London Musicals - Over The Footlights

2013
98
LIFT
London run: Soho Theatre, Feb 1st – 24th
Music & Lyrics: Craig Adams
Book: Ian Warson
Director: Steven Paling
Musical Director:
Cast: Jonny Fines (Ballet Dancer),
Cynthia Erivo (Lap Dancer),
George Mcguire (Busker),
Nikki David-Jones (Secretary),
Julie Atheron (French Teacher),
Luke Kempner, Elle Kirk,
Robbie Towns.
Songs: One Minute in a Lift, Lost in Translations, Octet, All About Her, Diversion Ends, It’s Been a Year, That
Rainy Day, Top of the City, Coda
Story: Eight people get in a lift at Covent Garden tube station on an ordinary morning
and what follows is an exploration into their thoughts. The characters include a Geordie
ballet-dancer who is struggling to find a boyfriend, his friend a Lap dancer, a busker, a
secretary etc. The play follows each of them as they fall in and out of love, get in
scrapes and generally go about their business, focusing on gay relationships, cybersex
lies and pretending to be something they’re not.
Notes: Whilst many of the individual performances were praised, the critics felt the
concept was too thin to hold interest, and the evening was largely a selection of show
tunes held together with a loose narrative and a few laughs
ONE TOUCH OF VENUS (1st Revival)
London run: Ye Olde Rose & Crown, Walthamstow, February 5th-23rd
Music: Kurt Weill
Lyrics: Ogden Nash
Book: S.J.Perelman & Ogden Nash
Director: Lydia Milman Schmidt
Choreographer; Rhiannon Faith
Musical Director: Aaron Clingham
Cast: James Wolstenholme (Whitelaw Savory), Danielle Morris (Molly Grant), Kendra MacMillan (Venus), David
Jay Douglas (Rodney Hatch), Lauren Osborn (Gloria), Samuel Clifford, Benjamin Mahns Mardy, Maggie Robson,
Aled Rees, Adam Scott, Ben Sang, Chelsea Preston, Hannah Prentice, Karleigh Wright, Charlotte Debattista,
Simeon John-Wake.
Notes: This 1943 Broadway show was , surprisingly, not staged in London until 2001
when its production at the King’s Head was intended as a prelude for an off-Broadway
revival. Unfortunately the terrorist attack of 9/11 ended such hopes. This first revival
was by All Star Productions, a fringe musical company formed in 2008 and based in a
pub in Walthamstow . Under the direction of Aaron Clingham the company has gained
a reputation for exciting and innovate work. The critical reaction to this revival was
generally very praiseworthy - although, once again, the critics felt the work itself,
though fascinating, is somewhat flawed.
Original London production: King’s Head, July , 2001
2013
99
London run: London Palladium,
February 5th - (Jan 18th 2014?)
Music: Marvin Hamlisch
Lyrics: Edward Kleban
Book: James Kirkwood & Nicholas Dante
Director: Bob Avian
Choreographer: Baayork Lee
(re-creating original by Michael Bennett)
Musical Director: Alan Williams
Cast: John Partridge (Zach),
Alastair Postlethwaite (Larry),
Scarlett Strallen (Cassie),
Leigh Zimmerman (Sheila),
Rebecca Herzenshorn (Val),
Victoria Hamilton-Barritt (Diana),
Gary Wood (Paul), Simon Hardwick (Al), Frances Dee (Kristine) ,
Alexzandra Sarmiento (Connie), Adam Salter (Mike).
Notes: The critics’ reaction to this first revival was very varied. The Daily Express called it “one of the most
humourless, self-regarding, indulgent pieces of musical theatre ever written”, whilst the
Sunday Express declared the show to be “a defiant, definitive and unmissable example
of musicals and the people who make them at their very best”. The Sunday Times found
it a “bum-numbingly undramatic piece”, whilst the Times itself said it triumphantly
“lifts and quickens the dullest heart”. Generally it seems the older critics who first saw
it in 1975 found it very dated: the back stories of the performers came over as schmaltzy
and banal, and, in the post-Simon Cowell and X Factor days, a show that was “once such
a breath of fresh air now has the musty whiff of museum piece” (Time Out). On the
other hand, younger or “first-time” critics found it genuinely moving, radical,
experimental, vivid, vital and exhilarating. There was unanimous praise for the quality
of the performers and the dancing. It began with previews on February 5th and is
scheduled to run until January 2014.
Original London run: Drury Lane, July, 1976 (903 Performances)
GAY’S THE WORD (1st Revival)
London run: Jermyn Street Theatre, February 8th – March 2nd
Music: Ivor Novello
Lyrics: Alan Melville
Book: Ivor Novello adapted by Richard Stirling
Director - Choreographer: Stewart Nicholls
Musical Director: Ross Leadbetter
Producer: Evergreen Theatrical Productions.
Cast: Sophie-Louise Dann (Gay), Josh Little (Peter Lynton),
Helena Blackman (Linda Severn), Paul Slack (Count Silvano),
Kirsten Cooke (Miss Cheadle), Eileen Page (Birdie Wentworth),
Myra Sands (Lucy), Elizabeth Seal (Madame Nicolini), Gaye Brown (Monica Stevens).
Notes: The story goes that Cicely Courtneidge visited Ivor Novello’s dressing room at the Palace Theatre where he
was appearing in “King’s Rhapsody” to ask if he could help place an actress friend of hers in one of his shows. He
is said to have replied jokingly: “Oh, I thought you’d come to ask me to write the music for your next show” – and
as a result he ended up working on his very last show. He promised her a star vehicle, and true to his word, this
show was just that. Everything was tailored around her special comedic, vocal and dancing skills, and at the same
time managing some good-humoured send-ups of his own musical style. Ivor Novello died just three weeks after
the opening of “Gay’s the Word”. More than sixty years on, the show did not wear well, and the production
seemed unable to make up its mind as to whether it would play as a straight piece of nostalgia or as a send-up. “It’s
a show that can be safely recommended to all ages from 70 to 80” (The Guardian)
Original London run: Saville Theatre, February 1951
Photo by Manuel Harlan
A CHORUS LINE (1st Revival)
2013
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DEAR WORLD
London run: Charing Cross Theatre, February 13th - March 30th
Music & Lyrics: Jerry Herman
Book: Jerome Lawrence & Robert E. Lee
Adapted by David Thompson
Director-Choreographer: Gillian Lynne
Musical Director: Ian Townsend
Cast: Betty Buckley (Countess Aurelia), Katy Treharne (Nina),
Stuart Matthew Price (Julian), Paul Nicholas (Sewerman),
Annabel Leventon (Constance), Rebecca Lock (Gabrielle),
Peter Land, Jack Rebaldi & Robert Meadmore (Three Corporate Presidents),
Ayman Safiah, Joanna Loxton, Brett Brown, Craig Nicholls, Michael Chance,
Anthony Barclay.
Songs: A Sensible Woman, Just a Little Bit More, Each Tomorrow Morning, Pretty Garbage, I Don’t Want to
Know, I’ve Never Said I Love You, Dear World, One Person, The Spring of Next Year, Memory, Pearls,
Dickie, Voices, Thoughts, Tea Party Trio, And I Was Beautiful, Have a Little Pity on the Rich, Kiss Her Now.
Story: The Countess Aurelia lives in the basement of her “Café Francis” in post-Occupation Paris. She is
known as the Madwoman of Chaillot, driven mad, and living totally in the past because of a lost lover. Three
corporate business-executives are planning to destroy not just the café, but a sizeable chunk of Paris itself
because they have discovered oil in the sewers below. Aurelia marshals her helpers - Nina, the bistro’s lovely
waitress and Julian, Nina’s revolutionary, bomb-making boyfriend; the goggle-wearing Sewerman; and
Constance and Gabrielle, two equally mad local residents – and this barmy army of resistance fighters will lure
the corporate capitalists to their just desserts in the depths of the Paris sewers.
Notes: On February 6th 1969, with the opening of this musical adaptation of Jean Giraudoux’s play “The
Madwoman of Chaillot”, Jerry Herman became the first composer-lyricist in history to have three productions
running simultaneously on Broadway (the others were “Hello Dolly” and “Mame”.) However, it was not third
time lucky. During rehearsals the book underwent countless changes. The original director, Lucia Victor,
walked out following "artistic differences" with the star, Angela Lansbury; his replacement, Peter Glenville,
also resigned after bad reviews in Boston; the choreographer, Donald Saddler was sacked; and the show was
finally in the hands of Joe Layton.
After some dreadful notices, the show closed on May 31st 1969 following 132 performances and 45 previews.
However, Angela Lansbury was much praised and won a post-closing Tony Award for the Best Actress in a
Musical. A revised version of the show was staged at Goodspeed Musicals in 2000 with Sally Ann Howes, and
it underwent several more revisions before this UK premiere.
Photo by Tristram Kenton
The London critics
wanted to be kind to
sho wbiz
lege nds
Gillian Lynne, who
turned 87 during the
opening week, and
Betty Buckley, age
65, and generally
found praise for them
personally
whilst
damning the show for
its messy, cloying
storyline. The Daily
Telegraph said “there
were times when I
wanted to re-christen
this sorry affair ‘Dear
God’!”
