London Theatre Magazine | May 2024

INSIDE:

Hadestown

The Olivier Awards

Kiss Me, Kate

Kathy & Stella Solve a Murder!

Ryan Calais Cameron

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

As the 2024 Olivier Awards – including Sunset Boulevard’s astonishing seven-award haul – fades into glorious memory, the West End rolls into another year of extraordinary and thrilling theatrical adventures. This spring sees more exciting plays and musicals hitting stages across the capital, making it harder than ever to choose the shows to see. That is where we come in! Some highlights include Fawlty Towers, John Cleese’s adaptation of his own iconic TV series; Kathy & Stella Solve a Murder!, the hilarious and acclaimed new musical; A View From the Bridge, a starry revival of the Arthur Miller classic; and of course superstar director Jamie Lloyd’s latest take on Shakespeare with Romeo and Juliet, starring Spider-Man himself, Tom Holland. Meanwhile, new revivals of Hello, Dolly! and Starlight Express are preparing for summer openings, both produced by the prolific Michael Harrison. It is going to be an action-packed summer, with plenty of unmissable theatre for you to experience – so grab your tickets now!

The 2024 Olivier Awards with Mastercard

Contents

What’s Playing Features 12

6 20

6. Top Theatre

How very... Heathers returns to the West End, plus catch Cara Delevingne and Ben Whishaw in shows this month.

11. Pick of the Month

Sister Act is back on the stage where it belongs – catch the spirit this summer at the Dominion Theatre.

12. Looking Ahead

From wonderful wizards to Mean Girls, you’ll be spoilt for choice in the West End this summer.

14. Cover Feature

Denise Gough on returning as Emma in People, Places & Things – the role that made her a legend.

20. Behind the Scenes

It takes a lot of tech to put on the “hell” of a show that is Hadestown. We meet the person in charge, Spencer New.

25. My London

In celebration of the Mamma Mia! 25th anniversary, Mazz Murray tells us her favourite London hot spots.

28. Feature

Stephanie J Block and Adrian Dunbar talk about their new production of Kiss Me, Kate.

30. Olivier Awards

Mickey-Jo Theatre gives his thoughts about the winners and losers at this year’s big awards night.

34. Interview

Bronté Barbé and Rebekah Hinds team up as amateur sleuths in Kathy & Stella Solve a Murder!

36. Extra

Meet the performing pair who took on one of show business’s biggest adversaries... backstage odour.

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

See it, feel it... The Who’s Tommy currently rules the Great White Way.

51. Rising Stars

Jack Wolfe talks about returning to the role of Gabe in Next to Normal, which earned him an Olivier nomination.

Top Theatre May

Cabaret

Kit Kat Club at the Playhouse Theatre

Set during the rise of Nazism at Berlin’s seedy cabaret spot The Kit Kat Club, Rebecca Frecknall’s production of Kander and Ebb’s musical has seen some incredible stars take to the stage, including Eddie Redmayne, Jessie Buckley, Jake Shears, and Rebecca Lucy Taylor. Now is the turn of model and actor Cara Delevingne and Olivier Award-winner Luke Treadaway to become cabaret performer Sally Bowles and the Emcee, the Club’s ghoulish Master of Ceremonies. It’s a perfectly marvellous bit of casting!

Cabaret is at Kit Kat Club at the Playhouse Theatre. Get tickets at londontheatre.co.uk

Bluets

Royal Court from 17 May

Paddington and James Bond actor Ben Whishaw is joined by House of the Dragon’s Emma D’Arcy and Kayla Meikle (debbie tucker green’s ear for eye), in this stage adaptation of Maggie Nelson’s Bluets, which is a story about depression and desire, pleasure and pain – and an obsession with the colour blue. Intrigued? You should be, as this is the second play in David Byrne’s thrilling inaugural season as artistic director at London’s Royal Court.

Fawlty Towers

Apollo Theatre from 4 May

Check into everyone’s favourite run-down seaside hotel in John Cleese’s new stage production of the much-loved sitcom Fawlty Towers, which is based on three episodes from the original show: “The Hotel Inspectors”, “Communication Problems”, and “The Germans”. Caroline Jay Ranger (of Only Fools and Horses fame) directs Adam Jackson-Smith in the lead role of Basil Fawlty, who is joined by Anna-Jane Casey as wife Sybil. Hemi Yeroham and Victoria Fox also star as Spanish waiter Manuel and chambermaid Polly.

Heathers

@sohoplace from 22 May

If you missed Heathers during its two previous national tours then now is your chance to see it for a limited six-week run at @sohoplace. Based on the 1989 film of the same name, which stars Winona Ryder, the musical follows high school “nobody” Veronica Sawyer, who dreams of becoming popular. But when she’s taken in by a group at school, can she stay true to herself? If you like a romcom with an edge, this is one for you.

Long Day’s Journey Into Night

Wyndham’s Theatre until 8 June

Eugene O’Neill’s magnum opus is brought to the West End in a pared-back production by the award-winning Jeremy Herrin, who directs an all-star cast including Succession’s Brian Cox, Patricia Clarkson (Sharp Objects), Laurie Kynaston (Fool Me Once), Daryl McCormack (Good Luck to You, Leo Grande), and Louisa Harland (Derry Girls). O’Neill’s play offers a window into one day in the life of the dysfunctional Tyrone family, as they battle with personal struggles, addiction, and past regrets.

Opening Night

Gielgud Theatre until 18 May

Ivo Van Hove’s daring new musical, which has music and lyrics by Rufus Wainwright, is based on the 1977 film by John Cassavetes and stars Sheridan Smith as an alcoholic actress disturbed by visions of a dead young woman in the lead up to the opening night of her new show. In its final weeks at the Gielgud Theatre, Opening Night has divided the critics, so don’t miss your chance to form your own opinion on the musical everyone is talking about.

The Hills of California

Harold Pinter Theatre until 15 June

Powerhouse writing and directing team Jez Butterworth and Sam Mendes are reunited once again in The Hills of California, which is set in 1970s Blackpool and follows the Webb sisters as they gather for the final hours of their mother’s life. Jumping between their childhood and the present day, the play shows how dreams can be made and broken in a matter of moments, and stars Laura Donnelly, Leanne Best, Ophelia Lovibond, and Helena Wilson as the four sisters.

Pick of the Month

May

Sister Act

Dominion Theatre until 31 August

Hallelujah! Alan Menken and Glenn Slater’s musical Sister Act is back in the West End, with an incredible all-star cast including Beverley Knight, who reprises the role of lounge singer-turned-undercover-nun Deloris Van Cartier, and Ruth Jones, who makes her musical theatre debut as Mother Superior. Lizzie Bea, Lesley Joseph, and Clive Rowe also return to the cast, with Brit Award-winner Lemar starring as Deloris’s gangster boyfriend Curtis Jackson. This glittering production boasts an incredible score, from “Take Me to Heaven” to “Raise Your Voice”, which will have you toe-tapping all the way home.

Sister Act is at Dominion Theatre until 31 August. Get tickets at londontheatre.co.uk

Looking Ahead Coming Soon

The Wizard of Oz

Gillian Lynne Theatre from 15 August

It’s time to follow the yellow brick road in The Wizard of Oz, which returns to the West End following runs at the London Palladium and a UK and Ireland tour. JLS star Aston Merrygold and RuPaul’s Drag Race UK winner The Vivienne will star as the Tin Man and the Wicked Witch of the West in this much-loved musical, which has music by Andrew Lloyd Webber and follows a young girl from Kansas, who ends up in the magical land of Oz.

Mean Girls

Savoy Theatre from 6 June

Tina Fey’s musical, which follows the teenage dramas of high-school cliques, opens at London’s Savoy Theatre next month. Charlie Burn will star as homeschooled, high-school newbie Cady Heron, while Georgina Castle, Elèna Gyasi, and Grace Mouat will make up infamous girl group, The Plastics. With such an incredible, award-winning creative team – which includes director Casey Nicholaw (The Book of Mormon), composer Jeff Richmond (Unbreakable Kimmy Schmidt), and lyricist Nell Benjamin (Legally Blonde) – the show is going to be so fetch!

Boys from the Blackstuff

Garrick Theatre from 13 June

Acclaimed playwright James Graham (Dear England, Best of Enemies, Tammy Faye) has changed his focus to 1980s Liverpool in this ground-breaking adaptation of Alan Bleasdale’s Boys From the Blackstuff, which follows five men struggling to provide for their families and make ends meet. Directed by Kate Wasserberg, this hard-hitting show about living on the breadline will run for eight weeks only at London’s Garrick Theatre, following runs at Liverpool’s Royal Court and the National Theatre.

