinned, and came back with the Old Fashioned and a Paper Plane. He said, “This is what you ordered, this is what you want.” I tried the Paper Plane, and he was right!

Favourite Pub?

The Sun Tavern on Bethnal Green Road is a really cool Irish pub, which plays live blues music on Tuesday nights

Favourite Pre- or Post-Theatre Haunt?

The Marquis in Covent Garden with the cast for a pint or two. It’s a great place after the show to hang with the cast.

Favourite Coffee?

Hermanos coffee on Columbia Road. They get that oat flat white right every time.

Favourite Neighbourhood?

Shoreditch – I love how unique and creative it is.

Favourite Non-Theatre Thing to Do?

Jam with my band. I’m in a hip hop house band that performs at Old Street Records on Thursday nights, from 10pm-12am.

Favourite Theatre in London?

Aldwych Theatre where I did my first ever West End job, which was Beautiful: The Carole King Musical.

Favourite Park?

Victoria Park. The food market on a Sunday is unreal.

Favourite Hotel in London?

Broadwick Soho. I love how eccentric it is. Beautiful space and a lovely atmosphere.

Frozen the Musical continues its run at Theatre Royal Drury Lane until 8 September. Get tickets at londontheatre.co.uk

Jammy enjoying a coffee at Broadwick Hotel. Photo: Danny Kaan

Jammy as Kristoff in Disney’s Frozen the Musical

‘NOTHING MATCHES IT’

NEW YORK TIMES

THE MUSICAL THE MUSICAL

CAMBRIDGE THEATRE, LONDON

BOOK DENNIS KELLY MUSIC & LYRICS TIM MINCHIN

DON’T JUST SEE IT. SOLVE IT.

How One Direction Inspired a Musical

We meet Yve Blake, the Australian creator of Fangirls, which celebrates the power of pop’s most ardent fans

By Olivia Rook

Photo: Andrew Fraser

It might come as a surprise that the inspiration for Yve Blake’s musical Fangirls stemmed from a one-off conversation with her friend’s 13-yearold cousin about their undying love for Harry Styles. “She told me she’d met the man she was going to marry,” Blake says. “I tried not to laugh.”

The Australian playwright continues, “She said, ‘Don’t laugh at me. I’m so serious, I would slit anyone’s throat to be with him.’ I’m a writer and I was like, ‘That’s juicy.’”

The conversation in 2015 was an early initiation into the world of fandoms for Blake, who was, at the time, a twentysomething aspiring playwright, and who admits she had no relationship to fan culture prior to writing her musical.

The protagonist at the heart of Fangirls is 14-year-old Edna, a diehard devotee of the biggest boyband in the world: True Connection. The source of her affections is, of course, the band’s lead singer Harry, which Blake says is a “funny nod” to Styles.

“One Direction fans were the thing that made me interested in this project, but it’s now inspired by so many different pop stars,” she says. “England has such a storied history of iconic fan culture, from The Beatles to One Direction. I think the way ‘celebrity’ functions in this country is different from anywhere else.”

Bringing Fangirls to the Lyric Hammersmith in west London is a full circle moment for Blake. She lived in London from 2012 to 2015, and started writing the musical in the Caffè Nero over the road from the theatre. She even conducted her first interview for the project – one of over 100 conversations with fans – in the Pret a Manger around the corner. Since then, incredible talent has joined the creative team, such as director Paige Rattray, who was production dramaturg on the Sarah Snook-led The Picture of Dorian Gray

Fangirls has enjoyed great success in Blake’s native Australia, with premieres at Belvoir St Theatre and Queensland Theatre in 2019, a national tour in 2021, and a run at Sydney Opera House in 2022. Now it has been picked up by the Lyric and esteemed producer Sonia Friedman.

The theatre held an open call for performers without professional representation for the show, specifically seeking those who are less visible in the theatre industry, such as non-binary actors and disabled people. Why was this so important for Blake? “In so many moments of writing the show, I felt like an outsider, and like someone who is looking at an institution that hasn’t always opened its doors to people like me. The casting process aligns with all of our values.”

Indeed, two in the cast will be making their professional debuts and Edna, the lead, will be performed by Jasmine Elcock, who recently starred in The Crucible at Sheffield Theatres and will make her musical theatre debut.

“It’s about that feeling when you’re a teenager and you can love something limitlessly and you don’t know any better”

Blake is another fresh face among the cast, and despite her musical being 10 years in the making, she speaks about Fangirls with the passion and enthusiasm of someone discussing it for the first time. “The show has got this absolute cheekiness to it and that’s what I’m really excited for audiences to see,” she says. “Sure, it’s a show that’s called Fangirls. But it’s not just about fans and it’s not just about girls. It’s about that feeling of when you’re a teenager and you can love something limitlessly and you don’t know any better. I think everyone can connect to that.”

She believes that Fangirls had to be a musical because “the emotions were much too big” for another style of theatre. Yet, musicals weren’t always Blake’s first love, which is an interesting twist for a writer who has impressively penned the book, music, and lyrics for Fangirls.

Branding herself a “theatre kid”, Blake used to wander around with an Ibsen play tucked under her arm and thought

she was only into “serious drama”. But a collaboration with a local boys’ school on a musical theatre production changed everything. “I met this kid who kept on referencing Wicked,” she explains, “and I was like, ‘What is that?’ And he said, ‘It’s a musical.’ I put together some argument about how musicals weren’t as high an artform as plays, and said they were misogynist and corny. He said ‘bullshit’ and made it his mission to prove me wrong.”

After an intensive revision period, in which Blake was instructed to listen to the cast recordings of musicals including In the Heights and Spring Awakening, she was “radicalised”. In another “gorgeous, full circle moment”, this childhood friend – Jonathan Ware –became Fangirls’ original dramaturg.

Many things about this production in London feel like perfect timing. After a year in which Taylor Swift fans discovered a new level of dedication, generating an estimated $5 billion for the US economy in 2023, and Zendaya sent supporters wild with her red carpet looks for Challengers, fangirls are more powerful – and more vocal – than ever. “It’s so exciting for this show to be coming out in 2024,” agrees Blake. “Between Beyoncé, Taylor Swift, and Barbie, we have this incredible proof that women’s interests not only matter, but are extraordinarily, economically viable.”

After such success on the other side of the globe, does Blake have any worries about the show’s UK premiere? “I don’t feel nervous, I feel a real faith in everyone working on it. It’s going to be beautiful. I hope that doesn’t sound too cocky, I’m just really excited.”

Blake, just like the fangirls she so ardently defends, is not someone to be underestimated. We’ll save a seat for Harry on opening night.