Betty Buckley & Paul Nicholas
2013
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GLASGOW GIRLS
London run: Theatre Royal, Stratford East, February 13th – March 2nd
Music & Lyrics: Various
Book: David Greig
Director: Cora Bissett
Photo by Drew Farrell
Cast: Callum Cuthbertson,
Ameira Darwish, Roanna Davidson,
Myra McFadyen,
Stephanie McGregor, Amaka Okafor,
Patricia Panther, Dawn Sievewright .
Songs: To a Mouse, We are the
Glasgow Girls, Going Somewhere,
Sign the Petition, Our Dreams are
Kites, Jennifer’s Song, Tell the Kids
It’s Over, It’s No a Wean’s Choice,
Cuff You, We Are Going to
Parliament, At it, I Have a Dream,
Don’t Rock the Boat, Jack Jack
What’s the Crack?
Story: Based on a true story, “Glasgow Girls” follows a group of seven teenage girls whose lives are changed
forever when they arrive at school one day to be told that one of their friends - and her asylum seeking family have been forcibly taken from their home to be deported. After the initial shock of this news has worn off, these
feisty young women are galvanised to take a stand and to fight for the life of their friend, her family, and, ultimately
for the rights of all children of asylum-seekers in Scotland. They take on the Scottish Government and the Home
Office and succeed where adults and politicians have failed. Their campaign became one of the most vocal and
powerful asylum campaigns to capture the imagination of the media and to inspire a community to unite behind its
residents.
Notes: Featuring original songs by Cora Bissett, Sumati Bhardwaj (Soom T), Patricia Panther and the Kielty
Brothers, this new Scottish musical was based on real-life events which caught the imagination of the media and
inspired a community to unite behind its residents. Presented by the National Theatre of Scotland, Theatre Royal
Stratford East, Citizens Theatre, Pachamama Productions, and others, including the Merrigong Theatre Company in
Australia, this show ran from October 31st to November 17th at the Citizens Theatre Glasgow, before transferring
to the Theatre Royal, Stratford East
CHESS (1st Revival)
London run: Union Theatre, February 15th – March 16th
Music: Benny Andersson & Bjorn Ulvaeus
Book & Lyrics: Tim Rice
Director: Chris Howell & Steven Harris
Musical Director: Simon Lambert
Notes: Over the years “Chess” has undergone numerous incarnations, the
most recent being Tim Rice’s revision which was presented in a concert
performance at the Royal Albert Hall in 2008. The 50-seat railway-arch
fringe venue, the Union Theatre, was granted special permission to stage this
particular version. With a small cast and a band which consists of violin,
cello, bass guitar and drums with Simon Lambert conducting from a
keyboard, it was generally felt the intimacy of the venue added great intensity
to the show. The production and performances came in for critical praise,
though there were still several reservations about the complexity of the show
itself. Original London run: Prince Edward Theatre, May 1986
Photo by Mug Photography
Cast: Tim Oxbrow (Frederick Trumper), Sarah Galbraith (Florence Vassy),
Nadim Naaman (Anatoly ), Gillian Kirkpatrick (Alexandra),
Craig Rhys Barlow (The Arbiter) , Natasha J. Barnes (Svetlana) ,
Natalie McQueen (Angela St Angelo).
Sarah Galbraith & Nadim Naaman
2013
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THE TAILOR MADE MAN
London run: Arts Theatre,
Feb 21st – April 6th (Limited season)
Music: Duncan Walsh Atkins & Adam Meggido
Lyrics: Adam Meggido
Book:Claudio Macor and Amy Rosenthal
Director: Claudio Macor
Choreographer: Nathan M. Wright
Musical Director: Duncan Walsh Atkins
Cast: Dylan Turner (Billy Haines),
Faye Tozer (Marion Davies),
Bradley Clarkson (Jimmy Shields),
Clive Ward (Older Jimmy),
Mike McShane (Louis B. Mayer), Kay Murphy (Pola Negri),
Vivien Carter, Michael Cotton, Holly Easterbrook, Edward French.
Songs: Family, Who put the Who in Houdini?, Don’t Trust Love
Story: In 1930, William “Billy” Haines is one of MGM’s most idolised male stars, second only to John Gilbert.
On screen he’s tailor-made to get the girl in the last reel, usually the wise-cracking Marion Davies. But on the back
lot he cruises every bit-player and stagehand in sight, and lives as an openly-gay man with his lover and former
stand-in Jimmy Shields. This is tolerated by the studio until Billy is busted having sex with a sailor in downtown
LA. Louis B Mayer orders him to marry the sultry silent screen vamp, Pola Negri. Billy refuses and is sacked. His
defiance of the studio leads to his second and even more successful career as an interior designer to the stars.
Notes: This was based on the play by Claudio Macor, and told the true story of William Haines and Jimmy Shields.
It began with previews on February 13th, with press night on February 21st at the start of a limited eight week run.
The critical reaction was warm, and felt that with some further work this show had the makings of a hit. It was
praised for its wit, lyrics and music as well as dialogue which included a dramatic Pola Negri declaiming “How
much tragedy can a Pola bear?”
PAPER DOLLS
Photo by Jason Pangilinan
London run: Tricycle, March 6th – April 28th
Music & Lyrics: Various
Book: Philip Himberg
Director: Indhu Rubasingham
Choreographer: Alistair David
Musical Director: Nigel Lilley
Cast: Benjamin Wong (Cheska), Francis Jue (Sally),
Angelo Paragoso (Zhan), Ron Domingo (Chiqui),
Jon Norman Schneider (Jorgio), Harry Dickman (Chaim),
Tom Bertish (Yossi)
Story: Cheska has come to Tel Aviv to join his friends Sally,
Zhan and the brothers Chiqui and Jorgio. These five gay
Filipino men work as live-in carers for elderly Jewish men,
including the strictly orthodox Chaim . Six days a week they
provide dedicated support to their employers. But on the
seventh day they perform as a singing drag act known as the
Paper Dolls. They dream of hitting the big time, and are
convinced that allowing Israeli film-maker Yossi to make a
documentary of their lives is the route to fame and fortune.
Notes: In 2006, the Israeli director Tomer Heymann presented his documentary “Paper Dolls” at the Los Angeles
Film Festival, and theatre director Philip Himberg was so struck by the theatrical possibilities of this true story, that
he decided to turn it into a play with music. This London production was its first ever performance, and generally
the critics felt the show was overwhelmed by its multifarious themes - family, religion, sexuality, love, duty, what it
means to be an outsider - and there was simply too much material to provide a clear focus. However, the whole
production was regarded as a fascinating and enjoyable event.
2013
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A CLASS ACT
Photo by Maximilien Spielbichler
London run: Landor, March 20th – April 13th
Music & Lyrics: Ed Kleban
Book: Linda Kline & Lonny Price
Director: Robert McWhir
Choreographer: Robbie O’Reilly
Musical Director: James Cleeve
Cast: John Barr (Ed Kleban),
Erin Cornell (Mona), Sarah Borgess (Sophie),
Jane Quinn (Lucy), Barry Fantoni,
Charles Hagerty, Gary Jordan,
Laura McCulloch
Songs: Light on my Feet, One More Beautiful
Song, Paris through the Window, Mona, Under Separate Cover, Gauguin’s Shoes, Follow Your Star, Better, Next
Best Thing to Love, Broadway Boogie Woogie, Say Something Funny, Self Portrait
Notes: Ed Kleban, who died in 1987 at the age of 48, wrote the lyrics for “A Chorus Line” and the words and
music for a number of unproduced musicals. This musical took a number of Kleban’s trunk songs and - instead of
simply using them as a revue show – created a biographical story, “a musical about musicals”, featuring pivotal
scenes from his personal and professional life, with his story told in flashback. The show began previews on
October 3rd 2000 at the Manhattan Theatre Club and ran till December 10th, and then transferred to the Ambassador
Theater on Broadway, opening on March 11, 2001 and running for 30 previews and 105 regular performances. The
UK premiere is this fringe production
DARLING OF THE DAY (1st Revival)
London run: Union, March 20th – April 20th
Music: Jule Styne
Lyrics: E.Y. Yip Harburg
Book: Nunally Johnson
Director: Paul Foster
Choreographer: Matt Flint
Musical Director: Inga Davis-Rutter
Cast: James Dinsmore (Priam Farll), Katy Secombe (Alice Challice),
Rebecca Caine (Lady Vale), Michael Hobbs (Clive Oxford), Dan Looney (Sidney),
Matthew Rowland (Alf), John Sandberg (Bert), Andy Secombe (Leek/ Judge) ,
Will Keith, Jonathan Leinmuller, Bethan Wyn-Davies, Catherine Digges,
Olivia Maffett, Danielle Morris,
New York Flyer, 1968.
Notes: Originally given five successive semi-staged Sunday performances at the National Portrait Gallery as part
of the Lost Musicals Season in August 2010, this was the show’s first staged production in the UK, although in a
small-scale fringe production.
The original Broadway
production with Vincent Price
and Patricia Routledge
managed just 31 performances
in 1968. This chance to reconsider the work 45 years
later, suggested to many that it
is a very enjoyable, charming
and worthwhile musical which
probably suffered because it
opened at the time of Flower
Power and shows like “Hair”.