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Cover Feature

Denise Gough

Double Olivier Award-winner Denise Gough reflects on her return to Duncan Macmillan’s play about addiction and recovery, which ignited her stage career in 2015

Taking It One Step

By Olivia Rook

Addiction and the long, challenging road to recovery are at the heart of Duncan Macmillan’s People, Places & Things, but Denise Gough, the show’s star, insists the play isn’t as bleak as it sounds.

“You don’t understand how much fun it is. I’m surrounded by love. I mean, we’re not all skipping through the poppy fields all the time,” she says, jokily adding “the opium poppy fields” under her breath, “but it’s very loving and joyful and everybody knows we’re doing something that has meaning for people.”

Almost nine years ago at the National Theatre, Gough originated the careerdefining role of Emma, an actress and addict who checks herself into rehab after breaking down on stage. A West

at a Time

End transfer quickly followed in 2016, before a stint off-Broadway at St Ann’s Warehouse in 2017. The critical praise was unanimous and she earned a Best Actress Olivier Award. Gough’s star was rising. So why, after so much success, does she want to return to the part?

“It’s not about the milestones,” she says, with typical directness. “It’s about doing the play. I want to be back on stage. I want to be connected to something, and I couldn’t find anything else that would do that.”

Gough speaks passionately about theatre and how it has changed her life, because unlike many in the industry, she wasn’t given a helping hand when she broke into acting. Leaving her home in County Clare at just 15, with a boyfriend, she found herself surviving

alone in London at 16. She was homeless for a while, and has talked about the way acting provided hope in her darkest moments.

There are obvious parallels with her character Emma, an actress whose addiction is triggered by the people, places, and things referenced in the title of Macmillan’s play. Emma similarly speaks of wanting to escape the harsh edges of the real world –and does so with a cocktail of alcohol and drugs. Gough acknowledges the role is personal because of “my own history”.

“I’m sober now – 17 years. I know what it’s like to want to switch everything off. I know what it’s like to need something to help me stay alive,” she says.

She eventually landed a full grant to Wandsworth’s Academy of Live and Recorded Arts and started to build her reputation on the London stage in her twenties, with parts in Marina Carr’s By the Bog of Cats at Wyndham’s Theatre in 2004 and O Go My Man at the Royal Court in 2006. She has grafted to get to where she is and reflects that “I became somebody who went from begging outside theatres, to then being in the theatre – you can’t argue with that.”

Portraying the role is certainly no easy task, and our critic wrote of her performance in 2016: “Here’s acting so raw, so tangible, so felt, so passionate, so wounded yet alive, so down but never out, that it thrills and astonishes.” Gough’s character slurs and staggers, hoovering up lines. At one point in director Jeremy Herrin’s trippy production, multiple Emmas storm the stage, as her reality becomes fractured a nd distorted.

Gough is thrilled to be reunited with Herrin for the show’s return at the Trafalgar Theatre: “We have a mostly new cast and I was scared about that, because I miss my original people. But

we had to think, how do we do this play again? Watching Jeremy integrate this cast... it’s just so beautiful the way he speaks to people.”

She explains that a benefit of returning to the play after so many years is that “we have such a deeper language around addiction”. The show is working again with The Priory’s medical director Dr Neil Brener who, Gough says, believes now is a great time to bring back the production, when there is more understanding about the link between trauma and addiction.

“I have a way deeper understanding of why Emma might do the things that she does [...] Because we didn’t have access then to [the information] we have access to now,” she says.

Between the play’s run off-Broadway and today, Gough has made a foray into the TV and film worlds, playing steely, ambitious Imperial Officer Dedra in the Star Wars prequel Andor, a show hailed for its eerie political resonance with the modern day. She also starred opposite Keira Knightley in the 2018 film Colette and Emily Watson in the mini-series Too Close

While she appreciates what the industry has done for her, in particular “beautiful Star Wars”, which allowed Gough to buy her home in Hackney, it is clear that theatre remains her true passion. On revisiting Emma, she says “I’m selfishly doing it to put myself back together after seven years of television.”

Gough delves into some of her frustrations. “With TV, a lot of the time you don’t even get a script until the day. Whereas when you work in the theatre, you’re working on scripts that sometimes have been interrogated over the course of 100 years. They’ve been through so many people that you can rely on the writing.”

Gough has been outspoken on a number of political and social subjects, from immigration to the representation of women in drama, and once dubbed herself the “Jeremy Corbyn of acting.” For today’s agenda, she wishes to talk about the need to improve conditions for those working behind the scenes, as well as those on screen.

“On TV, what I’ve really noticed is that crews are treated pretty badly most of the time,” she says. “The only people

Denise as Supervisor Dedra Meero in Lucasfilm’s Andor ©2022 Lucasfilm Ltd. & TM. All Rights Reserved

“I became somebody who went from begging outside theatres, to then being in the theatre – you can’t argue with that”

who can protect the crew on a set are number one and two on the call sheet. And so I take it very seriously when I am in that position, which can be hard because you have to be a disruptor. That can be exhausting when you’re working 15-hour days.”

She continues, “You want to effect change in whatever way you can,” and references the Instagram account @britcrewstories, which gives people working behind the scenes a chance to tell their stories. Gough recently downloaded Instagram, after taking herself off the apps a few years ago.

“I thought, ‘I can go on social media, and I can go and see plays that I love, which I can elevate with my platform.’ But it really sucks you in, doesn’t it? And I want to be responding to all these racist bastards, as well.”

She is referring, specifically, to the racist abuse suffered by Francesca Amewudah-Rivers, who has been cast opposite Tom Holland in Jamie Lloyd’s upcoming production of Romeo and Juliet, which opens at the Duke of York’s Theatre this month.

Gough’s knotty relationship with social media echoes her character Emma’s struggle with the artifice of the online world. Her speech about the difficulty

of getting through her day has been slightly updated in this returning production, and Gough quotes: “The constant news alerts, the opinions about everything. Pictures of dead children, which are pictures of dead children next to adverts for skincare. The ethical gymnastics it takes just to pretend everything is normal.”

Not everything is quite so grim, however. Gough is encouraged to see more complex parts given to women, such as Jodie Comer’s turn in Prima Facie, which shows how a barrister’s opinion of the legal system changes after she is sexually assaulted. This particularly resonated with Gough because of her own experiences. “I saw it as one of the one in three [women who have been sexually assaulted]. Comer showed up like there was nothing about her performance that was about a show. I really relate to that. She wasn’t doing it to win awards. She knew how important that part was.”

Gough feels a similar responsibility with Emma, and returns to discussing her character like an invisible string ties them together: “When I read People, Places & Things, I knew how important it was for me to play the truth.”

But how do you follow a role such as this, and what comes next? She won’t be reprising her turn as Harper in Tony Kushner’s Angels in America, for which she earned an Olivier Award and Tony nomination – “That kind of writing does not fuck around. It was hard, but it wasn’t enjoyable.” However, she would love to work with writer and director Robert Icke, or Comer. She maintains that “the right things find me”, but she lets slip that her longterm plan is to play Medea in Greece in Greek. One thing is for certain: People, Places & Things won’t be Gough’s final challenge.

People, Places & Things is at Trafalgar Theatre from 3 May. Book tickets at londontheatre.co.uk

Portrait Photography: Michael Wharley Make-up and hair styling by Becca Lymbourides

Denise Gough and Ayọ Owóyẹmi-Peters in rehearsal for People, Places & Things. Photo Marc Brenner

‘‘When I read People, Places & Things, I knew how important it was for me to play the truth’’

Denise in the 2016 production of People, Places & Things

Photo by Johan Persson

Behind the Scenes

Hadestown

Tales From the Darkside

By Bev Hislop

Anaïs Mitchell’s acclaimed musical Hadestown reimagines the story of Orpheus and Eurydice in the Underworld, bringing new meaning to the term “work nightmare”. The show’s Technical Advisor, Spencer New, talks about building the road to hell

“I’m really a facilitator for all of those people who have the creative knowledge. Essentially, I try to recreate what they’re looking for within budget while keeping everybody safe in the process.” Spencer New is Technical Advisor on Hadestown, the multiTony®-award-winning musical and Olivier nominee that’s currently wowing audiences at the Lyric Theatre. A modern take on the Greek myth of Orpheus and Eurydice, the action moves between what writer Anaïs Mitchell described to HuffPost as a “darkly political, Americana dreamscape” and a murky underworld – overseen by ruthless business tycoon Hades – where a sense of security is the pay-off for a regime of gruelling and monotonous toil.