Fangirls opens at the Lyric Hammersmith Theatre on 15 July. Get tickets at londontheatre.co.uk

Interview Finding Something

Next to Normal

By Marianka Swain

Caissie Levy and Jamie Parker play a couple trying to hold their family – and themselves – together in this Pulitzer Prize-winning musical

London audiences had to wait a long time for Tom Kitt and Brian Yorkey’s 2008 Tony and Pulitzer-winning musical Next to Normal to cross the pond, but it was absolutely worth it. The UK premiere run at the Donmar Warehouse in 2023 was extraordinary, and now Michael Longhurst’s production is heading to the Wyndham’s Theatre.

The show centres on Diana Goodman, who has been diagnosed with bipolar disorder. We follow her struggles, as well as those of husband Dan and daughter Natalie. It’s an intimate, deeply moving piece, but also darkly funny and sharply contemporary.

Reprising their lead roles of Diana and Dan for this West End run are, respectively, American actress Caissie Levy (the original Molly in Ghost: The Musical, and Elsa in Frozen) and British actor Jamie Parker (Olivier Awardwinner for Harry Potter and the Cursed Child).

Were you aware of the show beforehand?

Caissie Levy: I knew it pretty well. Some of my close friends were in the Broadway company. At the time, I was closer [in age] to playing Natalie.

It wasn’t until I got the call to do this that I went back and looked at Diana’s stuff, and instantly felt like it was a very exciting role.

Jamie Parker: I didn’t expect to get the job, to be honest! It was such a departure for me musically. But I thought it was interesting and new, so I went along and gave it everything that I had. They were very patient and welcomed me into this world. I’m so glad they did because it’s very rewarding to play.

What should we know about your characters?

Levy: We meet Diana at a moment when she’s feeling like her medication might be dulling the excitement of her life. She is living with bipolar disorder and of course it affects her marriage, her family – every single character is going on a journey of their own. We kick off with Diana trying to find her place in the world, and feel alive while still feeling in control.

Parker: The great universality of the piece is that everyone can recognise elements of it: the juggling act you have in your own life. Obviously, living with bipolar disorder is at the extreme end

of that. Dan is a nice guy trying his best, and when it doesn’t work he doubles down and keeps on trying.

Levy: It’s interesting exploring the relationship between Diana and Dan, because Jamie and I have both been married for a long time, and I think a lot of couples can see the ebb and flow of their own relationship represented on stage. There are places where we help or hurt each other, where we make bad choices, or we show deep love for one another.

How does the physical work fuel the show?

Levy: [Movement Director] Ann Yee is so gifted at helping actors through what can feel icky or vulnerable in the rehearsal room. She created a system where we could let our guards down and be weird and brave. Because of Ann and [director] Michael Longhurst’s willingness to take the time to build that, a lot of the actual staging happened organically because we were already so clued into one another.

Parker: There are patches in the script where characters disappear, but the way it’s staged here they often don’t

leave the stage – so they remain present. There’s always somebody watching what you’re doing, and these silent exchanges have become part of the musicianship of the piece.

How did you approach the mental health representation?

Levy: Mike and Ann brought in different experts, like doctors, psychologists, and therapists, to help us navigate this in the most truthful, authentic way.

Parker: We’re all entangled in this predicament of being alive and trying to figure it out as we go along. I don’t think you have to be living with extreme forms of neurodivergence or dysfunction to recognise the struggles.

Does it feel particularly groundbreaking for a musical?

Levy: People have a misconception about musicals that they’re all glitz and glam and tap-dancing – and some are. But this show, even though it’s almost entirely sung-through, it’s like a

play with music. It’s so true to life: the teenagers sound like real teenagers. It feels completely relevant for today.

Parker: It’s full of empathy. Musicals can tackle serious things in an extremely entertaining way – whether it’s Sweeney Todd, West Side Story, or Cabaret. Next to Normal can hold its head high as part of that tradition.

Do you have a favourite song?

Levy: I love “Superboy and the Invisible Girl”, because [Eleanor WorthingtonCox] smashes it, and I love “I’m Alive” because Jack [Wolfe] smashes it. With Diana, I get to do a bit of everything: big, angsty numbers and soft, folky, prettier stuff. Tom Kitt’s music is made to be sung the hell out of.

Parker: Each song is its own little movie. We’re very lucky that we’ve got this half-dozen company of actors and we trust each other to continue to play, so it changes from night to night.

Will you need to scale up much for this new venue?

Levy: I think it will only require a tiny bit of scaling up. People will still

feel they’re in our kitchen with us –but with a bigger space for these big feelings.

Parker: The Wyndham’s feels like the right place for it. We won’t have to play to all sides like in the Donmar, so the kitchen island will be less of an obstacle to negotiate!

Levy: The way that people are talking about mental health, how much more open we are post-Covid, it’s such an opportunity to do this musical now. I feel wildly lucky that the UK theatre community has welcomed me in, and I’m so excited to be back in the West End with this show. It’s a total privilege.

Next to Normal opens at Wyndham’s Theatre on 18 June. Get tickets at londontheatre.co.uk

Jamie Parker and Caissie Levy in Next to Normal

Casey Nicholaw Say s You Can Sit With Us

By Matt Wolf

We meet the director and choreographer behind a string of Broadway hits – including Mean Girls, which opens in London this month

Casey in rehearsal for Mean Girls. Photo: Brinkhoff & Mögenburg

Director-choreographer Casey Nicholaw may have been involved with stage musical Mean Girls for the better part of a decade, but as he readies the Broadway hit for its summer opening at the Savoy Theatre this month, he knows one thing for sure: look above all for kindness when it comes to choosing a cast.

“That’s what we’ve kept saying ever since we started,” says Nicholaw who, in 2018, directed and choreographed for Broadway an adaptation of Tina Fey’s 2004 film about the social hazards of high school. Following the coming-of-age experiences of teenager Cady Heron as she swaps home education for an American high school, the show looks at the cruel power of social cliques, namely girl group the “Plastics”, which is run by Queen Bee Regina George.

“We just want to hire nice people,” Nicholaw says of a London cast headed by Charlie Burn as vulnerable outsider Cady – Lindsay Lohan’s part in the original film – and Georgina Castle as the biting, beautiful Regina. He continues: “There has to be a heart to the character – even the Plastics.” Made up largely of budding young talent, the all-British company includes the veteran actress-singer Zoe Rainey, who starred in An American Paris at the Dominion Theatre in 2017. Nicholaw lavishes her with praise: “Zoe is lovely, truly. So much fun.”

But isn’t there a risk that those cast as baddies may end up becoming rather too much like their parts? Nicholaw laughs down the phone during a lunchtime break one week into rehearsal. “That does happen. I’ve seen it on many shows where members of a company can take on their characters.” Ever discreet, he is naming no names.