Original London production:
National Portrait Gallery,
August 2010
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THE BOOK OF MORMON
London run: Prince of Wales Theatre, March 21st
Book, Music & Lyrics: Trey Parker, Robert Lopez & Matt Stone
Director: Trey Parker & Casey Nicholaw
Choreographer: Casey Nicholaw
Musical Director: Nicolas Finlow
Cast: Gavin Creel (Elder Price), Jared Gertner (Elder Cunningham),
Alexia Khadime (Nabulungi), Stephen Ashfield (Elder McKinley),
Giles Terera (Mafala Hatimbi), Chris Jarman (General),
Haydn Oakley (Mission President)
Songs: Hello, Two by Two, You and Me But Mostly Me, Hasa Diga Eebowai,
Turn it Off, I am Here for You, All American Prophet, Sal Tlay Ka Siti, Man Up,
Making Things Up Again, Spooky Mormon Hell Dream, I Believe, Baptize Me, I am Africa,
Joseph Smith American Moses, Tomorrow is a Latter Day.
Story: The Book of Mormon tells the story of two young Mormon missionaries sent to a remote village in
northern Uganda. Naïve and optimistic, the two missionaries try to share the Book of Mormon, though Elder
Price had hoped to be sent to Orlando instead, and Elder Cunningham has not truly studied the Book of
Mormon and often weaves characters from “Star Wars” and “Lord of the Rings” into his teachings. Their
Ugandan tribe is headed by Mafala Hatimbi and his daughter Nabalungi, but the village is threatened by the
General, a murderous despot. Encouraged by Elder McKinley, the resident District Leader in Uganda - a man
secretly gay but in denial – and by the Mission President, the missionaries have trouble connecting with the
locals, who are more worried about war, famine, poverty and AIDS than about religion.
Notes: The Book of Mormon premiered on Broadway on March 24, 2011, following previews from February
24 with Josh Gad and Andrew Rannells in the two leading roles. Its writers had already achieved great success
and some notoriety with their controversial TV satirical series “South Park”. Thanks to a high-powered
advertising and an aggressive pricing campaign, the show became an enormous success. Its $11.5 million
dollar production costs were recovered after just nine months, and the show won an astonishing nine Tony
Awards, including Best Musical, Best Book, Best Score. The first USA tour opened in September 2012 with
Gavin Creel and Jared Gertner heading the cast, and they were replaced after three months so that they could
head the London production, which began
previews on February 25th 2013.
The response of The Church of Jesus Christ of
Later-Day Saints has been an interesting one,
stating "The production may attempt to entertain
audiences for an evening, but the “Book of
Mormon” as a volume of scripture will change
people's lives forever by bringing them closer to
Christ." The Church regularly takes adverts in
the theatre programmes, pointing out "Of course,
parody isn't reality, and it's the very distortion
that makes it appealing and often funny” and
outlining many humanitarian achievement by
Mormon missionaries in Africa.
Photos by Joan Marcus
The London production was much praised, with
very few voices raised in protest. A few critics
suggested the Mormons were an easy target, and
wondered what would have happened if the show
had been a satire on the Islamic faith, but the
overall reaction was favourable, even though it
might be a show of limited audience appeal.
Gavin Creel & Jared Gertner
2013
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QUASIMODO
Cast: Steven Webb (Quasimodo),
James Wolstenholme (Frollo),
Zoe George (Esmerelda),
James Hume (Gringoire), Sean Paul
Jenkinson (Clopin / Fleurien),
Iestyn Arwel (Phoebus),
Helen Sheals (Pacquette),
Melanie Bright (Yvette)
Photo by Donald Cooper
London run: King’s Head Theatre,
March 22nd – April 13th
Music & Lyrics: Lionel Bart
Book: Lionel Bart, Chris Bond
and Robert Chevara.
Director: Robert Chevara
Choreographer: Lee Proud
Musical Director: Peter Mitchell
Steven Webb & Zoe George
Songs: Ring Out Bells, Abracadabra, Live and Let Live, Don’t Look at Me, Now is Forever, She Gave Me
Water
Notes: Lionel Bart’s plans for a musical version of Victor Hugo’s novel “The Hunchback of Notre Dame”
occupied him now and again from 1963 onwards, but was then mostly abandoned until a workshop
performance in 1995 with Francis Ruffelle as Esmerelda and Ray Shell as Quasimodo. A recording of this
tryout exists, with Lionel Bart on the piano. The workshop proved the show was in need of much re-working.
The Act 1 draft was mostly the story of the gypsy girl Esmerelda and the effect she has on the men around her.
Act 2, written at a different time, concentrated on Quasimodo himself. Clearly this imbalance needed to be
sorted out before the show was ready for a public production. But Lionel Bart died four years later, having
done no noticeable re-writing of the piece.
As it exists for this “adapted” version, an extra approach has been added, portraying Quasimodo as mute to the
world at large, but whose inner voice is recognised only by Esmerelda. With a small cast and three musicians,
it is a worthwhile glimpse of what might have been, and worth a hearing if just for some excellent stand-alone
songs.
STREETS
London run: Cockpit, April 5th – 21st
Book & Music: Finn Anderson
Revised: Tori Allen-Martin , Sarah Henley
Director: Adam Boland
Choreographer: Kamilah Beckles & Ryan Lee Seager
Musical Director: Kris Rawlinson
Cast: Sian Louise, Brandon Henry, James Kenward, Danielle Watson, Amy
Christina Murray, Stuart Morris, Alexandra da Silva, Thomas Wright, Ben
Astle, Jake Leigh, Alex Morrison, Alexander Kiffin.
Notes: This was promoted as “a new kind of musical” which "puts a
microscope on a group of friends growing up on London's streets" with
particular reference to what went on during the 2011 London riots. It was a
revised version of Finn Anderson’s initial concept which toured various
Scottish theatres in 2011 before appearing at the 2012 Edinburgh Fringe.
Unlike a 'traditional' musical, the characters acted and danced, but did not
sing. The vocals were provided by two singers at one side of the stage along
with a band and a beatboxer. The critics described it as hard-hitting, intense
and somewhat manic, and there was praise for the score and the lighting
design. However, the general verdict regarded it as worthy experimental
theatre for young people, but not a mainstream musical.
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CARNABY STREET
London run: Hackney Empire. April 6th – 14th
Music & Lyrics: Various
Original songs: James Hall
Book: Carl Leighton-Pope & Robert Johns
Director: Bob Tomson
Choreographer: Carole Tod
Musical Director: Dan Smith
Cast: Matthew Wycliffe (Jude), Verity Rushworth (Penny Lane),
Aaron Sidwell (Jumpin’ Jack), Tricia-Adele Turner (Jane),
Mark Pearce (Wild Thing) , Paul Hazel (Lily the Pink), Gregory Clarke (Al),
Hugo Harold Harrison (Arnold Layne)
Songs: You Really Got Me Going, Don’t Let Me be Misunderstood, Sweets for my Sweet, Roll Over
Beethoven, Dooh Wah Diddy, Downtown, Son of a Preacher Man; Three original songs by James Hall
Story: This is the story of Jude, a working class boy who travels down from Liverpool with his best friend
Penny Lane, armed with nothing but his guitar and his dreams of fame and fortune. A chance encounter with
man-about-town, Jumpin’ Jack, leads to Jude joining a band led by 'Wild Thing' at The Marquee Club and with
Jack acting as their hopelessly inexperienced manager, they try to make it big in the exploding pop/rock scene
of the time. Other characters include Jane, a wild, debauched aristocrat; Lily the Pink, a cross-dressing boutique
owner; Al, a newspaper boy; and Sir Arnold Layne, the flamboyant, sex-crazed owner of a record label.
Notes: The show first ran into trouble when the Rolling Stones refused permission for “Let’s Spend the Night
Together” to be used in the show, even though it had been advertised in the pre-publicity. This was followed by
copyright problems on other desired 60s numbers, and then, during rehearsals, Sid Owen, originally cast as
Jumpin’ Jack, was replaced by Aaron Sidwell, with no reason given. On opening night the critics were not
impressed, citing a complete lack of plot, just a few lines of rapid dialogue linking a random selection of songs,
and claiming a good cast was badly served by the material. “The Sixties do not so much swing as
droop” (Express). The production followed the Hackney date with a short tour.
THE REVENGE OF SHERLOCK HOLMES
London run: Hoxton Hall, London, April 10-May 10
Music & Lyrics: Leslie Bricusse
Director: Luke Fredericks
Choreographer: Lee Proud
Musical Director : Nathan Jarvis
Producer: Morphic Graffiti
Cast: Tim Walton (Sherlock Holmes), John Cusworth (Dr Watson),
Leonie Heath (Bella Spellgrove), Amanda Goldthorpe-Hall (Signora Moriarty),
Andrea Miller (Mrs Hudson), Stephen Leask (Inspector Lestrade)
Story: After witnessing (through puppetry) the dramatic scene at the Reichenbach
Falls in which Moriarty and Holmes plunge to their death, the audience is left to mourn with the people of
London. However, ever a genius of disguise, Holmes re-appears at Baker Street but now there is no one left to
challenge him, he decides to retire. But the mysterious disappearance of the beautiful Bella Spellgrove forces
him to change his mind.
Notes: This is a re-worked version of “Sherlock Holmes-The Musical” which achieved a short run with Ron
Moody at the Cambridge Theatre in April 1989. This version has been re-written as a piece of music hall
entertainment with some stock music-hall characters being incorporated into the standard personnel of the
Conan Doyle stories.