New was responsible for the planning and build of the production and came on board about a year in advance of the West End opening. “My first meeting was in New York – I went over to see the show and meet the production company,” he recalls. “The designer, Rachel Hauck, had to resolve the differences in geometry between the Walter Kerr Theatre and the Lyric – there are key moments that all of the audience need to see, so she’s been really clever in making sure those points are captured within the sightlines of the main auditorium.”

In 2019, Hauck told Fast Company magazine that her team had waded through reams of images of Greek amphitheatres, New Orleans

Photography by Marc Brenner

“Social media has been a great communication tool for production managers. While we’re having our coffee, we can WhatsApp each other to ask where to find an inflatable horse or whatever!”

– Spencer New

architecture and life in the Dust Bowl to create an underworld that is “sort of the world of rotting American industry”. The show’s central message about climate change and corporate exploitation would have resonated at any point over the last few decades, but a song like “Build a Wall” seems even more prescient in the wake of Donald Trump’s presidency (despite it being written long before he entered The White House). “That feels like it was written six months or a year ago,” notes New. “There are characters in the story that definitely resonate with what’s going on now. Rachel is a brilliant designer – she’s so into the detail. She transmits her philosophy to the workshops really clearly, which as a production manager is incredibly helpful.”

In one of the show’s most spectacular moments, a set of large industrial lamps swing out over the audience. “There’s an interesting bit of telescopic metalwork up there,” says New. “The lamps fly in and all pivot at the same height, which is what the telescopic scenery’s doing. It’s beautiful when the lights swing up petal-like in a big expanding circle –and it’s all part of the choreography.” Does their proximity to the audience ever make him nervous? “Oddly not, because we know the kit we have in the roof. Everything we have overhead – particularly above the public – has to be what’s called D8+ certified, so it has to be beyond break-proof and have multiple levels of safety built in.”

New says his brief is “all things technical – nuts and bolts, health and safety, logistics, technical budgeting, staffing” and that no two working days are the same. “The average day for me starts the night before when the show reports come in,” he says. “We’ll get a report at the end of the show with details of how many people were in, if there

were any slips, trips or falls, whether a light went out – and if anything needs repairing.” The following day will then be spent resolving any issues, as well as planning long-term maintenance. So, what happens if there’s an issue that can’t be resolved quickly? “A lot of my job is knowing who to call,” laughs New. “I’ve done this for a long time so have a collection of peers and colleagues in other fields who are at the top of their game. So, if a piece of automation goes down, we rent the equipment from a company so would immediately call them. But if it’s something more esoteric, like a scenic item, there are a bunch of people I can call to send in the appropriate cavalry.”

That camaraderie is essential in ensuring the smooth running of the show. “Social media has been a great communication tool for production managers,” notes New. “While we’re having our coffee, we can WhatsApp each other to ask where to find an inflatable horse or whatever!”

So, what’s the greatest challenge of the job? “Time and money!”

New replies without missing a beat. “Keeping within budgets is a real challenge, and ensuring you deliver the show on time – because an audience is always waiting, so you don’t want to disappoint. But it’s a lovely, exciting challenge.” And the best part of his job? “It’s absolutely the diversity of people I come across. I meet incredible engineers, electricians – and I’m talking about people who aren’t the creative team. Amazing builders and fabricators and painters, and all those people you don’t see – the careers people aren’t even aware exist within theatre.”

No doubt the unpredictability of the job is an added bonus. “We’ve had a marriage proposal front of house,” reveals New. “They were superfans and proposed on the stairs. Fortunately, she said yes!”

Hadestown is at the Lyric Theatre until December 2024. Get tickets on londontheatre.co.uk

“The

lamps fly in and all pivot at the same height, which is what the telescopic scenery’s doing. It’s beautiful when the lights swing up petal-like in a big expanding circle – and it’s all part of the choreography”

Photography by Marc Brenner

– Spencer New

Mazz Murray My London

The Mamma Mia! star takes us on a trip to all her favourite spots in London

Mazz Murray is no stranger to longrunning musicals, having starred as the Killer Queen in We Will Rock You from 2004 to 2010. After a two-year stint as Tanya in Mamma Mia! in 2015, she returned to the Novello Theatre in 2019 to play the lead role of Donna, and has been there ever since.

Favourite Restaurant?

The Delaunay, which is around the corner from my stage door at the Novello Theatre and perfect for between shows to get a quick chopped salad and fries.

Favourite Cocktail in London?

Hakkasan is a great hidden gem. I first found it when I was playing Killer Queen in We Will Rock You at the Dominion Theatre. They do the greatest lychee martini ever, as well as sensational Asian food.

Favourite Pub?

The Freemasons Arms in Hampstead Heath. I’m not a pub girl, although I love a beer! This place was a haunt of mine as a teenager when we all turned 18.

Favourite Pre- or Post-Theatre Haunt?

The Theatre Cafe Diner on Shaftesbury Avenue. The owner and his team have been champions of the London musical theatre scene, bringing a bit of Broadway madness to our beautiful theatre district.

Favourite Coffee?

The Savoy Hotel’s breakfast filter coffee, from the Savoy Grill breakfast.

Favourite Neighbourhood?

Hampstead Heath, although it is chaos for phone reception, which I actually welcome!

Favourite Non-Theatre

Thing to Do?

Go-Karting at Daytona Racetrack, which is a sure-fire winner with my family.

Favourite Theatre in London?

The Novello Theatre. My mother also performed here when I was a little girl, so I know the theatre very well.

Favourite Park?

I did my last two years of training at Sylvia Young Theatre School in Marylebone, which is right by Regent’s Park. The summer was spent walking through this haven with a beautiful lake, boat rides, ice creams, and of course the unique open air theatre.

Favourite Hotel in London?

The Rosewood is a new favourite of mine. It captures everything you want from a London hotel.

Mamma Mia! continues its run at the Novello Theatre. Get tickets at londontheatre.co.uk

Mazz relaxing at The Delaunay. Photo by Danny Kaan

Mazz as Donna in Mamma Mia!

AD 5

Brush Up

Your Shakespeare

By Olivia Rook

By Olivia Rook

Broadway star Stephanie J Block and Line of Duty’s Adrian Dunbar discuss reviving Cole Porter’s Kiss Me, Kate on the Barbican stage

For distinguished actors such as Stephanie J Block and Adrian Dunbar, it is rare to come across a project that allows them to do something “new”. Block burst on to the Broadway scene in 2003 when she originated the role of Liza Minnelli in The Boy from Oz, while Dunbar has made a name for himself in gritty screen dramas over the past 40 years, most notably as Superintendent Ted Hastings in the TV crime series Line of Duty. But this summer, they will both need to brush up their Shakespeare, as they make debuts at London’s Barbican Centre in Cole Porter’s classic musical Kiss Me, Kate.

This will be Block’s West End debut, despite roles in some of Broadway’s biggest musicals, including Wicked, Anything Goes, Into the Woods, and The Cher Show, for which she won a Tony Award in 2019.

“I’m thrilled. I’m nervous. I am expectant. And I’m ready,” she says, looking perfectly put together following a photoshoot with Dunbar for the show. “Regardless if it’s on a Broadway stage, or regional stage, or the West End stage, the essence is always the same. If you stay true to the storytelling, regardless of where you’re at or who your audience is, it’s always very potent.”

Pivoting to musical theatre

Dunbar, meanwhile, will be making his musical theatre debut, and says the opportunity is “very, very exciting” and “scary”.

“But everybody’s telling me it’s gonna be fine,” he says. “So I have to kind of wake up to that and just get on with the work.”

Dunbar says the role “picked me”, after years of wanting to star in a musical. “I’ve hustled my agents over the years, but they never really took me seriously,” he says. He believes that bringing music and song to his

role in detective TV drama Ridley helped to show his range in a new light, paving the way for this opportunity. “Sometimes providence is the best producer,” adds Block.

In director Bartlett Sher’s new production of Porter’s metatheatrical backstage musical, which follows a theatre company putting on a performance of Shakespeare’s The Taming of the Shrew, Block will take on the role of leading lady Lilli Vanessi, who plays Katharine (the musical’s titular Kate), opposite Dunbar’s Fred Graham (Lilli’s ex-husband), who plays Petruchio. Still following?