Our interview is taking place at almost the exact same time as the announcement in New York of this year’s Tony Award nominations, which happens to be a rare season that doesn’t find Nicholaw in contention. Scripted by the original film’s writer Fey, with songs by her husband Jeff Richmond and Legally Blonde’s Nell Benjamin, Mean Girls received a staggering 12

Tony nods back in the day – more than any other show that season.

Nicholaw, himself a two-time Tony Award-winner, sounds pleased to be sitting out Broadway’s current, hyper-competitive horse race. “I’m very happy to be here [in London] working on what I’m working on,” away from the Broadway hothouse. “London is probably my favourite city in the world, but don’t tell New York that.”

Nicholaw says the secret of Mean Girls is that it benefits from “being totally in the zeitgeist: everyone has seen and knows the Mean Girls phenomenon, and every single person has gone to high school and experienced some version of all these things.” He adds that the London cast “has seen the original [film] so many times.”

“The first thing I ask when someone brings me a project is, does it sing?”

Nicholaw believes that the show’s message remains pertinent: “Be true to yourself and be nice to people. We need to stick together.”

This production looks to be more streamlined than it was in New York by about 15 minutes, and Nicholaw teases the addition of some material from the 2024 film version of Mean Girls the Musical, which starred Reneé Rapp and Angourie Rice, and saw Fey and Tim Meadows reprise their roles as Ms Norbury and Principal Duvall. Nicholaw had no hand in the recent film but is glad it exists. “The film has kept the title present,” he says.

Surely Nicholaw was spared the social ostracism suffered by many of the characters in Mean Girls? “Not if you’re a gay boy,” says Nicholaw, who recalls being “beat up quite a lot” during his schooling in California, which led eventually to the safety and salvation offered by the theatre. He moved to New York in 1982 and over time has distinguished himself as one of the rare director-choreographer hyphenates

What is it like to take on both tasks? “I like it because I feel as if I get to move the story as one voice,” says Nicholaw, who was hired only as choreographer on the original Broadway production of Spamalot, directed by the legendary Mike Nichols. “When I was doing Spamalot, I wasn’t thinking, ‘I need to be a director.’” But the show won the 2005 Tony for Best Musical and Nicholaw was offered the chance to direct and choreograph The Drowsy Chaperone the morning after Spamalot opened. His dual career was launched.

Nicholaw is well-positioned to reflect on adapting one art form into another, having worked on so many stage shows that began as films such as Aladdin, which ran at the Prince Edward Theatre for three years between 2016 and 2019. “The first thing I ask when someone brings me a project is, does it sing? More often than not, I think, ‘Wow, I love that movie but it doesn’t sing to me.’ But I really got so excited about Mean Girls and could see where it was going.” The offstage involvement of 30 Rock creator and star Fey didn’t hurt. “She and Jeff are such musical theatre fans: they grew up with it, love it, and speak the language.”

Nicholaw expanded his own horizons earlier this year, directing the premiere in Hamburg – and in German – of Disney’s Hercules, which is inevitably eyeing an English-language version. For now, though, his focus is on getting Mean Girls ready for the Savoy, a playhouse he knows well from his time directing Dreamgirls in 2016.

Does he ever inadvertently confuse the two sound-alike titles? Nicholaw likes the question. “I can’t tell you how many times I’ve called them the wrong thing!” Surely he must have paused to wonder what might happen were the take-no-prisoners Effie, from Dreamgirls, ever to come across the socially ravenous Regina. “There’d be a sass-off, for sure,” says Nicholaw, who also knows how the encounter would end. “I think Effie would mash Regina to the ground.”

Mean Girls opens at the Savoy Theatre on 5 June. Get tickets at londontheatre.co.uk

REVIEWS

People, Places & Things

Denise Gough delivers a titanic performance in this unmissable West End return

By Olivia Rook

Some roles are so inextricably tied to performers that it’s hard to know where the character begins and the actor ends. Denise Gough’s Emma in Duncan Macmillan’s People, Places & Things is one of those roles, which she is reprising at London’s Trafalgar Theatre, delivering a performance that is nothing short of extraordinary.

She first played Emma at the National Theatre in 2015, followed by a West End run in 2016 and an Off-Broadway transfer in 2017. Seeing Gough’s complex performance once again in the West End is a real treat.

Emma is an actress and addict who uses her talent for deception to avoid recovery. After breaking down during a performance of Chekhov’s The Seagull, she checks into rehab, concealing her identity from both the people trying to help her and the audience. Gough masterfully keeps us at a distance from the truth, making Emma feel completely real and human.

Gough nails every part of the addict’s journey, from Emma’s intoxicated slurs in a torturous, funny phone call with her mother, to the shattering process of withdrawal, vividly brought to life by

movement director Polly Bennett and Tom Gibbons’s soundscape. The physical theatre uses nightmarish visions, with six Emmas crawling out of walls like cockroaches, filling the stage with frantic energy.

She is supported by a strong ensemble cast. Sinéad Cusack multi-roles as doctor, therapist, and mother, with a particularly unsettling coldness. Malachi Kirby’s fellow in-patient Mark helps cut through Emma’s lies, while Danny Kirrane’s Foster shares a tender moment with Emma.

Bunny Christie’s clinical set and James Farncombe’s strobe lighting design remain unchanged, transporting the audience into Emma’s drug-induced frenzy. Updated text sections reflect 2024’s societal horrors, but Gough’s titanic performance remains the heart of this play, her sharp edges undulled by a seven-year break from the part.

Playing at the Trafalgar Theatre until 10 August. To read the rest of this review or book tickets visit londontheatre.co.uk

Fawlty Towers

John Cleese has turned the legendary sitcom into a hilarious new play

By Marianka Swain

Fawlty Towers is heralded as one of the greatest sitcoms, thanks to John Cleese and Connie Booth’s 12 pristine episodes. This new theatre version fits the legacy well, offering a well-crafted nostalgia trip for fans wanting one more stay at the disastrous Torquay hotel.

Cleese splices three iconic episodes: “Hotel Inspectors”, “The Germans”, and “Communication Problems”. The 1970s stories remain largely unchanged, keeping Basil Fawlty’s psychology intact. The airtight scripts and brilliant punchlines hold up remarkably well, causing gleeful hysterics.

Adam Jackson-Smith impressively matches Cleese’s Basil, while Anna-Jane Casey perfectly channels Sybil. The entire cast, including Hemi Yeroham’s chirpy Manuel and Victoria Fox’s sharp Polly, evokes beloved characters. Caroline Jay Ranger maintains zany energy and pin-sharp timing, aided by Liz Ascroft’s near-replica set.

This is theatrical time travel of the most joyful variety.