2013
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ONCE
London run: Phoenix Theatre, April 9th - March 21st, 2015
Music & Lyrics: Glen Hansard & Markéta Irglová
Extra songs: Various
Book: Enda Walsh
Director: John Tiffany
Choreographer: Steven Hogget
Musical Director: Martin Lowe
Cast: Declan Bennett (Guy), Zrinka Cvitešić (Girl), Michael O’Connor (Father),
Jez Unwin (Bank Manager), Miria Parvin (Ex-Girlfriend),Flora Spencer-Longhurst,
Gareth O’Connor, Gabriel Vick, Valda Aviks, Ryan Fletcher, Aidan Kelly,
Jos Slovick,
Songs: The North Strand, Leave, Falling Slowly, The Moon, If You Want Me, Broken Hearted Hoover Fixer
Sucker Guy, Sleeping, When Your Mind’s Made Up, The Hill, It Cannot Be About That.
(Various composers) Say It To Me Now, Abandoned in Bandon, Gold; (Trad) Ej padá, padá rosička
Story: Guy, a young Dublin busker, has decided to give up song-writing now that his girlfriend has left him and
moved to New York. He is working for his father as a vacuum cleaner repairman, and meets a young Czech girl
with a hoover that “does not suck”. He takes the girl to his father’s shop, repairs her machine and discovers he is
attracted to her. She, too, is a musician, but she rejects his advances. They remain in touch, and she introduces
him to Ivanka, her young daughter, and encourages him to apply for a bank loan so that he can go to New York
to further his career . The banker, too, is a song-writer, and the Girl persuades them both to join her in an “open
mike” performance at a nightclub. Their act is a success. Guy suggests that Girl and Ivanka move to New York
with him, because they clearly have feelings for each other that they cannot ignore. Girl answers angrily that he
must not feel that way. Incredulous, Guy asks why; Girl replies that her husband — Ivanka's father — is trying
to reconcile with her, and for the sake of their daughter she must consider it. Guy, encouraged by Girl, calls his
ex-girlfriend in New York, who is happy about his imminent arrival, and seems willing to give their relationship
another try. A few days later Girl comes home to find a piano with a bright red bow on it — a gift from Guy. She
sheds a few tears, then sits at the piano and sings; as Guy, in his New York apartment, sings the same song "Falling Slowly ".
Notes: Adapted from the low-budget independent 2006 Irish film, written and directed by John Carney, the
musical version retained many of the songs written by Glen Hansard and Markéta Irglová, including “Falling
Slowly”, the surprise winner of an Oscar for Best Song. The stage version added three new songs by various
writers and one traditional Czech song. It premiered at the New York Theater Workshop in December 2011 for a
seven week season and then was recreated on Broadway on February 28 2012. It was a great success and won 8
Tony Awards. It was staged with a bare set, and with the cast serving as actor-musicians.
The show ran for almost two years,
during which Declan Bennett as Guy
was replaced by Arthur Darvill
(March – May 2014), David Hunter
(May-November 2014) and Ronan
Keating for the remainder of the run.
Zrinka Cvitešić was replaced by Jill
Winternitz from May 2014 onwards.
The production closed on March 21st
2015, although bookings had
originally been accepted up to July 4th.
Photo Manuel Harlan
The West End production started previews on March 16th, 2013. It was widely praised as a gentle, touching,
delicate and moving show, though
several critics mentioned occasional
longueurs, and a lack of pace.
However, it was predicted for a long
and successful run. Zrinka Cvitešić
won an Olivier Award for the Best
Performance in a Musical and the
show itself received a further Olivier
for Outstanding Achievement in a
Musical.
Declan Bennet & Zrinka Cvitešić
2013
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THE UNIVERSAL MACHINE
Photo by Alastair Muir
London run: New Diorama, April 19th – May 11th
Music & Lyrics: Dominic Brennan
Book: David Byrne
Director: David Byrne
Cast: Richard Delaney (Alan Turing), Judith Paris (Mother), Celia Colby,
Michael Faulkner, Philippa Hogg, Andy McLeod, Leah Milner.
Notes: The story of mathematician Dr. Alan Turing, moving from the purgatory
of his boarding school to his confused and complicated adult life, and his historychanging code-breaking brilliance at Bletchley Park. This was a life story of a
prodigy haunted by being gay. In 1952 Turing was found guilty of homosexual
activity (illegal at the time) and chose to accept chemical castration instead of a
jail sentence. Two years later he committed suicide
by eating an apple laced with cyanide. It is an
unlikely subject for a musical, and most of the
reviews felt it was a play with songs, most of which
did little to enhance the drama. However, it was a
powerful and moving indictment of the society that
so mis-treated a troubled genius.
(In December
2013, almost sixty years after his suicide, and
following an internet campaign, he was given an
official pardon under the Royal Prerogative)
Richard Delaney as Alan Turing
Below: Alan Turing
SLEEPING
ARRANGEMENTS
Photo by Claire Bilyard
London run: Landor, April 22nd – May 12th
Music and lyrics: Chris Burgess
Book: Chris Burgess
Director: Robert McWhit
Choreographer:
Musical Director: Colin Billing
Cast: Liza Pulman (Amanda),
Steven Serlin (Hugh),
Sabrina Aloueche (Jenna),
Jenny Gayner (Chloe), Grant Neal (Philip),
Adam Pettigrew (Sam)
Sophie Kinsella (centre) with the cast
Songs: Monday Morning Blues, Tuesday
Morning Why Am I Here Blues, Super
Woman
Story: Put-upon Amanda, with her useless husband Hugh, their twin babies and feisty nanny, Jenna are off for a
week’s break in sunny Spain, staying in the villa of their friend Gerard. But Gerard has double-booked them with
another family – Chloe, with her drippy husband Philip and their permanently horny 16 year old son, Sam. But it
turns out that Chloe and Hugh have some history behind them, and the story explores the theme ‘second chances’,
and ‘missed opportunities’ in a world of sun and Sangria.
Notes: Based on the novel by Sophie Kinsella, this began previews on April 17th. The music was provided by a
four-piece band, and the songs, mostly ballads in the first half, were felt to be a little bit samey, and perhaps
derivative. But, all in all, it was reviewed as a very worthwhile new musical with Chris Burgess as a talent to watch.
Liza Pulman came in for a lot of praise as the “super” mum Amanda.
2013
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BARE – The Rock Musical
Cast: Ross William Wild (Jason), Michael Vinsen (Peter),
Melanie Greaney (Nadia), Fia Houston-Hamilton (Kyra),
Hannah Levane (Sister Chantelle), and ten ensemble.
Photo by Roy T^an
London run: Union, April 24th – May 25th
Revived: Greenwich Theatre, October 11th – 27th
Music: Damon Intrabartolo
Additional music: Lynne Shankel
Lyrics: Jon Hartmere
Book: Jon Hartmere & Damon Intrabartolo
Director: Paul Taylor-Mills
Choreographer: Racky Plews (Revival: Richard Jones)
Musical Director: Huw Evans
Ross William Wild & Michael Vinsen
Revival cast: Ross William Wild (Jason), Michael Vinsen (Peter), Molly Stewart (Nadia),
Jemma Geanaus (Kyra), Claudia Kariuki (Sister Chantelle), and ten ensemble.
Songs: You and I, Portrait of a Girl, Best Kept Secret, I Meant to Tell You, Role of a Lifetime, Confession, Kiss
Your Broken Heart, Are You There?, Pilgrims’ Hands, All Grown Up, Once Upon a Time . (For the new
version): A Million Miles from Heaven, Drive You Out of Your Mind, You Don’t Know, Best Friend, Hail Mary,
What If I Told, You’re Not Alone
Story: The story centres on Peter and Jason, two secretly gay high school students, and their struggles at their
co-ed Catholic boarding school. They are cast respectively as Mercutio and Romeo in the school’s drama
production. Their friend Ivy is Juliet, her boyfriend Matt is Tybalt and Jason’s sister, Nadia, is the Nurse. As the
play develop in rehearsals, the students wrestle with identity, sexuality and religion, and face up to the
consequences of “coming out”, and hiding the truth from the people who matter most to them.
Notes: The original version opened in Los Angeles in October 2000, and was revived off Broadway in April
2004. It proved to be enormously popular with fringe and student productions throughout the USA and several
other countries. In 2012 the show was re-written to acknowledge the greater awareness of gay bullying and the
conflicting attitudes towards the movement to legalize gay marriage. The basic plot and message remained
constant, but the format changed from a pop opera to a book musical. The students’ relationships became more
complex, characters were changed, new songs were added and the plot incorporated current technology and social
media. The new version opened off-Broadway on December 9th, 2012 after two weeks of previews and ran until
February 3rd 2013. The earlier version had been performed in some regional UK theatres, but this was its official
British premiere of the new adaptation. It was generally savaged by the critics for its “over-written and terribly
naff pseudo rock/pop score” (The Stage). The Greenwich revival did not receive any better notices.
ROOMS – A Rock Romance
London run: Finborough, April 23rd - May 18th
Music & Lyrics: Paul Scott Goodman
Book: Miriam Gordon
Director: Andrew Keates
Choreographer: Sam Spencer-Lane
Musical Director: Mark Warman
Cast: Alexis Gerred (Ian Wallace), Cassidy Janson (Monica P. Miller),
Paul Gambaccini (Himself/CBGN Announcer), Paul Kaye (Wreck Room Engineer)
Paul Scott Goodman (Run Room Announcer),
Story: This rock musical swings from Glasgow and London to New York and tells of
an introverted Scottish singer-songwriter, Ian, and an ambitious “Jewish Princess”,
Monica, “Glasgow’s answer to Barbra Streisand”. She manages to sweep him off his feet, inspire him to great
work to feed her ambitions to conquer the world as a rock star, only to have everything crash to the ground
because of his drink problem.