After a string of punchy roles on Broadway, how does Block feel about becoming the musical’s eponymous lead? “She’s got a lot of sass. She’s got a lot of fire,” Block says. “There is a lot of conflict in her. That sort of anger and crackle doesn’t come from nothing. So there’s definitely a past to her and she’s unsettled for a reason. And I hope to get to the depths of that.”

Identifying with Kate

Block sees some of Kate’s fight and fire in her personality and career. “I have always been a fighter, nothing has ever come easy to me in any way, shape or form,” she says. After more than 20 years onstage, Block has faced her fair share of knock-backs: at the beginning of her career, she was replaced by Idina Menzel for the role of Elphaba when Wicked opened on Broadway in 2003.

“My entire career has been rung by rung by rung and then down three rungs and back up one,” she continues. “And there’s a bit of that in Kate – she has always had to fight for what is hers. There is a silent scream in her that has to be let out. And we are having to meet her at the point in time where she is letting it out.”

Block also recognises the romantic parallels between Lilli and Fred’s

showmance and her own life. She knows better than anyone what it’s like to fall in love with the person you’re starring in a show with, having met her husband Sebastian Arcelus on the first tour of Wicked in 2006 when he played her love interest Fiyero. “My husband and I are going on year 17 of marriage,” she says. “So we understand what the fairytale version of the three hours [on stage] is.”

Full circle moment

The real question on everybody’s lips is whether Dunbar will find a way to keep his iconic Northern Irish accent for the musical. “I will say it’s probably going to change for the show,” he says, disappointing Line of Duty fans everywhere. “It kinda needs to change.”

For Dunbar, heading to the Barbican this summer will be a homecoming. He left school at 15 and went to work in a factory, before auditioning for Guildhall School of Music & Drama, which is part of the Barbican complex.

“It’s quite an exciting match made in heaven,” he says. “We did the first production of Merrily We Roll Along at the Guildhall [in 1983] – a very good production that transferred to the West End. I wish I’d got a chance to do a bit more of that. And then I kind of forgot about it because I was from Northern Ireland – there was a lot of dark stuff that was happening, a lot of heavy TV, a lot of heavy theatre, so my theatre life went that way. And so I forgot about music and musicals. It’s really nice that this is happening at this point in my life.”

Kiss Me, Kate is at the Barbican from 4 June. Get tickets at londontheatre.co.uk

Olivier Awards

British Theatre Wins Big

at the Olivier Awards

By Mickey-Jo Theatre

The West End’s biggest night offered inspiration to theatremakers nationwide

In April, I was delighted to attend the 2024 Olivier Awards with Mastercard, the largest annual celebration of West End theatre. The audience of over 5,000 at the Royal Albert Hall included nominees, industry professionals and enthusiastic supporters such as myself; and the global audience, watching either via online feed or the subsequent televised highlights, far outnumbered us. What we all witnessed was an evening in which each win felt like a victory for the British theatre industry.

The biggest prize for new musicals went to the plucky Operation Mincemeat, the unbelievably true story of a World War II deception mission brought to the stage with high-paced hilarity. The show started life as a pitch at BEAM, a biennial showcase of developing musicals, and forged a steady path to victory via fringe and Off-West End theatres, first programmed by David Byrne at the New Diorama before finding fans at Southwark Playhouse (where I first saw and loved it) and Riverside Studios.

Days before the ceremony, I listened as the show’s writers joined Byrne, now Artistic Director of the Royal Court, at

the UK Musical Theatre conference to share the story of their success. That this story now ends with an Olivier is a remarkable encouragement to emerging theatremakers nationwide.

Significant wins for Stranger Things: The First Shadow (Best New Entertainment or Comedy Play), and Dear England (Best New Play), are also to be celebrated for their ability to bring new audiences to London’s theatres. While the stage adaptation of the Netflix series continues to see hardcore fans flying in from all over, Dear England playwright James Graham gave football and theatre fans some of their first common ground since sharing GCSE classes. The curation of new audiences is an increasingly vital element of futureproofing theatre, as well as a reminder that compellingly good stories can come from unexpected places.

Jamie Lloyd’s reimagined revival of Andrew Lloyd Webber’s Sunset Boulevard scooped many of the night’s awards. Lloyd himself won as the sole director of a musical, which I’m bold enough to say is a triumph for musical theatre at a ceremony that has a tendency to prioritise the straight play. His creative collaborators who won for

musical contribution (musical director Alan Williams), lighting design (Jack Knowles), and sound design (Adam Fisher) were key in proving the value of reinventing classic material and taking bold, creative strides.

I will add that the production was celebrated for its use of onstage cameras to offer this Hollywood-set story an appropriate cinematic focus, and the video design team of Nathan Amzi and Joe Ransom, relegated to a shared category with set design, did not win. As I see more productions that make extensive use of cameras and video design (notably The Picture of Dorian Gray and Opening Night), this omission makes a compelling case for a separate category.

One victorious creative offered even more inspiration, however, as Dame Arlene Phillips, with her praised associate James Cousins, accepted the Olivier for their choreography of the Bridge Theatre’s immersive new take on Guys & Dolls. When she revealed that, at 80, this was her first bona fide win, the ensuing standing ovation was one of stunned realisation. I’d suggest that this indicates it’s never too late to find success, but in reality it’s the Oliviers who are sheepishly late

Photos by Danny Kaan Olivier Awards 2024 with Mastercard

The cast of Operation Mincemeat

Sarah Snook

Will Close

Nicole Scherzinger

Hannah Waddingham

Amy Trigg

in recognising this Dame’s enormous contribution to theatre.

In acting talent, we saw worthy nominees crowned with Mark Gatiss as Best Actor amid huge competition from James Norton, Joseph Fiennes, David Tennant, and Andrew Scott. Gatiss’s portrayal of legendary actor Sir John Gielgud was a sensitive, human, and modest turn while, contrastingly, Sarah Snook won for a herculean feat in The Picture of Dorian Gray, portraying each of the novel’s characters in turn, often with herself as a pre-recorded screen partner.

The supporting categories for acting in a play saw Haydn Gwynne (who sadly passed away in October 2023) posthumously awarded, as well as Will Close, whose tickling impersonation of Harry Kane in Dear England gave way to a heartbreaking study of repressed vulnerability. With this, the Oliviers took the opportunity to promote Close to the premier league of acting while saluting Gwynne for a lifetime of truly memorable performances (for my part, her unforgettable take on Margaret Thatcher in The Audience).

For the graduate actors, idols could be found in Jak Malone, who didn’t have

an agent when first cast in Operation Mincemeat, as well as Tom Francis, landing a leading role in Sunset Boulevard only a few years after making his professional debut as Roger in the Hope Mill’s Rent Francis also delivered the most memorable musical performance, recreating his viral rendition of the title song, Sunset Boulevard, originally performed around the perimeter of the Savoy Theatre and recreated on the steps of the Royal Albert Hall. Broadway fans eagerly anticipate his stateside performance at the St James Theatre, and I will absolutely be buying plane tickets.

Flying the flag for the veteran performers, Nicole Scherzinger’s win defied those who had initially decried her casting, and her thanks to director Jamie Lloyd – who, she shared, “saw me for me” – made a powerful argument for casting talent beyond type. Then there’s Amy Trigg, whose magnetic role in The Little Big Things offered sublime representation to wheelchair users, a disabled actor portraying a disabled character with effortless charm, authenticity and comic flair. In the weeks approaching the Oliviers, I saw more comments hoping for a win for Trigg than for any

other nominee; the consensus was that she was simply sensational.

Even the evening’s host, the glorious Hannah Waddingham, gave us cause to celebrate. A genuine West End veteran, when she shared personal congratulations to an arriving winner or recalled a memory of the artists for whom an award was named, she proved herself a vital member of the theatrical community. Of course, fans such as myself who had the chance to enjoy her performances in Spamalot, A Little Night Music, Into the Woods, Kiss Me, Kate, and The Wizard of Oz in London before she found global fame as an award-winning television star, needed no proof.

Even with such glittering success stories, there remains room for us to push forward – by specifically acknowledging the work of musical theatre composers and book writers, by including wigs, hair, and make-up among those eligible for accolades, and by diversifying the industry onstage and off, so that next year’s awards reflect a true range of remarkable theatrical talent. In the meantime, I can’t wait to enjoy what is already shaping up to be another thrilling year of London Theatre.