Playing at the Apollo Theatre. To read the rest of this review or book tickets visit londontheatre.co.uk

REVIEWS

★★★★

Two Strangers (Carry a Cake Across New York)

Charming rom-com continues the brilliant run of new Brit musicals

By Marianka Swain

Continuing the fantastic run of new British musicals, Jim Barne and Kit Buchan’s Two Strangers (Carry a Cake Across New York) moves from the Kiln to the West End without losing its charm. Tim Jackson’s intimate production features Sam Tutty and Dujonna Gift, whose performances have expanded to suit the Criterion.

The show, a send-up of rom-coms, follows puppyish Brit Dougal (Tutty) and world-weary New Yorker Robin (Gift). Their contrasting perspectives on life unfold with sharp humour and heart. The varied score, clever pastiche, and Soutra Gilmour’s inventive design make this a standout.

It’s that rare show in which you really take the characters to heart, and this contrasting pair are beautifully balanced on their parallel journeys to self-acceptance. Robin helps Dougal grow up with a dose of reality, while he lightens her life with some joyful fantasy. Two Strangers has just the right amount of each.

Playing at the Criterion Theatre until 31 August. To read the rest of this review or book tickets visit londontheatre.co.uk

Playing Now!

2:22 A Ghost Story

The award-winning supernatural thriller returns to the West End for a limited return season. Now playing. Review to follow.

Gielgud Theatre (map ref. 18)

Babies

New coming-of-age musical comedy about a group of high school sex education students taking care of fake babies. Heartstopper’s Bradley Riches stars. Now playing, review to follow.

The Other Palace (map ref. 32)

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)

Boys From the Blackstuff

From 13 June

Alan Bleasdale’s iconic story of 1980s Liverpool has been adapted by James Graham (Dear England) into a new play. Following seasons at the Liverpool Royal Court and National Theatre, it comes to the West End for a limited season. Review to follow.

Garrick Theatre (map ref. 17)

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. Rhea Norwood (Heartstopper) and Layton Williams take on the roles of Sally Bowles and the Emcee from 3 June. 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)

The Constituent

From 13 June

James Corden and Anna Maxwell

Martin star in Joe Penhall’s new play, where a hard-working opposition backbencher’s ideals are tested by the demands of a man in crisis. Matthew Warchus directs. Review to follow. The Old Vic (map ref. 31)

Fawlty Towers

★★★★ – ShowScore 91

John Cleese himself has adapted his own iconic TV show (“the greatest British sitcom of all time”) into a new play, fusing favourite scenes and characters into a sure-to-be hilarious comedy. See review on page 32. Apollo Theatre (map ref. 4)

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

Cabaret

Get tickets here

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 rendition of Orpheus and Eurydice, set in Depression-era New Orleans. This British adaptation embraces natural accents, notably Dónal Finn’s charming Orpheus and Grace Hodgett Young’s authentic Eurydice. Melanie La Barrie’s vibrant Trinidadian Hermes and Gloria Onitiri’s resilient Persephone shine despite Zachary James’s thuggish Hades. Rachel Chavkin’s direction and Rachel Hauck’s set design mesmerise, affirming theatre’s collaborative spirit. 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 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)

Heathers the Musical

Until 6 July

Following smash hit runs in London’s West End, two record-breaking national tours and sell-out seasons at London’s The Other Palace, the WhatsOnStage Best New Musical winner Heathers the Musical is coming to @sohoplace for six weeks only. @sohoplace (map ref. 42)

The Hills of California

Until 15 June

★★★★★ – 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)

Kathy & Stella Solve a Murder! Award-winning musical comedy, about two true-crime-loving BFFs who investigate the death of their favourite author, arrives in London for a limited season. Now playing, review to follow. Ambassadors Theatre (map ref. 3)

Kiss Me, Kate

The fan-favourite backstage musical comedy by Cole Porter returns to the West End starring Tony Award-winning actress Stephanie J Block in her West End debut opposite BAFTA-nominated actor Adrian Dunbar. Kiss Me, Kate boasts a stellar creative team including costume designer Catherine Zuber and choreographer Anthony Van Laast and features hit songs such as “Too Darn Hot”, “So In Love”, and “Wunderbar”. Barbican Theatre (map ref. 7)

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

Until 8 June

★★★★ – ShowScore 70

Brian Cox’s portrayal of James Tyrone in Long Day’s Journey Into Night echoes his role as Logan Roy in Succession. Cox’s layered performance reveals James’s financial insecurities and tender moments with wife Mary, brilliantly portrayed by Patricia Clarkson. Director Jeremy Herrin crafts a suffocating atmosphere, enhancing O’Neill’s powerful drama. Wyndham’s Theatre (map ref. 50)

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)

Mean Girls

From 5 June

Based on Tina Fey’s 2004 movie, Mean Girls tells the story of Cady Heron who arrives at North Shore High, a school ruled by the legendary Plastics, led by the ruthless Regina George. With the help of her new friends, Cady

“ LONDON’S # 1 SHOW.”

embarks on a mission to infiltrate the Plastics and bring them down from within. The stage adaptation is led by an award-winning team including director Casey Nicholaw, and a book by Tina Fey herself.

Savoy Theatre (map ref. 40)

MJ the Musical

★★★★ – ShowScore 94

Myles Frost embodies Jackson’s energy and authenticity, bringing him back to life as he prepares for his Dangerous tour in 1992. Lynn Nottage’s script explores Jackson’s artistic vision and influences, celebrating his contributions to music and dance. Christopher Wheeldon’s direction blends past and present, staging iconic moments like “Thriller” and “Billie Jean” with inventive flair. MJ is a tribute to Jackson’s enduring legacy, offering an unforgettable experience for fans and newcomers alike.

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 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)

Next to Normal

From 18 June

The critically acclaimed West End transfer of the Donmar Warehouse’s production, with Caissie Levy (Broadway’s Frozen), Jamie Parker (Harry Potter and the Cursed Child) and Jack Wolfe. Diana Goodman seemingly has the perfect suburban family life, but it soon becomes clear all is far from normal. As Diana battles with bipolar disorder, her family confront the challenges of living with grief and mental illness. Winner of the prestigious Pultizer Prize for drama, it is a raw and emotional musical that takes you on a journey through the highs and lows of the Goodman family.

Wyndham’s Theatre (map ref. 50)

People, Places & Things

★★★★ – ShowScore92

Denise Gough returns to her acclaimed performance in Duncan Macmillan’s hit play about an actress struggling with a life spinning out of control. Don’t miss your chance to see one of the great performances of recent years, back on a West End stage. Now playing. See review on page 31.