Notes: Originally staged in New York, this was its UK premiere. Accompanied by a four-piece onstage rock
band, it came in for much praise for its performances, despite some very shaky Scottish accents, though several
critics pointed out the work was heavily reminiscent of the work of Jonathan Larson and Jason Robert Brown.
2013
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DESPERATELY SEEKING THE EXIT
London run: Leicester Square Theatre, April 20th - May 20th
Written & performed by Peter Michael Marino
Notes: This curious one-man show was a kind of personal therapy for Peter Michael
Marino, the author of the musical “Desperately Seeking Susan”. His musical, based on
the 1985 Madonna film and incorporating the songs of Debbie Harry’s pop group,
Blondie, had been a huge flop at the Gielgud Theatre in November 2007, with losses
more than £3.5 million.
GEEK!
Cast: Lea Marinelli (Tiffy Joy),
Anna Haresnape (Jane),
Danny Whitehead (Billy Bob),
Ciaran O’Driscoll (Remus/Donna),
C.J. de Mooi (Schoolteacher), Carolyn Peters,
Bradley Richardson, Ewen Macintosh
Notes: This is a pastiche send-up of the High
School Musical kind of show: Jane, a plain
and geeky new girl, comes under the wing of spoilt rich girl, Tiffy Joy, but ends up winning the high school stud,
Billy Bob. The story also includes a drunken schoolteacher, a geeky Remus, and Goth girl, Donna. The critics felt
that the composer showed some real talent in his writing, but was wasting himself on a cheap send-up.
RENT IN CONCERT
London run: Hackney Empire April 26th (Tour till May 5th)
Music, Lyrics & Book: Jonathan Larson
Director: Daniel Wood
Musical Director: Rosalind Jones
Photo by Darren Bell
Cast: Rory Taylor (Roger),
Kerry Ellis (Mimi), Ian Stroughair (Angel),
Leon Lopez (Collins), Paul Ayres,
Tim Prottey-Jones, Kenny Thompson,
Jemma Alexander, Nikki Davis-Jones,
Beth Humphries, David Hinton-Gale,
Joel Harper-Jackson.
Notes: This was billed as the 20th Anniversary
Concert Tour, somewhat cheating by dating the
show to its very first workshop run in 1994,
when it was a very different show altogether.
Performed with a five-piece onstage band, this
was a concert version featuring a number of
performers who had been finalists in the TV
Search for a Superstar programme.
Original London production: Shaftesbury, May 1998
First revival: Prince of Wales, December 2001; Second Revival: Prince of Wales, December 2002
Third revival: Duke of York’s October 2007; Fourth revival: Greenwich Theatre, September 2012
Photo by Darren Bell
London run: Tristan Bates Theatre,
April 24th – May 18th
Author: Scott Morgan
Directors: Jamie Chapman Dixon
& Porl Matthews
Musical Director: Benjamin Holder
2013
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EVITA
London run: Wimbledon Theatre,
May 15th – 18th
Music: Andrew Lloyd Webber
Lyrics: Tim Rice
Director: Bill Kenwright & Bob Thomson
Choreographer: Bill Deamer
Musical Director: Matthew Loughran
Producer: Bill Kenwright
Notes: This was a touring production
running originally from May to October
19th. The standard of production was very
high and the performances came in for
much praise, with all the principals giving
what were described as outstanding interpretations.
Photo by Keith Pattison
Cast: Madalena Alberto (Eva Peron),
Marti Pellow (Che),
Mark Heenahan (Peron),
Sarah McNicholas (Mistress),
Nic Gibney
Madalena Alberto
The tour dates were extended, with dates fixed as far ahead as June 2014.
HUTCH
London run: Riverside Studio, May 17th – June 8th
Music & Lyrics: Cole Porter
Book: Joe Evans
Director: Linnie Reedman
Choreographer: Dances performed by Halbwelt Kultur
Cast: Sheldon Green (Leslie Hutchinson), Andrew Mathys (Lord Mountbatten),
Imogen Dainers (Edwina Mountbatten), Sid Phoenix (Cole Porter),Nell Mooney (Linda Porter),
Patrick Lannigan (Joe Zelli), Janna Yngwe (Jessie Matthews).
Songs: Eight numbers by Cole Porter, Jerome Kern, and
George Gershwin.
Photo by John Watts
Story: Leslie “Hutch” Hutchinson left Grenada at the age of
17 to make his name as a singer-pianist, and despite the
prejudice facing black performers in the 1930s and 40s, he
achieved great success and recorded over 450 records.
However, he was just as famous for his sexuality, and this
show deals with his possible affair with Cole Porter, and his
definite affair with Lady Edwina Mountbatten, who then lied
under oath in a libel case against the Daily Express. His
subsequent career was on a downward spiral, and he died in
very straitened circumstances.
Notes: Based on the book by Charlotte Breese, this was more a
play with songs than a musical. Hutch was played by Sheldon
Green, a performer still at drama school - and his performance
as an actor-singer-pianist was much praised. Being a story of
scandal, royalty and prejudice wrapped in some golden musical
numbers, it should have been an absolute winner, but it was felt
to be somewhat under-written and slow to get going.
Imogen Dainers & Sheldon Green
2013
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AVENUE Q (1st Revival)
Photo by Polly Hancock
London run: Gatehouse, May 21st – June 30th
Music & Lyrics: Robert Lopez & Jeff Marx
Book: Jeff Whitty
Director: John Plews
Choreographer: Grant Murphy
Musical Director: Simon Burrow
Cast: Leigh Lothian (Kate/Lucy),
Will Jennings (Princeton/Rod),
Josh Wilmott (Nicky/Trekkie),
Cassandra Lee (Gary Coleman) , Tim Frost (Brian), ShinFei Chen (Christmas Eve), Harrison Spiers
Josh Wilmott
Notes: This production’s Associate Director was Simon
Lipkin, who had originated Nicky/Trekkie in the West End, and he had passed on such help to Josh Wilmott in the
same part, that almost all the critics singled out Josh Wilmott for an outstanding performance amongst an extremely
good cast. It was accompanied by a four-piece band
Original London run: Noel Coward Theatre, June 2006 (Transfer Gielgud/Wyndhams)
THE GREAT GATSBY MUSICAL (1st Revival)
London run: Riverside Studios, May 24th – June 8th
Music & Lyrics: Joe Evans
Adaptation: Linnie Redman & Joe Evans
Director: Linnie Redman
Choreographer: Lee Proud
Musical Director: Greg Arrowsmith
Cast: Sid Phoenix (Nick Carroway), Michael Lindall (Jay Gatsby),
Matilda Sturridge (Daisy Buchanan), Ian Knauer (Tom Buchanan),
Imogen Daines (Jordan Baker), J (George Wilson), Naomi Bullock (Myrtle Wilson),
Notes: This was a revival of the 2012 production at the King’s Head, with Matilda
Sturridge repeating her much acclaimed performance. It was received a little less warmly
than the earlier production, with some critics lamenting its pared-down frugality, but all
generally agreeing it had a sharp and witty script and moved along at a cracking pace.
Matilda Sturridge
Original London run: King’s Head, August 2012
BILLY (1st Revival)
London run: Union Theatre, May 29th – June 29th
Music: John Barry
Lyrics: Don Black
Book: Dick Clement & Ian La Frenais
Director-Choreographer: Michael Strassen
Musical Director: Richard Bates
Cast: Keith Ramsey (Billy), Mark Carroll (Geoffrey), Ricky Butt (Alice),
Paddy Glynn (Gran), Mark Turnbull (Councillor Duxbury), Katerina Stearman (Liz),
Rosie Clarkson (Barbara), Laura Bryars (Rita), Adam Colbeck-Dunn (Arthur),
Tom Senior (Stamp), Michael Adams (Shadrack).
Notes: Based on the Keith Waterhouse 1959 novel, the play version by Keith
Waterhouse & Willis Hall was staged in 1960 with Albert Finney, and filmed in 1963 with Tom Courtnenay. The
musical version opened in 1974 with Michael Crawford and ran for 904 performances. This fringe production was
its first revival and was staged fifty years after the film premiere. It was performed on a bare stage with changes
indicated by (much-praised) lighting and received overwhelmingly good notices. The musical itself had held up
well over the years, and the performance of Keith Ramsey “lends Billy a lonely charisma that is riveting”. The
entire ensemble was acclaimed for excellence..
See Original London run: Theatre Royal, Drury Lane May 1974
2013
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CHARLIE AND THE CHOCOLATE FACTORY
London run: Drury Lane, June 25th
Music & Lyrics: Marc Shaiman & Scott Wittman
Book: David Greig
Director: Sam Mendes
Choreographer: Peter Darling
Musical Director: Nicholas Skilbeck
Cast: Jack Costello (Charlie), Douglas Hodge (Willy Wonka),
Nigel Planer (Grandpa Joe), Clive Carter (Mr Salt), Jasna Ivir (Mrs Gloop),
Paul J. Medford (Mr Beauregarde), Iris Roberts (Mrs Teavee),
Myra Sands (Grandma Georgina), Billy Boyle (Grandpa George),
Roni Page (Grandma Josephine).