Photos by Danny Kaan Olivier Awards 2024 with Mastercard

Tom Francis Mark Gatiss

Olivier Award Winners

Best New Play

Dear England

Best New Musical Operation Mincemeat

Best Revival

Vanya

Best Musical Revival

Sunset Boulevard

Sir Peter Hall Award for Best Director

Jamie Lloyd for Sunset Boulevard

Best Actress

Sarah Snook for The Picture of Dorian Gray

Best Actor

Mark Gatiss for The Motive and the Cue

Best Actor in a Musical Tom Francis for Sunset Boulevard

Best Actress in a Musical

Nicole Scherzinger for Sunset Boulevard

Best Actor in a Supporting Role

Will Close for Dear England

Best Actress in a Supporting Role

Haydn Gwynne for When Winston Went to War with the Wireless

Best Actress in a Supporting Role in a Musical

Amy Trigg for The Little Big Things

Best Actor in a Supporting Role in a Musical

Jak Malone for Operation Mincemeat

Best Costume Design

Marg Horwell for The Picture of Dorian Gray

Best Sound Design

Adam Fisher for Sunset Boulevard

Best New Entertainment or Comedy Play

Stranger Things: The First Shadow

Best Family Show Dinosaur World Live

Best Theatre Choreographer

Arlene Phillips with James Cousins for Guys & Dolls

Best Set Design

Miriam Buether for set design and 59 Productions for video design for Stranger Things: The First Shadow

Best Lighting Design

Jack Knowles for Sunset Boulevard

Outstanding Achievement in Affiliate Theatre Sleepova

Outstanding Achievement in Opera

Antonio Pappano for his role as musical director of the Royal Opera House

Best New Opera Production Innocence by Royal Opera

Best New Dance Production La Ruta

Outstanding Achievement in Dance

Isabela Coracy for NINA: By Whatever Means

Outstanding Musical Contribution

Alan Williams for musical supervision and musical direction for Sunset Boulevard

Interview Caught

in the Act

By Marianka Swain

Bronté Barbé and Rebekah Hinds star in this new musical about best friends and amateur sleuths Kathy and Stella, who become real-life detectives when they stumble across a murder

New British musical comedy Kathy & Stella Solve a Murder! is killing it. Jon Brittain and Matthew Floyd Jones’s show has thrilled audiences in Edinburgh (where it premiered at the Festival Fringe in 2022), Bristol, and Manchester, and now this big-hearted whodunit is coming to the West End.

The musical follows best friends Kathy and Stella, co-hosts of a true-crime podcast. When their favourite author is murdered nearby while tracking a serial killer, they seize the chance to crack the case themselves.

Key to the success of this criminally entertaining show is the chemistry between the two lead actresses, Rebekah Hinds (recently seen in Oklahoma!) and Bronté Barbé (Newsies). The pair are excited to reprise their winning friendship at London’s Ambassadors Theatre this month.

Tell us what the show is about and who you play.

Bronté Barbé: It’s about two best mates doing what’s described as “Hull’s least-successful murder podcast” – so they don’t have a lot of listeners, but it’s their happy place. Finally, they meet their favourite-ever author and present their work to her, but she poohpoohs them. Then, that night, she gets murdered, and they decide to solve the crime themselves.

Rebekah Hinds: All of that happens in the first 20 minutes! It’s a brilliantly fast-paced show.

Barbé: It’s mainly about female friendship – it definitely passes the Bechdel Test.

Hinds: Kathy and Stella clearly don’t know life without each other, and they’re both outsiders, both vulnerable, but they’re very different. My character

Stella makes you think she’s really confident, but she’s scared of losing her best friend.

Barbé: Whereas Kathy is a bookworm, introverted and socially anxious, who comes alive when she talks about true crime. Stella has been her constant throughout it all. But Kathy has a lot of untapped potential, so that’s the tension between them. Plus Kathy is the brains behind the podcast, whereas Stella wants to be famous.

How did you find the right tonal balance?

Hinds: It is very heightened, since we’re in the world of a musical, but then there’s real pathos. We’re not sending up the horrible things that actually happen to people, it’s more about women’s relationship with true crime – and because it’s stylised, we have moments in the morgue or with a severed head that are really funny.

Barbé: It’s so inherently Northern as a piece, and what we do in the face of adversity is turn to comedy.

Were you fans of true-crime podcasts?

Hinds: We were both more documentary fans, though I did listen to Serial. There’s also now the TV show Only Murders in the Building, which is about a podcast, so we have fans of that show who love Kathy & Stella.

Barbé: The interesting thing about podcasts is that you come to know these people so well. Likewise our two characters feel so detailed and layered and real – I think that’s what audiences find so joyous.

Hinds: Yet at the same time, somehow, it’s like Scooby-Doo on acid!

How has the show developed over the years?

Hinds: We actually had to cut so much material for Edinburgh that when we then expanded the show’s length, it felt like it made sense to put everything back in again. It’s made it dramatically stronger. Now for this next iteration

we’ve got new cast members and a new song – it just keeps getting better.

How would you describe the music?

Hinds: It moves through a lot of genres. There’s rock, pop, and if you know your musical theatre, you’ll recognise little hints at other shows, but it’s still completely unique. Matthew [Floyd Jones] has pulled a blinder.

Barbé: It’s clever and catchy, and the songs are crammed full with plot and humour, so you’ll enjoy it even if you’re not a devoted musicals fan. There’s an actual murder mystery to follow as well.

How does it feel to put this female friendship centre stage?

Hinds: There were times when I felt there wasn’t a place for women like me in musical theatre. It’s been incredible to explore these two as leading roles, not just as supporting comedy characters. Bronté and I have been able to do that from the start. Then it’s so rewarding to share them with the world.

Barbé: It feels like an ode to real women. I’d just worked with [Rebekah] on another show before this one, and reading the script I could hear her voice. I can’t imagine doing this with anyone else. I love that this show celebrates platonic friendships, in all their messiness, and peaks and troughs – they can be the loves of your life.

Are you excited about taking

Kathy & Stella to the West End?

Hinds: We’re so proud. It’s new work, British work, Northern, women...

Barbé: It’s the dream, for everyone involved, to be in the West End. There’s been a lot of hard work – it’s tough getting new shows off the ground – but we’re super-excited to bring it to more audiences.

Kathy & Stella Solve a Murder! is at the Ambassador’s Theatre from 25 May. Get tickets at londontheatre.co.uk

No Sweat

By Olivia Rook

How were two musical theatre performers inspired to trade the bright lights of the West End stage for their own business, which is now taking on the world?

West End performers Ed Currie and Andy Coxon have an impressive number of musical theatre credits between them, from A Chorus Line and Hairspray, to West Side Story and Beautiful – The Carole King Musical, which is where they met almost 10 years ago.

“It doesn’t seem real that we’ve known each other for that long,” says Currie, who is dialling in to the video call from his home in Berlin. “I remember the first day we met, I went over and shook Andy’s hand. We hung out quite a lot in the rehearsal room and formed a little group of us.”

The pair had no idea their relationship would take them from performers to business partners, but in spring 2020 they launched deodorant brand AKT to combat an issue that plagues actors in the West End, on Broadway, and beyond, as well as people in their everyday lives.

The AKT co-founders spoke to London Theatre Magazine about their

experience of swapping performing for a start-up.

Where did the idea for AKT come from?

Coxon: We were performing eight shows a week in the West End, and we were fed-up with nothing working [for sweat]. We wear the same costumes that are sometimes handed down from previous cast members. You have T-shirts that are there to protect, but no matter what we were trying, it wasn’t holding for eight shows a week. We didn’t set out to make a company; we set out to make something that would work, because if they can put a man on the moon, there can be a deodorant that will work.

What makes your product stand out?

Coxon: [Initially] the brand was nothing to do with acting or theatre. We were quite shy and thought no one is going to take two actors who have made a deodorant seriously. Once we started

getting this feedback that people loved it, we thought: let’s just give a sample to everyone who’s in the West End, tell them the day the kickstarter campaign goes live, ask them if they’ll post about it, and see what happens. On the day we went live, we hit our target within an hour.

I thought, “Why don’t we utilise our community?” We’d been watching videos about how to launch a brand, and everyone talks about building communities and making something [that has a face] and not just a product. That’s where we have succeeded the most, because people are invested in our story and us.