Trafalgar Theatre (map ref. 47)

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 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)

Player Kings

Until 22 June

★★★★ – ShowScore 86

Robert Icke’s fusion of Shakespeare’s Henry IV plays delivers a thrilling West End spectacle. Ian McKellen, at 84, embodies Falstaff with skill. Icke’s adaptation condenses the plays into a brisk three hours, engaging both fans and newcomers. McKellen’s portrayal captures Falstaff’s complexity, aided by Henry Jenkinson’s melodies, exploring themes of leadership.

Noël Coward Theatre (map ref. 29)

The Play That Goes Wrong

★★★★ – ShowScore 91

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)

Romeo and Juliet

Superstar Tom Holland and Francesca Amewudah-Rivers star as Shakespeare’s star-crossed lovers in Jamie Lloyd’s new production. Fresh from his success on Sunset Boulevard, Lloyd is working with that show’s same creative team to reimagine the play as only he can do. Expect innovative use of video and a gritty, stripped-back approach - combined with incredible performances from a top-notch cast. Duke of York’s Theatre (map ref. 15)

Sister Act

Until 31 August

★★★★ – ShowScore 89

Beverley Knight stars until 8 June, and Alexandra Burke takes over from 10 June, as Deloris Van Cartier in the iconic musical Sister Act, joined by Ruth Jones as Mother Superior and Lemar as gangster boyfriend Curtis Jackson. Lizzie Bea shines as Sister Mary Robert. The finale, with Morgan Large’s vibrant costumes stealing the show, is a visual delight. It’s a joyous return for the nuns to the West End. 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)

Slave Play

From 29 June

At the MacGregor Plantation, the Old South is alive and well. The heat in the air, the cotton fields and the power of the whip. Yet nothing is quite as it appears... or maybe it is. Jeremy O Harris’s iconic, controversial, groundbreaking play about race, identity and sexuality in twenty-first century America comes to London, starring Fisayo Akinade, James Cusati-Moyer, Kit Harington, Aaron Heffernan, Chalia La Tour, Annie McNamara, Irene Sofia Lucio and Olivia Washington. Noël Coward Theatre (map ref. 29)

Standing at the Sky’s Edge

–

ShowScore

88

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 into a changing Britain. Led by Laura Pitt-Pulford, Rachael Wooding, and Elizabeth Ayodele, the ensemble delivers powerful performances. Bush’s exploration of themes like hometown pride and love, infused with humour and empathy, gives the musical a captivating charm.

Gillian Lynne Theatre (map ref. 19)

Starlight Express

From 8 June

Prepare for a thrilling new immersive production of Andrew Lloyd Webber’s iconic musical. Set to a toe-tapping ‘80s pop-rock soundtrack, Luke Sheppard (& Juliet, The Little Big Things) directs, working alongside set designer Tim Hatley and video designer Andrzej Goulding to bring this innovative production to life. Review to follow. Troubadour Wembley Park Theatre

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

Two Strangers (Carry a Cake Across New York)

★★★★ – ShowScore 94

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. Now playing. See review on page 32. Criterion Theatre (map ref. 11)

A View From the Bridge

Dominic West stars in this revival of Arthur Miller’s masterpiece about a Brooklyn dock worker’s explosive jealousy. Direct from Theatre Royal Bath, this acclaimed production also stars Kate Fleetwood and It’s a Sin’s Callum Scott Howells. Now playing, review to follow. Theatre Royal Haymarket (map ref. 46)

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

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)

Your Lie In April

From 28 June

Due to phenomenal demand, this acclaimed musical transfers to the West End for 12 weeks only. Your Lie in April is an adaption of the popular manga story about Kōsei Arima, a young piano prodigy, and his inability to play following his mother’s death. He strikes a friendship with violinist Kaori Miyazono and she slowly encourages him to perform again. Harold Pinter Theatre (map ref. 20)

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

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1 Adelphi Theatre Strand WC2R 0NS

Charing Cross

2 Aldwych Theatre

Aldwych WC2B 4DF

4DF

Aldwych WC2B 4DF Tube: Temple

St WC2H 9ND

PICCADILLY

7 Barbican Centre Silk St EC2Y 8DS

7 Barbican Centre Silk St EC2Y 8DS Tube: Barbican (Off map)

7 Barbican Centre Silk St EC2Y 8DS Tube: Barbican (Off map)

12 Dominion Theatre

Tube: Barbican (Off map)

12 Dominion Theatre

12 Dominion Theatre

18 Gielgud Theatre

24 The London Palladium

18 Gielgud Theatre

3 Ambassadors Theatre West St WC2H 9ND Tube: Leicester Square

8 Bridge Theatre 3 Potters Fields Pk SE1 2SG Tube: London Bridge (Off map)

Leicester Square

4 Apollo Theatre Shaftesbury Ave W1D 7EZ

Piccadilly Circus

4 Apollo Theatre Shaftesbury Ave W1D 7EZ Tube: Piccadilly Circus

5 Apollo Victoria Theatre 17 Wilton Rd, Pimlico SW1V 1LG

5 Apollo Victoria Theatre

5 Apollo Victoria Theatre

Wilton Rd, Pimlico SW1V 1LG

Victoria

17 Wilton Rd, Pimlico SW1V 1LG Tube: Victoria

6 Arts Theatre

6 Arts Theatre

6 Arts Theatre

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6-7 Great Newport St

6-7 Great Newport St

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WC2H 7JB

WC2H 7JB Tube: Leicester Square

Tube: Leicester Square

Tube: Leicester Square

8 Bridge Theatre

8 Bridge Theatre

3 Potters Fields Pk SE1 2SG Tube: London Bridge (Off map)

3 Potters Fields Pk SE1 2SG Tube: London Bridge (Off map)

9 Cambridge Theatre Earlham St WC2H 9HU

9 Cambridge Theatre Earlham St WC2H 9HU

9 Cambridge Theatre Earlham St WC2H 9HU

Tube: Covent Garden

Tube: Covent Garden

10 County Hall

Belvedere Rd

Belvedere Rd

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SE1 7BP

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10 County Hall

Tube: Waterloo

Covent Garden 10 County Hall Belvedere Rd SE1 7BP Tube: Waterloo 11 Criterion Theatre

11 Criterion Theatre

11 Criterion Theatre

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218-223 Piccadilly

218-223 Piccadilly

St. James’s W1J 9HR Tube: Piccadilly Circus

St. James’s W1J 9HR

St. James’s W1J 9HR

Tube: Piccadilly Circus

Tube: Piccadilly Circus

268-269 Tottenham Ct Rd W1T 7AQ

Shaftesbury Ave W1D 6AR

8 Argyll St W1F 7TF

268-269 Tottenham Ct Rd W1T 7AQ

Tube: Tottenham Ct Rd

Tube: Tottenham Ct Rd

13 Donmar Warehouse

13 Donmar Warehouse

41 Earlham St WC2H 9LX

41 Earlham St WC2H 9LX

Tube: Covent Garden

268-269 Tottenham Ct Rd W1T 7AQ Tube: Tottenham Ct Rd 13 Donmar Warehouse 41 Earlham St WC2H 9LX Tube: Covent Garden