Songs: Almost Nearly Perfect, Amazing Tale of Mr Willy Wonka, A Letter from Charlie Bucket, More of Him to
Love, When Veruca Says, The Double Bubble Duchess, It’s Teavee Time, If Your Mother were Here, It Must be
Believed to be Seen, Simply Second Nature, Aufwiedersehen Augustus Gloop, Juicy, Vidiots, A Little Me. ( And
“Pure Imagination” by Anthony Newley & Leslie Bricusse from the 1971 film)
Story: Young Charlie, living with his extremely poor grandparents, dreams of winning a golden ticket to tour the
eccentric Willy Wonka’s magical chocolate factory. The TV competition shows four children who have already
got a ticket: greedy Augustus Gloop, from Bavaria; spoilt Veruca Salt, from England; gum-chewing Violet
Beauregarde from California, and computer-game obsessed Mike Teavee from New York. Then, an overjoyed
Charlie gets a golden ticket, and all five children and Grandpa get to journey through a maze of candy-coated
delights, from chocolate rooms to the inventing room, all presided over by Willy Wonka and his staff, the elfin
Oompa Loompas. Four of the children succumb to forbidden temptations and come to a sticky end, leaving
Charlie the triumphant winner of a lifetime supply of free chocolate.
Notes: Roald Dahl’s children’s classic of 1964 had already been filmed twice ( as a musical with Gene Wilder in
1971 and as a darker tale with Johnny Depp in 2005). In between times it had been adapted as a stage play and
even as a children’s opera. The show was originally due to open at the London Palladium, but it was later
announced it would begin previews on May 17th at the Theatre Royal Drury Lane. During rehearsals many
changes took place, including the addition of the Great Glass Elevator, leading to problems which caused the first
preview to be delayed by five days. The official reason for the delay was due to "unforeseen problems in the
delivery of a piece of stage engineering by a contractor".
Photo by Helen Maybanks
The critics generally described the musical as a thing of two halves: an over-long first act setting the story of
Charlie’s bleak family life, and then a visually stunning and brilliantly captivating second half once the characters
moved into the chocolate factory. The special effects, costumes, and spectacularly grisly come-uppance for the
naughty children were all praised. The score was described as efficient rather than stirring. However, the advance
sales were in no way affected by the mixed reviews. Shortly after opening night the booking period for the show
was extended until May 2014 and in October with around 300,000 people having already witnessed the production,
booking was further extended to November 2014.
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CARNIVAL OF THE ANIMALS
London run: Riverside Studios, July 4th – 14th
Music: Saint-Saens & Gavin Greenaway
Lyrics: Roger Hyams
Book: Andrew Marshall
Director: Thom Southerland
Choreographer: Richard Jones
Musical Director: David Randall
Cast: Anita Dobson (Mademoiselle Parfait), Allyson Ava-Brown (Astra the Lioness),
Bronté Barbé (Odette, the swan) , Alastair Brookshaw (Caruso the mynah bird),
Jacob Chapman (Henri the Lion), Cassandra Compton (Carmen the Donkey),
Liam Doyle (Shake, the chimpanzee), Claire Machin (Emilie the Elephant),
Matthew Gent (Hot the Parrot), Stephen Webb (Pepe), Paul Grunert (Plato the tortoise)
Photo by Tristram Kenton
Story: In present-day Paris the Carnival of the Animals is still running, but the animals are getting very bored
with their increasingly old-fashioned show. The arrival of four new animals raises hopes that the show can be
rejuvenated, but Mademoiselle Parfait, a fashion designer who owns a nearby boutique has got her own sinister
and wicked intentions for the animals.
Notes: The new musical, set in modern Paris, is based on the orchestral suite of the same name by French
Composer Camille Saint-Saens and is a bizarre mix of puppets and over-the-top pantomime-type comedy. No
one was quite sure about its target audience: it could well be a children’s show, but the songs, gags and
storyline were sometime rather clearly
aimed at an adult audience; but the storyline and the puppetry was not engaging
enough to maintain interest for an
audience of children. One thing the critics
did agree on, was a quite wonderful and
hugely comic performance from Anita
Dobson, and some excellent work from
several of the other performers. This was
generally regarded as a ten-day try-out of
an interesting new idea which might, with
much re-working, end up as a potential
winner.
DIRTY DANCING (1st Revival)
London run: Piccadilly Theatre, July 13th – February 22nd 2014
Music & Lyrics: Various
Book: Eleanor Bergstein
Director: James Powell
Choreographer: Kate Champion/Craig Wilson
Musical Director: Chris Newton
Cast: Paul-Michael Jones (Johnny Castle), Jill Winternitz (Baby Houseman),
James Coombes (Jake Houseman), Julia J. Nagle (Marjorie Houseman),
Emilia Williams (Lisa Houseman), Charlotte Gooch (Penny Johnson),
Callum Nicol (Robbie),
Notes: Following its five year run at the Aldwych, and its two year provincial tour,
this show came back into the West End for what was announced as a limited run (to February 22nd) before
commencing a second UK tour scheduled for March 2014.
Original London run: Aldwych, October 2006
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WORDS AND MUSIC (1st Revival)
London run: Lilian Baylis, July 14th – August 4th (four successive Sundays)
Music & Lyrics: Noel Coward
Director: Ian Marshall Fisher
Musical Director: Ian Townsend
Producer: Lost Musicals series
Cast: Issy van Randwyck, Vivienne Martin, James Vaughan,
Holly Dale-Spencer, Lotte Latham, Laura Coard, Karen Anne-Kelly,
Marie Hemsley, Craig Berry, Matt Stevens, Dom Hodson, Pamela Miles, Nicola
Keen
Songs: Mad About the Boy, Mad Dogs and Englishmen, The Party’s Over Now,
Let’s Say Goodbye, Three White Feathers, Children of the Ritz
Notes: This was a musical revue which ran at the Adelphi from September 16th
1932 to February 4th 1933, a total of 164 performances. It was a series of topical
Joyce Barbour, 1932
and satirical sketches with some songs interspersed. At the time it was much
praised for its wit, though it did not run as long as was originally expected. The
original cast included Ivy St Helier, Joyce Barbour, John Mills, Romney Brent, Doris Hare and Graham Payn. This
revival after seventy years was considered an interesting reminder of how songs like “Mad about the Boy” were
originally presented, and some of the satire was of historic interest, however, a topical revue when all topicality has
waned was considered an oddity.
THE COLOR PURPLE
London run: Menier Chocolate Factory, July 5th - September 14th
Music & Lyrics: Brenda Russell, Allee Willis, Stephen Bray
Book: Marsha Norman
Director: John Doyle
Choreographer: Ann Yee
Musical Director: Tom Deering
Cast: Cynthia Erivo (Celie), Nicola Hughes (Shug Avery),
Christopher Colquhoun (Mister), Abiona Omanua (Nettie), Adebayo Bolaji (Harpo),
Sophia Nomvete (Sofia), Ibinabo Jack (Olivia), Jennifer Saayenh
Songs: Huckleberry Pie, Mysterious Ways, Somebody Gonna Love You, Our Prayer,
Big Dog, Hell No, Brown Betty, Too beautiful for Words, Push da Button, What about
Love, Miss Celie’s Pants, Any Little Thing, I’m Here
Notes: Adapted from Alice Walker’s 1982 Pulitzer Prize
winning novel (which was also a non-musical film in 1985
starring Oprah Winfrey). The musical version opened on
Broadway on December 1st 2005 and ran for 910 performances,
receiving 10 Tony Award nominations, but only winning one.
This “fringe” production with a cast of 17 and a seven piece
band was highly praised by the critics, who felt the central
performances by Cynthia Erivo and Nicola Hughes together
with the stunning design and production has turned “a fairly
ordinary musical into something truly extraordinary”. However,
the content of the show itself was not so well received,
described as “too saccharine, underpowered, with a plot boiled
down to a fairy-tale, with 2D villains, balletically twirling
violence, not enough real rage, and too many pappy songs”.
Photo by Francis Loney
Story: Set in rural Georgia in 1909, it is the story of Celie - abused by her father at the age of 14 and the mother of
two children given up for adoption, - who is given away in marriage to the odious Mister. She is separated from her
beloved sister Nettie who goes to Africa to live with the missionaries who adopted Celie’s children. Celie befriends
Sofia, the wife of Mister’s son, and becomes very close to Shug
Avery, Mister’s nightclub singer mistress. Covering 40 years of
her story, it all works out in the end.
Nicola Hughes & Cynthia Erivo
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WAG! The Musical
London run: Charing Cross Theatre, July 24th – August 24th
Music & Lyrics: Grant Martin, Thomas Giron-Towers & Tony Bayliss
Book: Belvedere Pashun
Director-Choreographer: Alison Pollard
Musical Director: Grant Martin
Producers: Peter Frosdick & Paul Nicholas
Cast: Daisy Wood-Davis (Jenny), Amy Scott (Sharron), Tim Flavin (Mr Frank),
Alyssa Kyria (Ariadne), Lizzie Cundy (Zoe), Pippa Fulton (Vicci), Gavin Alex,
Chris Grierson, Katie Kerr, Philip Andrew, Nia Jermin
Notes: Opened July 24th with previews from
July 18th. “WAG” is short for “wives and
girlfriends”, a somewhat snide way of referring
to the partners of professional footballers.