Who are some of your biggest supporters?

Coxon: Matt Lucas is one of our investors, and I’ve worked with people in theatre jobs since who have said, “I invested £5,000 in your campaign.” Michelle Visage posted about it the other day, because she was in

AKT Founders, Ed Currie and Andy Coxon

The Addams Family concert and someone had given it to her. We always give it to make-up artists and stylists, and the whole cast of Saltburn were wearing it because of our make-up artist connections.

Do you miss performing?

Currie: I had a weird love-hate relationship with the industry. I love performing, but there was something in me that couldn’t get used to being at the bottom of the ladder – which is probably why I have started my own company! Even after performing, I was still very creative; I was teaching a lot, I did a few drama school productions as a choreographer/director. I still love the arts.

Coxon: I miss performing, but I don’t miss the lifestyle that came with being a jobbing actor. I miss the community, the laughing backstage, and the joy of being on stage, but that’s about 15 per cent of the job. One day I’d love to return, I don’t see myself as “done”.

Can you share your theatre highlights?

Coxon: Just before Christmas, I was asked to play Prince Charles in Diana the Musical [at the Eventim Apollo]. It was a sensational evening. It was wild, everyone was booing. It was like a panto on crack, but a rock concert. I did that purely to see if I could still do it. It was a vanity project. But West Side Story is still my ultimate, because I had the role [of Tony] and it was the first version with new choreography at the Royal Exchange. That shows what age I am – from Tony to Charles!

Currie: I was a massive fan of Matthew Bourne and wanted to be a swan. I remember writing to him and saying, “How would you feel if I went to ArtsEd, would this potentially get me in your company?” He ended up sponsoring me to go to ArtsEd. My first job was Top Hat. They came to audition us at the college and it was the hardest audition I think I’ve ever done. The tap was obscenely difficult, but I got the

job! I did the open audition for A Chorus Line at The London Palladium and got Bobby. Then I did Annie Get Your Gun, Hairspray, and Beautiful, which was my last official job.

What’s next for the brand?

Coxon: The two coasts [in the US] are the targets. We’re going to LA in June to launch in the make-up artist, dance, and Hollywood studio scenes. We’re going to continue in a triangle of London, New York, and LA, keeping that creative industry a live and showing what two little actors can do.

Find

Photograph by Michael Wharley

REVIEWS

MJ the Musical

A testament to Jackson’s enduring legacy with an electrifying performance at its core

By Marianka Swain

Myles Frost’s portrayal of Michael Jackson in MJ is nothing short of astonishing. Having garnered a Tony Award for his performance on Broadway, Frost brings Jackson back to life with unparalleled energy and authenticity.

The show opens in 1992 as Jackson prepares for his Dangerous tour, showcasing the immense scale and financial risks involved. Lynn Nottage’s script delves into Jackson’s artistic vision and the influences that shaped his iconic style. Despite skirting around some controversial aspects of Jackson’s life, the production focuses on celebrating his contributions to music and dance.

Christopher Wheeldon’s direction propels the audience into the heart of Jackson’s world, blending past and present, offering glimpses into Jackson’s childhood with the Jackson 5 while highlighting his solo career milestones.

Frost’s performance as Jackson is nothing short of mesmerising. He captures Jackson’s voice, moves, and essence with remarkable precision, captivating the audience from start to finish.

Despite its focus on Jackson’s triumphs, the production doesn’t shy away from acknowledging the challenges he faced, including his tumultuous relationship with authority figures like his father and struggles with perfectionism.

MJ ’s staging of iconic moments like “Thriller” and “Billie Jean” is both inventive and visually stunning, paying homage to Jackson’s groundbreaking contributions to pop culture. Paul Tazewell’s costumes and Derek McLane’s set design transport the audience to the era of Jackson’s greatest performances.

Overall, MJ is a testament to Jackson’s enduring legacy as the King of Pop, celebrating his unparalleled talent and lasting impact on music and entertainment. With Frost’s electrifying performance at its core, MJ offers an unforgettable experience for fans and newcomers alike.

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

Sister Act

Hallelujah! Beverley Knight is back in the habit

By Olivia Rook

Beverley Knight reprises the role of Deloris Van Cartier in this beloved musical about a lounge singer who is forced into a witness protection programme at a Philadelphia convent because she sees her gangster boyfriend commit murder. Making her West End musical debut, Ruth Jones adds Welsh humour as Mother Superior, injecting comedic flair. Lizzie Bea takes Sister Mary Robert on a journey from shy wallflower to leading singer, while singer-songwriter Lemar brings his signature silky smooth vocals to the role of Deloris’s gangster boyfriend Curtis Jackson. The finale is a feast for the eyes, with set and costume designer Morgan Large’s rainbow-coloured, glittering habits stealing the show. It’s great to have the nuns back in the capital.

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

REVIEWS

Player Kings

Robert Icke and Ian McKellen reign with this epic historical drama

By Marianka Swain

Robert Icke’s extraordinary fusion of Shakespeare’s Henry IV plays emerges as a thrilling West End spectacle. Ian McKellen, at 84, embodies Falstaff with formidable skill. Icke’s adaptation condenses the plays into a brisk three hours and 40 minutes, sustaining momentum akin to binge-watching a captivating drama. The narrative clarity, aided by surtitles, engages both McKellen fans and newcomers – notably Toheeb Jimoh’s compelling Prince Hal. The modern staging offers a poignant character study, particularly evident in the tense tavern scene between Hal and Falstaff. McKellen’s portrayal captures Falstaff’s complexity, his defiance against mortality, and his self-serving nature. Icke’s production, augmented by Henry Jenkinson’s haunting melodies, explores themes of leadership and nationhood.

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

Playing Now!

A View From the Bridge

From 22 May

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. Review to follow.

Theatre Royal Haymarket (map ref. 46)

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

Until 19 May

★★★★ – 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)

Fawlty Towers – The Play

From 4 May

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. Review to follow. Apollo Theatre (map ref. 4)

For

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

Until 1 June

★★★★★ – ShowScore 95

The talented cast of Ryan Calais Cameron’s play 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. Garrick Theatre (map ref. 17)

The Book of Mormon

Get tickets here

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 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 Clarke

Until 11 May

★★★ – 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 skilful 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)

Kathy & Stella Solve a Murder!

From 25 May

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. Review to follow. Ambassadors Theatre (map ref. 3)

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)

Machinal

Until 1 June

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. 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)

MY FATHER’S FABLE

By Faith Omole

Directed by Rebekah Murrell

Photo: Helen Murray

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)

MJ the Musical

★★★★ – ShowScore 94

A testament to Michael Jackson’s enduring legacy with an electrifying performance at its core. See review on page 39.

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)

Opening Night

Until 18 May

★★★ – ShowScore 50

Sheridan Smith returns to the West End in Ivo van Hove’s adaptation of John Cassavetes 1977 film, as Myrtle Gordon, a troubled actress. Smith’s emotional depth shines through, adding weight to Rufus Wainwright’s music. Despite occasional confusion in the plot’s layers, Smith’s commitment is undeniable, especially alongside Nicola Hughes and Hadley Fraser. While reminiscent of Sunset Boulevard, Smith’s raw portrayal offers a compelling exploration of personal

demons, making it a courageous and cathartic performance.

Gielgud Theatre (map ref. 18)

People, Places and Things

From 3 May

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. 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)

The Picture of Dorian Gray

Until 11 May

★★★★★ – 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

The Play That Goes Wrong

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

Until 22 June

★★★★ – ShowScore 86

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. See review on page 40.

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)

Priscilla the Party!

Priscilla the Party! exudes a jovial atmosphere. Trevor Ashley’s Gaye Cliché guides a vibrant cast through a nostalgic journey. Despite its entertaining karaoke-style songs and cocktails, the show feels somewhat directionless. It is enjoyable and the audience may find it a lively escape, particularly those seeking a night of dancing and fun after a long week. HERE at Outernet

Red Pitch

Until 4 May

★★★★★ – ShowScore 89

Tyrell Williams’s debut play retains its resonance amid south London’s gentrification. Set against a changing estate backdrop, it explores the dreams of local teens Bilal, Omz, and Joey. Daniel Bailey’s production suits @sohoplace’s in-the-round stage. The trio, led by Kedar Williams-Stirling, radiates youthful energy and camaraderie. Williams’s blend of humour and poignancy, along with football references, makes it a compelling watch. @sohoplace (map ref. 42)

Sister Act

Until 31 August

★★★★ – ShowScore 89

Beverley Knight reprises the role of Deloris Van Cartier, in this beloved musical about a lounge singer forced into witness protection at a Philadelphia convent. See review on page 40.