Tube: Covent Garden

14 Duchess Theatre

14 Duchess Theatre

3-5 Catherine St

3-5 Catherine St

Shaftesbury Ave W1D 6AR

5LA

WC2B 5LA

WC2B 5LA

Tube: Covent Garden

Tube: Covent Garden

15 Duke of York’s

15 Duke of York’s

St Martin’s Ln WC2N 4BG

Tube: Leicester Square

St Martin’s Ln WC2N 4BG Tube: Leicester Square

16 Fortune Theatre

16 Fortune Theatre

Russell St WC2B 5HH

5HH

Russell St WC2B 5HH

Tube: Covent Garden

Covent Garden

Tube: Covent Garden

17 Garrick Theatre

17 Garrick Theatre 2 Charing Cross Rd

2 Charing Cross Rd

WC2H 0HH

WC2H 0HH

Tube: Leicester Square

Tube: Leicester Square

Tube:

Tube: Piccadilly Circus

Piccadilly Circus

Gillian Lynne Theatre

19 Gillian Lynne Theatre

Tube: Oxford Circus

25 Lyceum Theatre

Drury Lane WC2B 5PW

166 Drury Lane WC2B 5PW

Covent Garden

Tube: Covent Garden

20 Harold Pinter Theatre Panton St SW1Y 4DN

Tube: Piccadilly Circus

21 His Majesty’s Theatre

Haymarket, St. James’s SW1Y 4QL

Tube: Piccadilly Circus

22 Kit Kat Club

Northumberland Ave

WC2N 5DE

Tube: Charing Cross

23 London Coliseum

St Martin’s Ln WC2N 4ES

Tube: Leicester Square

21 Wellington St WC2E 7RQ

Tube: Covent Garden

26 Lyric Theatre

29 Shaftesbury Ave W1D 7ES

Tube: Piccadilly Circus

27 Lyric Hammersmith

Theatre

Lyric Square King St, W6 0QL

Tube: Hammersmith (Off map)

28 National Theatre

South Bank

SE1 9PX

Tube: Waterloo

PEOPLE, PLACES & THINGS

2:22 A GHOST STORY

MRS DOUBTFIRE

SISTER ACT

FAWLTY TOWERS

HEATHERS THE MUSICAL

View the full map

29 Noël Coward Theatre 85-88 St Martin’s Ln

29 Noël Coward Theatre

85-88 St Martin’s Ln WC2N 4AP

Tube: Leicester Square

WC2N 4AP Tube: Leicester Square

30 Novello Theatre

30 Novello Theatre

Aldwych WC2B 4LD

Tube: Charing Cross

Aldwych WC2B 4LD Tube: Charing Cross

31 The Old Vic

31 The Old Vic 103 The Cut SE1 8NB

103 The Cut SE1 8NB

Tube: Waterloo

32 The Other Palace

32 The Other Palace

12 Palace St SW1E 5JA

12 Palace St SW1E 5JA

Victoria

Tube: Victoria

33 Palace Theatre

33 Palace Theatre

113 Shaftesbury Ave W1D 5AY

113 Shaftesbury Ave W1D 5AY

Tube: Leicester Square

Tube: Leicester Square

34 Peacock Theatre

34 Peacock Theatre

Portugal St WC2A 2HT Tube: Holborn

Portugal St WC2A 2HT

Tube: Holborn

35 Phoenix Theatre Charing Cross Rd WC2H 0JP Tube: Tottenham Ct Rd

35 Phoenix Theatre Charing Cross Rd WC2H 0JP Tube: Tottenham Ct Rd

36 Piccadilly Theatre

16 Denman St W1D 7DY Tube: Piccadilly Circus

36 Piccadilly Theatre 16 Denman St W1D 7DY Tube: Piccadilly Circus

37 Prince Edward Theatre

37 Prince Edward Theatre

Old Compton St W1D 4HS Tube: Leicester Square

Old Compton St W1D 4HS Tube: Leicester Square

38 Prince of Wales Theatre Coventry St W1D 6AS Tube: Piccadilly Circus

38 Prince of Wales Theatre Coventry St W1D 6AS Tube: Piccadilly Circus

39 Sadler’s Wells Theatre

Rosebery Ave EC1R 4TN

Tube: Angel (Off map)

39 Sadler’s Wells Theatre Rosebery Ave EC1R 4TN Tube: Angel (Off map)

40 Savoy Theatre

40 Savoy Theatre

Savoy Ct Strand, WC2R 0ET

Tube: Charing Cross

Savoy Ct Strand, WC2R 0ET Tube: Charing Cross

41 Shaftesbury Theatre

41 Shaftesbury Theatre

210 Shaftesbury Ave

210 Shaftesbury Ave

WC2H 8DP

WC2H 8DP

Tube: Tottenham Ct Rd

Tube: Tottenham Ct Rd

46 Theatre Royal Haymarket 18 Suffolk St SW1Y 4HT Tube: Piccadilly Circus

42 @sohoplace

42 @sohoplace

4 Soho Place, Charing Cross Rd W1D 3BG Tube: Tottenham Ct Rd

43 Sondheim Theatre

51 Shaftesbury Ave W1D 6BA

Tube: Piccadilly Circus

44 St Martin’s Theatre West St WC2H 9NZ

Tube: Leicester Square

45 Theatre Royal Drury Lane

Catherine St WC2B 5JF Tube: Covent Garden

47 Trafalgar Theatre 14 Whitehall SW1A 2DY Tube: Charing Cross

Whitehall SW1A 2DY

Charing Cross

48 Vaudeville Theatre

Vaudeville

404 Strand WC2R 0NH Tube: Charing Cross

49 Victoria Palace Theatre

79 Victoria St SW1E 5NE Tube: Victoria

50 Wyndham’s Theatre Charing Cross Rd WC2H 0DA Tube: Leicester Square

WICKED

STANDING AT THE SKY’S EDGE

MAMMA MIA!

The Tony Awards 2024

Who should and who will win?

By Gillian Russo

Every show, every performance, every opening night on Broadway leads up to the industry’s biggest night each June. Named after Antoinette Perry, cofounder of the American Theatre Wing (the administrative body that issues the awards), The Tony Awards honours the best of Broadway plays and musicals each year.