Lizzie Cundy and Pippa Fulton were “real-life”
WAGS (being respectively the ex-wife of
former Chelsea defender, Jason Cundy, and the
partner of Brentford striker, Clayton
Donaldson.) . This show was universally
damned: “garish, brainless and charmless”; “. .
. hasn’t even the modest redeeming virtue of
being interestingly bad”; “. . .makes you want
to gnaw your fingers to the bone and ring the
Samaritans”; “. . . shoddily empty-headed. . this
misbegotten mess”.
THE GOLDEN VOICE (Cancelled)
London run: Arts Theatre, Announced for July 26th – 31st August
Music & Lyrics: Nick Fogarty
Book: Nick Fogarty
Director: Guy Retallack
Choreographer: Jordi Guitart
Musical Director:Tom Turner
Cast: Darren Day (Mike Chariot), Sebastian Torkia, Yvette Robinson, George Maguire,
Natalie McQueen, Daniel Robinson, Nina French, Joe Sterling, Imogen Brooke, Patrick
Burbridge, Sarah Goggin, Tom Newman, Jason Gray, Stephie Crocker, Joseph Claus.
Story: Mike Chariot, betrays his best friend, Jim Ryan, and dumps his girlfriend as soon as
he wins the TV talent show “The Golden Voice”. But after a brief frenzy of media fame,
Mike himself is dumped by his record company and the TV bosses. Too famous to return to
his old life, he decides to drop out of sight. Almost 20 years on, a wiser Mike Chariot is back to make amends and
help young singers and musicians achieve their dreams without having to enter television talent shows. However he
meets up again with the embittered Jim Ryan, who descended into a life of crime after Mike’s betrayal caused their
band to break up. Jim now has the power to exact his revenge.
Notes: The original opening dates were announced as previews from June 12th and a press night on June 19th but this
was postponed “due to investment money from China being tied up in international banking red tape”. A later
opening date was announced, with a press night on July 26th. This, too, was cancelled. It was then revealed that
Equity was taking legal action to recover tens of thousands of pounds in unpaid cast wages.
Photo by Ken McKay
Story: WAG! The Musical follows a day in the life of best friends Jenny and Sharron, two
ordinary girls working on the cosmetics counter of a posh department store, and ruled over by their camp manager,
Mr Frank . Their customers range from plain-Janes to the all-demanding entourage of WAGs. Jenny has her sights
on higher things, and is already the mistress to a premier league superstar, but it’s not as easy to achieve as she
hopes. Her friend Sharon has her own problems with her reciprocated and forbidden affections towards a new
colleague. Added to the mix is an array of adulterous males, scandal, and fading hopes of lasting happiness. All of
which is lorded over by Ariadne the Greek Wag, an acidic queen, and played out against the backdrop of a red carpet
fashion launch extravaganza!
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TITANIC
London run: Southwark Playhouse, July 31st – August 31st
Music & Lyrics: Maury Yeston
Book: Peter Stone
Director: Thom Southerland
Choreographer: Cressida Carré
Musical Director: Mark Aspinall
Producer: Danielle Tarento
Cast: Philip Rham (Captain E. J. Smith),
Simon Green (J. Bruce Ismay, Director of the White Star Line),
Greg Castiglioni (Thomas Andrews, the ship’s architect), Celia Graham (Alice Beane),
Dudley Rogers (Isidor Straus), Judith Street (Ida Straus), James Austen-Murray,
Dominic Brewer, Scarlett Courtney, Matthew Crowe, Jonathan David Dudley, Grace Eccle, Oliver Hembrough,
James Hume, Sion Lloyd, Claire Marlowe, Shane McDaid, Leo Miles, Nadim Naaman, Victoria Serra.
Songs: In Every Age, How Did They Build Titanic?, There She Is, I Must Get on That Ship, Godspeed Titanic,
Barrett’s Song, Lady’s Maid, What a Remarkable Age This Is, No Moon, The Night was Alive, The Blame, We’ll
Meet Tomorrow
Story: Titanic tells of the final hour of 14th April 1912 when RMS Titanic ("the unsinkable ship") on her maiden
voyage from Southampton to New York hit an iceberg and slowly sank. Unaware of the fate that awaits them, the
3rd Class immigrants dream of a better life in America; 2nd Class passengers dream of achieving the lifestyles of
the rich and famous, and the millionaire Barons in 1st First Class dream of their hegemony lasting forever.
Notes: The spectacular original of this musical opened on Broadway on April 23rd 1997 and ran for 804
performances and 27 previews, winning 5 Tony Awards, including Best Musical, Best Score, and Best Book. It
closed on March 21st 1999. It has had professional productions in Canada, Australia, Germany and Japan and has
been translated into six
languages. In the UK it has
been staged in York and
Belfast, with several amateur
productions, including London
venues. However, this is its
London professional premiere,
in a specially re-written
chamber version. With a six
piece band and the barest of
sets, the atmosphere created by
lighting designer Howard
Hudson and the universally
powerful performances of the
cast made this “a gripping,
ambitious
ensemble
piece” (Times)
SAUCY JACK & THE SPACE VICTIMS (2nd Revival)
London run: Leicester Square Theatre, August 1st – September 7th
Music & Lyrics: Robin Forrest & Jonathan Croose
Book & Additional lyrics: Charlotte Mann & Michael Fidler
Director-Choreographer: Stuart Saint
Musical Director: Tom Barnes
Cast: Ralph Bogard (Saucy Jack), Jamie Birkett (Jubilee), Kate Malyon (Anna),
Leanne Jones (Bunny), David Malcolm (Booby), Marcus Reeves (Dr Whackoff),
Nigel Thomas (Sammy), Kristopher Bosch, Lisa Gorgin
Original London Production: Queen’s Theatre, March 1998
First revival: The Venue, December 2005
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THE SOUND OF MUSIC (5th Revival)
London run: Open Air Theatre, August 5th – September 14th
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
Book: Howard Lindsay & Russel Crouse
Director: Rachel Kavanaugh
Choreographer: Alastair David
Musical Director: Stephen Ridley
Photo by Johan Persson
Cast: Charlotte Wakefield (Maria), Michael Xavier (Captain von Trapp), Helen Hobson (Mother Abbess),
Caroline Kieff (Elsa), Michael Matus (Max Detweiler), Faye Brookes (Liesl), Joshua Tonks (Rolf)
Notes:This was a sincere,
straightforward, production, with
a perfect Maria and a truly
credible von Trapp, and a lovely
performance from the Mother
Abbess earned this production
universal praise. The open-air
setting added to the
“authenticity”, and the inclusion
of the sometimes cut song “No
Way to Stop It” added to the
underlying sinister themes. The
choreography was much praised
for its naturalness: “The most
entrancing moment comes when.
. .stiff-backed von Trapp really
falls for (Maria), in a folk dance that slowly entwines their bodies” (Independent). This production was an
overwhelming success.
See Original London production, Palace Theatre, 1961; 1st revival: Apollo Victoria, Aug 1981;
2nd revival: Sadlers Wells, June 1992; 3rd revival: BAC, Dec 1997; 4th revival: London Palladium, Nov , 2006
RENT (5th Revival)
London run: Tabard, August 7th – 31st
Music, Lyrics & Book: Jonathan Larson
Director-Choroegrapher: Adam Scown
Musical Director: James Doughty
Cast: Charlie Royce (Mark Cohen), John Sandburg (Roger), Jodie Steel (Mimi), Willian Whelton (Angel),
Michael Quinn (Collins) , Kibby Lunn (Maureen), Ambra Caserotti (Joanne), Waylon Jacobs (Benjamin Coffin)
Notes: The advance publicity said 'The production will feature a new take on ‘Rent’, dark, grotty and grim, it will
showcase the realities of New York in the 90’s, this production of Rent will be like no other seen in London in the
recent years. . .” Unfortunately it was felt to be unfocussed in its direction, cramped in production, and subject to
m a n y t e c h n i c a l p r o b le m s .
Although the production did not
earn any plaudits, there was high
praise for the cast.
Original London production:
Shaftesbury, May 1998
1st revival:
Prince of Wales, Dec 2001
2nd Revival:
Prince of Wales, Dec 2002
3rd revival:
Duke of York’s, Oct 2007
4th revival:
Greenwich Theatre, Sep 2012
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WEST SIDE STORY (6th Revival)
London run: Sadler’s Wells, August 7th – Sep 22nd
Music: Leonard Bernstein
Lyrics: Stephen Sondheim
Book: Arthur Laurents
Director-Choreographer: Joey McKneely
Original choreography: Jerome Robbins
Musical Director: Donald Chan
Cast: Liam Tobin/Anthony Festa (Tony),
Elena Sancho-Pereg/ Jessica Soza (Maria),
Mark Mackillop (Riff), Andrew Purcell (Diesel),
Penelope Armstead-Williams (Anita) ,
Pepe Munoz (Bernardo), Luke Hawkins (Action),
Hannah Balagot (Anybodys)
Original London production, Her Majesty’s, Dec 1958;
First revival: Collegiate Theatre, July 1973; Second
revival: Shaftesbury Theatre, December 1974;
Third revival: Her Majesty’s, May 1984; Fourth Revival:
Prince Edward/Prince of Wales Oct 1998
Fifth Revival: Sadler’s Wells, July 2008
Photo by Nils Bohme
Notes:
This revival of the production first seen at
Sadler’s Wells in 2008, faithfully re-created the entire
original Robbins choreography, which meant, according
to one critic “ the balletic lines occasionally sit
awkwardly against the violence of the story and date the
show as irrevocably as the slang in Arthur Laurents’
book”. However, the general view was the production
confirmed this to be one of the greatest of all musical
theatre shows, and, even on its 50th anniversary tour, it
still was a great evening’s theatre.