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 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)

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 fullpower 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 92

Until 14 July

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. Review to follow.

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

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.

West End Theatre Map

1 Adelphi Theatre

1 Adelphi Theatre

Strand WC2R 0NS

Strand WC2R 0NS

Tube: Charing Cross

Tube: Charing Cross

2 Aldwych Theatre

2 Aldwych Theatre

49 Aldwych WC2B 4DF

49 Aldwych WC2B 4DF

Tube: Temple

Tube: Temple

3 Ambassadors Theatre

3 Ambassadors Theatre

West St WC2H 9ND

West St WC2H 9ND

Tube: Leicester Square

Tube: Leicester Square

4 Apollo Theatre

4 Apollo Theatre

Shaftesbury Ave W1D 7EZ

Shaftesbury Ave W1D 7EZ

Tube: Piccadilly Circus

Tube: Piccadilly Circus

5 Apollo Victoria Theatre

5 Apollo Victoria Theatre

17 Wilton Rd, Pimlico

17 Wilton Rd, Pimlico

SW1V 1LG

SW1V 1LG

Tube: Victoria

Tube: Victoria

6 Arts Theatre

6 Arts Theatre

6-7 Great Newport St

6-7 Great Newport St

WC2H 7JB

WC2H 7JB

Tube: Leicester Square

Tube: Leicester Square

PICCADILLY

7 Barbican Centre

7 Barbican Centre

Silk St EC2Y 8DS

Silk St EC2Y 8DS

Tube: Barbican (Off map)

Tube: Barbican (Off map)

8 Bridge Theatre

8 Bridge Theatre

3 Potters Fields Pk

3 Potters Fields Pk

SE1 2SG

SE1 2SG

Tube: London Bridge (Off map)

Tube: London Bridge (Off map)

9 Cambridge Theatre

9 Cambridge Theatre

Earlham St

Earlham St

WC2H 9HU

WC2H 9HU

Tube: Covent Garden

Tube: Covent Garden

10 County Hall

10 County Hall

Belvedere Rd

Belvedere Rd

SE1 7BP

SE1 7BP

Tube: Waterloo

Tube: Waterloo

11 Criterion Theatre

11 Criterion Theatre

218-223 Piccadilly

218-223 Piccadilly

St. James’s W1J 9HR

St. James’s W1J 9HR

Tube: Piccadilly Circus

Tube: Piccadilly Circus

12 Dominion Theatre 268-269 Tottenham

12 Dominion Theatre 268-269 Tottenham

Ct Rd W1T 7AQ

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

Tube: Covent Garden

14 Duchess Theatre

14 Duchess Theatre

3-5 Catherine St

3-5 Catherine St

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

St Martin’s Ln WC2N 4BG

Tube: Leicester Square

Tube: Leicester Square

16 Fortune Theatre

16 Fortune Theatre

Russell St WC2B 5HH

Russell St WC2B 5HH

Tube: 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

18 Gielgud Theatre Shaftesbury Ave W1D 6AR

18 Gielgud Theatre Shaftesbury Ave W1D 6AR

24 The London Palladium

24 The London Palladium

8 Argyll St W1F 7TF

Tube: Piccadilly Circus

Tube: Piccadilly Circus

19 Gillian Lynne Theatre 166 Drury Lane WC2B 5PW Tube: Covent Garden

19 Gillian Lynne Theatre

166 Drury Lane WC2B 5PW

Tube: Covent Garden

20 Harold Pinter Theatre Panton St SW1Y 4DN

20 Harold Pinter Theatre Panton St SW1Y 4DN

Tube: Piccadilly Circus

Tube: Piccadilly Circus

21 His Majesty’s Theatre Haymarket, St. James’s SW1Y 4QL

21 His Majesty’s Theatre

Haymarket, St. James’s SW1Y 4QL

Tube: Piccadilly Circus

Tube: Piccadilly Circus

Oxford Circus

Tube: Oxford Circus

Lyceum Theatre 21 Wellington St

7RQ

Garden

Tube: Covent Garden

26 Lyric Theatre 29 Shaftesbury Ave W1D 7ES

Lyric Theatre

Shaftesbury Ave W1D 7ES

Tube: Piccadilly Circus

Tube: Piccadilly Circus

27 Lyric Hammersmith

27 Lyric Hammersmith Theatre

22 Kit Kat Club Northumberland Ave WC2N 5DE

22 Kit Kat Club

Northumberland Ave WC2N 5DE

Tube: Charing Cross

Tube: Charing Cross

23 London Coliseum

23 London Coliseum

Martin’s Ln WC2N 4ES

St Martin’s Ln WC2N 4ES

Theatre Lyric Square King St, W6 0QL

Lyric Square King St, W6 0QL

Tube: Hammersmith (Off map)

Tube: Hammersmith (Off map)

28 National Theatre

28 National Theatre

Bank SE1 9PX

Bank

Leicester Square

Tube: Leicester Square

Tube: Waterloo

9PX Tube: Waterloo

Circus

Circus

HADESTOWN

29 Noël Coward Theatre

29 Noël Coward Theatre

85-88 St Martin’s Ln

85-88 St Martin’s Ln

WC2N 4AP

Tube: Leicester Square

30 Novello Theatre

Aldwych WC2B 4LD

WC2N 4AP Tube: Leicester Square 30 Novello Theatre Aldwych WC2B 4LD

Tube: Charing Cross

Charing Cross

31 The Old Vic

The Old Vic

103 The Cut SE1 8NB

The Cut SE1 8NB

Tube: Waterloo

Waterloo

32 The Other Palace

The Other Palace

12 Palace St SW1E 5JA

Palace St SW1E 5JA

Tube: Victoria

Victoria

33 Palace Theatre

113 Shaftesbury Ave

Palace Theatre 113 Shaftesbury Ave

W1D 5AY

W1D 5AY

Tube: Leicester Square

Tube: Leicester Square

34 Peacock Theatre

34 Peacock Theatre

Portugal St WC2A 2HT

Portugal St WC2A 2HT

Tube: Holborn

Tube: Holborn

35 Phoenix Theatre

35 Phoenix Theatre

Charing Cross Rd

Charing Cross Rd

WC2H 0JP

WC2H 0JP

Tube: Tottenham Ct Rd

Tube: Tottenham Ct Rd

36 Piccadilly Theatre

36 Piccadilly Theatre

16 Denman St W1D 7DY

16 Denman St W1D 7DY

Tube: Piccadilly Circus

Tube: Piccadilly Circus

37 Prince Edward Theatre

37 Prince Edward Theatre

Old Compton St W1D 4HS

Old Compton St W1D 4HS

Tube: Leicester Square

Tube: Leicester Square

38 Prince of Wales Theatre

41 Shaftesbury Theatre 210 Shaftesbury Ave

41 Shaftesbury Theatre

210 Shaftesbury Ave

WC2H 8DP

WC2H 8DP

Tube: Tottenham Ct Rd

Tube: Tottenham Ct Rd

42 @sohoplace

42 @sohoplace

4 Soho Place, Charing Cross Rd W1D 3BG

4 Soho Place, Charing Cross Rd W1D 3BG

Tube: Tottenham Ct Rd

Tube: Tottenham Ct Rd

43 Sondheim Theatre

43 Sondheim Theatre

51 Shaftesbury Ave W1D 6BA

38 Prince of Wales Theatre

Coventry St W1D 6AS

St W1D 6AS

Tube: Piccadilly Circus

Tube: Piccadilly Circus

39 Sadler’s Wells Theatre

39 Sadler’s Wells Theatre

Rosebery Ave EC1R 4TN

Rosebery Ave EC1R 4TN

Tube: Angel (Off map)

Tube: Angel (Off map)