Besides being the most prestigious awards in American theatre, the Tony Awards offer a launchpad for future stars, a box-office booster for the winners, and perhaps most importantly, countless people’s introduction to theatre. The ceremony’s broadcast, televised nationwide, makes Broadway visible to millions of viewers far beyond New York.

A total of 36 eligible Broadway productions opened in the 2023-24 season, 14 of which opened in the last two weeks of April alone. More than ever, shows squeezed in just before the eligibility cutoff on 25 April, hoping to be fresh in the nominators’ minds. All in all, 28 shows were nominated for at least one Tony – though fan-favourite, currently running productions like The Wiz, a revival of the classic 1974 musical, and The Heart of Rock and

Roll, a critical darling featuring the hit ’80s songs of Huey Lewis and the News, were sadly and surprisingly absent.

But even among those nominated, it’s a rare Broadway season in which many of the top Tony Award categories don’t have clear favorites to win. This makes predicting harder than usual, but it will make the 16 June ceremony, held at the David H Koch Theater in the historic Lincoln Center performing arts complex, much more exciting to watch.

Best Musical

Hell's Kitchen

Illinoise

The Outsiders

Suffs

Water for Elephants

What will win: This category could truly go any way, but I’d give a slight edge to Suffs. Its catchy score and subject matter – the ongoing fight for justice for all – already captured other New York awards voting committees, like the Outer Critics Circle, that named Suffs the year’s best musical.

What should win: Since none of the talented ensemble were nominated individually, I would love

to see recognition for the imaginative, touching dance theatre piece Illinoise (though it will almost certainly snag Best Choreography).

Best Play

Jaja’s African Hair Braiding

Mary Jane Mother Play

Prayer for the French Republic

Stereophonic

What will win: David Adjmi’s ‘70s rock-themed Stereophonic, hailed by audiences and critics alike as an instant classic – which then made history with its 13 nominations, the most of any non-musical play ever.

What should win: Stereophonic is a three-hour epic, but Joshua Harmon’s frighteningly timely Prayer for the French Republic is a three-hour epic that made the time fly by.

Best Revival of a Musical

Cabaret

Gutenberg! The Musical!

Merrily We Roll Along

The Who's Tommy

What will win: Merrily We Roll Along

The way director Maria Friedman

Stereophonic

Illinoise

The Notebook

Mother Play

Appropriate

Mary Jane

turned a famous flop into a smash hit will go down in theatre history – and its surefire Tony win is just the beginning.

What should win: Merrily. See above.

Best Revival of a Play

An Enemy of the People Appropriate

Purlie Victorious

What will win: Appropriate, which snuck into the revival category to escape the highly competitive new play category (it premiered offBroadway in 2014).

What should win: Appropriate is phenomenal, but I would be just as glad to see a win for Purlie Victorious, a hidden comedic gem from 1964 that was an early highlight of the season.

Best Performance by an Actor in a Leading Role in a Musical

Brian d’Arcy James: Days of Wine and Roses

Brody Grant: The Outsiders

Dorian Harewood: The Notebook

Eddie Redmayne: Cabaret

Jonathan Groff: Merrily We Roll Along

Who will win: Jonathan Groff. Part of the production’s magic is Friedman’s perfect cast, of which Groff is the centre.

Who should win: Groff or Brian d’Arcy James, who also gave a career-best performance as a lovesick recovering alcoholic in Days of Wine and Roses

Best Performance by an Actress in a Leading Role in a Musical

Eden Espinosa: Lempicka

Gayle Rankin: Cabaret

Kelli O’Hara: Days of Wine and Roses

Maleah Joi Moon: Hell's Kitchen

Maryann Plunkett: The Notebook

Who will win: Another category that could truly go any way, but Maryann Plunkett might just nab her second Tony for being the standout of The Notebook

Who should win: O’Hara is the kind of performer who can make you feel a dozen emotions with a single note. In every role she plays, granted, but especially this one.

Best Performance by an Actor in a Leading Role in a Play

Jeremy Strong: An Enemy of the People

Leslie Odom, Jr: Purlie Victorious

Liev Schreiber: Doubt

Michael Stuhlbarg: Patriots

William Jackson Harper: Uncle Vanya

Who will win: Schreiber was sharp yet impenetrable as a priest suspected of misconduct in Doubt, and the play hinges on such a performance.

Who should win: Schreiber.

Best Performance by an Actress in a Leading Role in a Play

Amy Ryan: Doubt

Betsy Aidem: Prayer for the French Republic

Jessica Lange: Mother Play

Rachel McAdams: Mary Jane

Sarah Paulson: Appropriate

Who will win: In this battle of the A-listers, Paulson is the slight favourite over McAdams. Both, coincidentally, play mothers with very grave, very different troubles.

Merrily We Roll Along Doubt

Who should win: Can I say “literally any of them?” “All five together?”

Best Performance by an Actor in a Featured Role in a Musical

Daniel Radcliffe: Merrily We Roll Along

Joshua Boone: The Outsiders

Roger Bart: Back to the Future

Steven Skybell: Cabaret

Brandon Victor Dixon: Hell’s Kitchen

Sky Lakota-Lynch: The Outsiders

Who will win: The rest of his fantastic performance aside, Radcliffe single handedly secured this with his offthe-rails (complimentary) version of “Franklin Shepard, Inc.”

Who should win: Radcliffe, but equal kudos goes to the quietly affecting Steven Skybell as Herr Schultz in Cabaret

Best Performance by an Actress in a Featured Role in a Musical

Amber Iman: Lempicka

Bebe Neuwirth: Cabaret

Kecia Lewis: Hell’s Kitchen

Leslie Rodriguez Kritzer: Spamalot

Lindsay Mendez: Merrily We Roll Along

Nikki M James: Suffs

Shoshana Bean: Hell's Kitchen

Who will win: Mendez is going to pull out her second Featured Actress win and complete the Merrily trifecta.

Who should win: I would be equally moved to see Lewis, whose earthshaking acting and vocals made my mother cry, finally be recognised after 40-plus years in the business.

Best Performance by an Actor in a Featured Role in a Play

Corey Stoll: Appropriate

Eli Gelb: Stereophonic

Jim Parsons: Mother Play

Tom Pecinka: Stereophonic

Will Brill: Stereophonic

Who will win: It’s going to be one of the Stereophonic guys. As for which one... instinct says Eli Gelb for standing out as a rock band’s savvy engineer, a role that could easily lay low.

Who should win: Pecinka made me absolutely loathe his character, and the ability to elicit such strong emotions is the mark of a great actor.

Best Performance by an Actress in a Featured Role in a Play

Celia Keenan-Bolger: Mother Play

Juliana Canfield: Stereophonic

Kara Young: Purlie Victorious

Quincy Tyler Bernstine: Doubt

Sarah Pidgeon: Stereophonic

Who will win: Kara Young is nominated in this category for the third year in a row. This had better be her year for her hilarious and heartfelt performance in Purlie (and her past works, too, for that matter).