40 Savoy Theatre

40 Savoy Theatre

Savoy Ct Strand, WC2R 0ET

Savoy Ct Strand,

WC2R 0ET

Tube: Charing Cross

Tube: Charing Cross

51 Shaftesbury Ave

W1D 6BA

Tube: Piccadilly Circus

Tube: Piccadilly Circus

44 St Martin’s Theatre

44 St Martin’s Theatre

West St WC2H 9NZ

West St WC2H 9NZ

Tube: Leicester Square

Tube: Leicester Square

45 Theatre Royal Drury Lane

45 Theatre Royal

Drury Lane

Catherine St WC2B 5JF

Catherine St WC2B 5JF

Tube: Covent Garden

Tube: Covent Garden

46 Theatre Royal Haymarket

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

18 Suffolk St SW1Y 4HT

Tube: Piccadilly Circus

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

47 Trafalgar Theatre

14 Whitehall SW1A 2DY

Tube: Charing Cross

48 Vaudeville Theatre

48 Vaudeville Theatre

404 Strand WC2R 0NH

404 Strand WC2R 0NH

Tube: Charing Cross

Tube: Charing Cross

49 Victoria Palace Theatre 79 Victoria St SW1E 5NE

49 Victoria Palace Theatre

79 Victoria St SW1E 5NE

Tube: Victoria

Tube: Victoria

50 Wyndham’s Theatre

50 Wyndham’s Theatre

Charing Cross Rd

Charing Cross Rd

WC2H 0DA

WC2H 0DA

Tube: Leicester Square

Tube: Leicester Square

WATERLOO SOUTHBANK

HAMILTON WICKED

HAMILTON WICKED

STANDING AT THE SKY’S EDGE

TINA – THE TINA TURNER MUSICAL

On Broadway Returns to Broadway for a New Generation

The Who’s Tommy

By Gillian Russo

The 1969 album that propelled iconic British rock band The Who to global success, Tommy musicalises the story of a traumatised young boy-turnedpinball wizard-turned-reluctant spiritual leader. But despite being one of the first rock operas, 20 years later, it still hadn’t received a full staging.

Enter Des McAnuff, who would direct and co-write the Broadway musical adaptation of Tommy with The Who’s Pete Townshend in 1993, which won numerous awards and led to a 1996 West End production starring Kim Wilde and Paul Keating. Now, McAnuff returns to direct The Who’s Tommy ’s first Broadway revival. Following a critically acclaimed run in Chicago, Illinois, the production began performances in March at the Nederlander Theatre.

“I had two huge fears: one is that I wouldn’t change it enough, and the other was that I’d change it too much,” McAnuff said of the show. But he and Townshend left the song list and script virtually unchanged

from the album and original run, as Tommy ’s once-groundbreaking subject matter – trauma and mental health, topics previously untouched in mainstream music and theatre – remains relevant.

“It’s a classic. It’s not so much the piece that’s changed; it’s the world,” McAnuff said. “The world has finally caught up to Tommy Walker.”

Thus, the show’s main changes lie in state-of-the-art technology and a fresh cast, none of whom were born when the original album came out. But they all described the show as “timeless,” showing how Tommy continues to touch new generations.

Of course, young people have always been fundamental to Tommy and its success. Townshend composed the original album when he was 23. Ali Louis Bourzgui, who earned widespread acclaim for starring as Tommy in Chicago and New York, is 24. Like Townshend and his generation of ‘60s rockers, today’s

Generation Z is known for being vocal about the very issues Tommy tackles. Reaching them was McAnuff and Townshend’s “unspoken motivation” for this revival, the director said.

“There was this vitality to the audience that I’m not sure we even had the first time,” McAnuff said of the Chicago run. “And we certainly had a young audience [in 1993] – I remember standing on 44th Street, and you’d look across the street at The Phantom of the Opera, and it looked like the children of the people in line at Phantom were lining up for Tommy.”

McAnuff went on to say that “when young people come to hear this, it’s theirs”. That’s true time and time again as new audiences go on the show’s amazing journey.

The Who’s Tommy tickets and an extended version of this article are available on newyorktheatreguide.com

ACROSS THE POND

Rising Stars

Jack Wolfe went into “blank shock” when he discovered he had been Olivier nominated for his role as Gabe in Next to Normal, which had its UK premiere at the Donmar Warehouse last year and follows the impact of a mother’s struggle with mental health on her whole family.

“I didn’t really know what to do with myself,” he says excitedly. “I took myself to a Breakfast Club cafe and sat with one cup of tea for four and a half hours.”

The nomination is just the beginning for Wolfe, who will reprise the role in Tom Kitt and Brian Yorkey’s musical when it transfers to Wyndham’s Theatre next month. London Theatre Magazine spoke with Wolfe about discovering his passion for acting and the return of Next to Normal.

How did you get into theatre?

I was a particularly nervous child – that hasn’t changed. I did a local production of Oliver! in Wakefield and the director ran a youth theatre on a Saturday morning, which was £1.50 for three hours of training. I don’t think the point of the theatre was to create actors – it was to give young people a voice. Without that youth theatre, I wouldn’t have been able to speak to my friends in school.

What does the role of Gabe mean to you?

Next to Normal premiered on Broadway 15 years ago, and it hit me at the perfect point as a teenager to discover the Tony Awards performance on YouTube. I was so excited to see it come to London, and then to be in it comes with pressure. The part was originated by Aaron Tveit, who is one of the most incredible Broadway performers, so it’s tough to not hold yourself to a standard that is unreachable. But [director] Michael [Longhurst] and [co-director/movement director] Ann Yee’s style was so empowering. [We have found] a very different way to tell the story than it was told 15 years ago.

How does it feel to take Next to Normal to the West End with the Donmar cast?

It’s the most exciting part of returning! [When we started the show,] Ann Yee got us to spend the beginning of the rehearsal process getting to know each other in a physical language way, so that when we began to stage scenes, there were always invisible threads between us as characters. What it really does is bond actors together straight away. I’m so lucky to be working in a room with people I have idolised, in the form of Jamie Parker and Caissie Levy. The show is about family, and I love all the cast so much.

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

By Olivia Rook Jack

Wolfe

The star is set to reprise his Olivier-nominated role in the West End

THE WEST END PREMIERE OF JOHN CLEESE’S

JOHN CLEESE & CONNIE BOOTH WRITTEN BY

ADAPTED FOR THE STAGE BY JOHN CLEESE DIRECTED BY CAROLINE JAY RANGER BASED ON THE TV SERIES FAWLTY TOWERS

Close-up

5 Questions with... Giles Terera

Best known for originating the role of Aaron Burr in the West End production of Hamilton, Terera is going back to his roots in Passing Strange at the Young Vic

1. What is Passing Strange about and who do you play?

Passing Strange is about a young man who sets out on a journey from America to Europe to find himself personally and artistically. His journey leads him to experience incredible things and amazing people, and I play him.

If you like theatre that is thoughtprovoking, emotionally engaging, and entertaining, this is the perfect show. Stew and Heidi Rodewald have written a show which is really fun and is full of energy. The band is on stage and we connect directly to the audience, so it’s a completely visceral experience.

What Stew writes about in his lyrics and scenes is really honest and rich – emotionally, psychologically, spiritually, and intellectually. There’s a lot for an audience to get out of it. I’m excited to see how they react.

2 . What attracted you to the musical?

The story of Passing Strange itself resonates with me in terms of the journey the character goes on, which

is very similar to mine as I started out writing music and being in bands. As a singer-songwriter I know the world of this story well. I wasn’t looking to do another musical, but the story and the music touched me very deeply.

I’m always attracted to things I haven’t done before. I played in a band in Ma Rainey’s Black Bottom at the National Theatre, but that was more blues whereas rock ‘n’ roll is something I’ve never done on stage – even though that’s where I started out. There’s a lot of influences in the music throughout Passing Strange. It starts with a gospel influence and then my character finds rock ‘n’ roll. He arrives in Europe and experiments with music and in Berlin he really gets into punk. Bringing this to life with a live band is really cool.

3. Are there any roles you have played in the past that you would like to return to one day?

The title of Passing Strange comes from a line in Othello, who I just played last year at the National Theatre. It wasn’t a part that I coveted before, but having done it I would like to return to it someday.

4. Hamilton and Me: An Actor’s Journal was published in 2021, and your first play, The Meaning of Zong, was staged in 2022. Do you plan to write more plays?

I’m currently writing a play about the great British journalist Gary Younge, who I grew up with. I’m also working on a musical with the Barbican.

5. How would you like to see the theatre industry change?

We need more working-class artists.

Passing Strange is at the Young Vic from 14 May. Get tickets at londontheatre.co.uk

HHHHH

‘ELECTRIFYING... HEARTWRENCHING... PROFOUNDLY HUMAN’

COMING TO THE WEST END THIS SUMMER

Music by TOM KITT Book & Lyrics by BRIAN YORKEY