Who should win: Young. It’s overdue! I hope London audiences get to experience her brilliance sometime.

Suffs

AD 9

Rising Stars

Jenna Innes isn’t afraid of a challenge. During the pandemic, she was a part of the touring production of Les Misérables as first cover Éponine, and she received a call one morning, asking if she would perform in the West End show – but as Fantine, a part she had never covered. Met with the option of stepping up or the show closing, Innes had no choice. “I sprung into action and half an hour later, I was on stage at the Sondheim Theatre,” she says.

Innes is clearly an actress with nerves of steel, something she needs for her latest part in hit musical Heathers, which is back in the West End. She is reprising the role of high school “nobody” Victoria Sawyer, a teenager who learns there’s a dark side to popularity.

Innes caught up with London Theatre Magazine about what Heathers means to her and how she’d like to see the industry change.

How did you get into theatre?

I joined Stagecoach classes on a Saturday and I was there for years. I fell in love with it. I was part of the choir in Joseph and the Amazing Technicolor Dreamcoat, which came on tour to Aberdeen. I was eight years old and I had this epiphany of: “Oh my God, these adults, this is their job, they don’t just do this for fun.”

What does starring in Heathers mean to you?

This show means so much to so many people. It’s got this beautiful following of quite young people and they fall in love with this show, the people, and the story. You’ve got to do it justice, so there’s that little bit of pressure.

Personally, it’s amazing to know I can do something like this – a massive, challenging role, both emotionally and vocally. That was daunting last year, when I hadn’t done it before.

How have you made the role of Veronica your own?

When I first took the job, I hadn’t seen Heathers and I had a decision to make: am I going to watch everything or am I going to try and stay away from it? I decided to stay away from everything because I wanted to give it my own little spin. I wanted to read the script and come to the lines and songs from a fresh place. I don’t want to do a bad impression of Carrie Hope Fletcher [who originated the role in the West End], I want to make a good impression of myself.

How would you like to see the theatre industry change?

I’d love to see ticket prices be way more affordable for people who aren’t used to going to the theatre. With Heathers, it’s often the gateway into a whole new world.

Heathers the Musical is playing at @sohoplace until 6 July Get tickets at londontheatre.co.uk

Jenna Innes

The Aberdeen actress heads to the West End in killer musical Heathers

By Olivia Rook

Photo: Jasmine Aurora

Meet the Crew

Ophélie Hillairet

Sound Operator No.3,

Matilda The Musical

Tell us about your role on Matilda.

I’ve been the assistant and deputy head of sound. As a sound assistant, you’re really in charge of what’s going on backstage – checking every mic and making sure each one is in the correct position at the top of the show. Then we do our rig check, which includes ensuring that all the speakers and computers are working properly. We’re basically making sure that the person mixing the show won’t have any unwelcome surprises when they put up their faders. As a sound No.3, I also mix the show, following the script and sound design so that everything is being heard when it should be and the orchestrations are as close as possible to what the orchestrator designed.

How did you get your start with the show?

I studied sound back in France, but more for TV post-production and radio. Then I became an au pair in Reading and would come to London

every month to watch shows. I started talking to whoever was mixing that day and some invited me to shadow them. So I shadowed several shows, got a few deputy jobs and started working in places like the Lyric Hammersmith, Theatre Royal Stratford East and the Menier Chocolate Factory on shorter runs. In 2017, I got on the War Horse tour as No.3 – that was my first big show and I learned a lot. From there I went on to Harry Potter and the Cursed Child with some of the people I already knew, and finally applied to Matilda. I’ve now been on the show for almost two and a half years.

What’s the most challenging aspect of your job?

I think it’s just being ready, because when things are about to break, you don’t know they’re about to break! You have to know the show really well so that when things go wrong, you know how to fix them quickly. If a mic breaks, you have to understand where that person is, what they’re doing next, and the best time to get to them. Some actors are double-mic’d,

so that’s much easier as when one mic breaks down, we can switch to the other one. But if it’s an ensemble member, we might just choose to mute them.

Why should people come and see Matilda?

One reason is to see this little 10-yearold leading lady having the audience in the palm of her hand and doing the job you see seasoned pros doing. She can sing, she can dance, she can tell that story – and I think children really relate to her because she’s a good role model. The show has heart – it’s funny, but I also see people wiping away tears at the end. So, it’s got it all!

Matilda The Musical is now playing at the Cambridge Theatre. Get tickets at londontheatre.co.uk

Close-up

5

Questions with... Adam Cooper

The acclaimed star returns to London this summer

in A Chorus Line

1. What is A Chorus Line about and who do you play?

A Chorus Line is a musical that opened on Broadway in 1975. It is the story of a group of dancers auditioning for a new Broadway show. Zach, the director/choreographer (who I play), is looking for only eight dancers and in order to learn about their personalities, he asks them to reveal stories about their past and their struggles to get where they are.

.

2. You must be thrilled to return to A Chorus Line, after performing in the show at Leicester Curve in 2021. What do you love most about Nikolai Foster’s production?

I’m genuinely excited to be returning to this show and this production. It’s such an iconic show and what Nikolai Foster, along with choreographer Ellen Kane and the rest of the

creative team, have done gives it a fresh energy and poignancy which is breathtaking to see. I also have the enviable position of being able to watch this incredible cast in every performance from the auditorium!

3. How does it feel to be reunited with Carly Mercedes Dyer?

Carly is one of the most exciting and engaging actresses in theatre today! She is perfect for the role of Cassie (Zach’s ex-girlfriend) and the scenes we play together are very intense. Not only is she brilliant but she’s humble, lovely and very funny, so I’m really looking forward to spending time with her again.

4. What has been your favourite role on stage to date, and why?

That’s not an easy question, there’s so many. I’ve been incredibly lucky to play so many diverse roles on stage

both as a dancer and actor. I suppose if pushed, my favourites from musicals would be Sky Masterson in Michael Grandage’s Guys & Dolls, because I felt it really established me as an actor, and Don Lockwood in Singin’ in the Rain because it was always a joy to perform the over-700 performances I did of it!

5. Do you have a dream role you’d love to play on stage?

I’ve always had the dream of playing Vaslav Nijinsky on stage, the first superstar of ballet who ended up in a mental asylum, as his is such an amazing story. I have also always wanted to do a Fred Astaire role on stage as he’s one of my heroes –perhaps in a stage adaptation of his brilliant movie The Band Wagon!

A Chorus Line is at Sadler’s Wells from 31 July. Get tickets at londontheatre.co.uk