Elena Sancho-Pereg & Liam Tobin
[TITLE OF SHOW]
London run: Landor, August 12th - Sept 14th
Music & Lyrics: Jeff Bowen
Book: Hunter Bell
Director: Robert McWhir
Musical Director: Michael Webborn
Cast: Simon Bailey (Jeff),
Scott Garnham (Hunter),
Sarah Galbraith (Susan),
Sophia Ragavelas (Heidi)
Songs: Untitled Opening Number, Two Nobodies in New York, An Original Musical, Monkeys and Playbills,
The Tony Award Song, Die Vampire Die, Nine People’s Favourite Thing.
Story: [title of show] is a musical comedy about Hunter and Jeff, two struggling writers who decide to create a
new musical for the inaugural New York Musical Theatre Festival. With a three week deadline looming but
nothing to lose, they decide to try and create the show of their dreams, but soon realise that their mad dash to
put pen to paper is infinitely more entertaining than the show they are writing. Their struggle to write a hit
becomes the subject of the show, and so [title of show] is born, taking its name from the ominous space on the
festival’s application form.
Notes: This one-act musical premiered at the New York Musical Theatre Festival in September 2004, and was
revived off Broadway in 2006. It returned to Broadway itself in July 2008 and ran for 13 previews and 102
regular performances winning Obie Awards and Tony Award nomination. The Landor production was its
London premiere.
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THE LAST EVER MUSICAL
London run: White Bear Theatre,
August 13th – September 7th
Music & Lyrics : Richard Bates
Book: Simon James Collier
Director: Simon James Collier
Choreographer: Omar F. Okai
Musical Director: Richard Bates
Cast: Jonathan Barnes (Brian),
Stacey Victoria Bland, Lauren Harvey,
Rebecca Hood, Emma Kurij, Jerome Robben,
Rick Tolley, Leejay Townsend,
Songs: The Five Minute Call, Why Do We Do it to Ourselves?, When the Tampons Come to Town
Story: Brian Wilts is your classic London wannabe producer, he schemes, deals, begs, borrows, sweet-talks,
and schmoozes his way through life, skating on financial, ethical and moral thin-ice. The opening night of a
£95,000.00 theatrical commission from The Femlette Feminine Hygiene Corporation is fast approaching and
Brian is in dead trouble. Despite what he’s promised the backers, there isn’t a show, and most of the advance
has been elsewhere on his other loss-making flops. To add to his problems, the theatre owners insist that he
makes the show more upbeat. They demand that the proposed play exploring the role of women in today’s
society must be turned into an all singing and dancing mainstream musical. How does he get out of this
dilemma?
Notes: This pastiche musical aimed at satirising the London fringe and the world of financial sponsorship
was hated by most of the critics were concerned. The characters were too stereotyped, the dialogue too reliant
on one-liner gags, and the leading character too unsympathetic as far as many were unconcerned. And a song
about tampons and scratching the itch of vaginal thrush was too much for most. However, one or two did find
a kind word about the score and its clever parodies.
LITTLE ME (2nd Revival)
London run: Old Rose and Crown, August 16th – 31st
Music: Cy Coleman
Lyrics: Carolyn Leigh
Book: Neil Simon
Director: Brendan Matthew
Choreographer: Chris Whittaker
Musical Director: Aaron Clingham
Notes: Performed with a five piece band
and a cast of twelve, this was a much
praised revival, with Daniel Cane stealing
the show in his multi-role virtuoso display.
See Original London production:
Cambridge Theatre, November 1964
First revival: Prince of Wales, May 1984
Photo by All Star Productions
Cast: Daniel Cane (Noble Eggleston), Emma Odell (Young Belle), Julie Ross
(Older Belle), Ben Oliver (Patrick Dennis), Katrina Dix (Bernie Buchsbaum),
Richard Dawes (George), Alastair Knights, Mitchell Lathbury, Emily Apps,
James Houlbrooke, Natalie Viccars, Meghan Rayner,
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PIPE DREAM
London run: Union Theatre,
July 31st – August 31st
Music: Richard Rodgers
Book & Lyrics: Oscar Hammerstein II
Director: Sasha Regan
Choreographer: Lizzi Gee
Musical Director: Christopher Peake
Kieran Brown & Charlotte Scott
Cast: Virge Gilchrist (Fauna),
Kieran Brown (Doc),
Charlotte Scott (Suzy),
David Haydn, Nick Martland,
Matt Parsons, Christopher Connor,
Shane Landers, Mitchell Jarvic,
John Hicks, Joshua Lovell,
Georgie Burdett, Catherine Sagar,
Michaela Cartmell, Rebecca Fennelly,
Clare Duffy, Alexandra LloydHamilton.
Songs: Everybody’s Got a Home But Me, All Kinds of People, All at Once you Love Her, The Next Time it
Happens, Suzy is a Good Thing, A Lopsided Bus, Bum’s Opera, The Man I Used to Be, Sweet Thursday.
Story: The plot is based on the occupants of a flophouse and a nearby seedy cafe in Monterey, California.
Suzy, a vagrant, lives in an abandoned boiler, accessed through a pipe, where she dreams of escaping to a better
future. Suzy cuts her hands after breaking into a shop window to steal food, and she meets Doc, a socially awkward
biologist – a meeting which marks the start of an improbable romance.
Notes: Based on the novels “Cannery Row” and “Sweet Thursday” by John Steinbeck, “Pipe Dream” was Rodgers
& Hammerstein’s seventh musical, and opened on Broadway on November 30th 1955 to huge advance sales. The
cast included opera singer Helen Traubel as Fauna, William Johnson as Doc, and Judy Tyler as Suzy. The original
stories tell of a romance between Suzy, a prostitute, and Doc, a marine biologist, with Fauna the “madam” of a
brothel. Throughout the tryouts the story was constantly being watered down in order to avoid giving any offence,
and by the time it opened the story was somewhat obscure. It was never made clear whether Suzy is a prostitute or
not, and Fauna’s original bordello was referred to as the Bear Flag Café.
It received very poor notices, but thanks to its enormous advance of $1.2 million, it ran to full houses for many
months, during which Rodgers and Hammerstein made several changes in the order of the songs, the structure of the
show, and the dialogue, with a “new” version taking over in March 1956. In spite of these changes, and serious
discounting of ticket prices, the show came off after 246 performances. It was nominated for nine Tony Awards, but
lost best musical to “Damn Yankees”.
During rehearsals and even during the run, the music was repeatedly revised by Rodgers in an attempt to gear the
songs to Traubel's voice. Apparently she was worried that audiences would expect her to sing “operatically” and
would react badly to the “belter” numbers in the original score. To accommodate her, the keys of each of her songs
edged upward., and went through several different transpositions even after the show had opened.
After the opening night, the song “All at Once You Love Her”, performed by Doc and Suzy in the show, was
recorded by Perry Como and became a hit. Either because Traubel demanded it,
or because it was offered as a means of keeping her happy, a special reprise of the
song sung by Traubel alone was incorporated into the show.
At the end of her
original six month contract Traubel refused to renew, and declared the show was
“cursed”. She was replaced by Nancy Andrews, but the show was withdrawn just
a few weeks later.
“Pipe Dream” has never received a major revival. At one point there was talk of a
film version with humans playing Doc and Suzy, and the other roles played by
Muppets, starring Miss Piggy as Fauna. This came to nothing (thankfully?)
This London premiere was regarded as well performed but unable to mask the
limitations of the work itself. It was worth seeing as a Rodgers & Hammerstein
rarity and for some excellent performances.
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BONNIE AND CLYDE
Cast: Samantha Louise Clark (Bonnie),
Tom Sword (Clyde),
Emma Jane Martin (Blanche Barrow),
Gary Tushaw (Sheriff Ted Hinton),
Christopher Burr (W D Jones),
Antony Jardine, James Lloyd Pegg
Story: The “true” tale of love, poverty,
criminality and celebrity set in the 1930s
Samantha Louise Clark & Tom Sword
American Southern States of drought,
dust, disease and death. When Bonnie
met Clyde it was an instant and dangerous attraction. From an impoverished, crime-riddled childhood, these two
young lovers became inseparable and quickly plunged themselves into a life of fast cars, guns, revenge … and Hell.
Part folk heroes and part murderous outlaws, Bonnie and Clyde instantly became the stuff of legend.
Notes: Despite the above press-release, there was little of interest, danger, attraction or legend about the production.
“The company of seven do what they can to illuminate the material, but it is marooned in clichés”. There were long
stretches without music, but when the music arrived it didn’t relieve the monotony, and the show was handicapped
by the fact that Bonnie and Clyde are such deeply unsympathetic characters to begin with.
(This was not the “Bonnie & Clyde” musical by Frank Wildhorn (music) and Don Black (lyrics) which opened on
Broadway on December 1st 2011 following 33 previews. Despite positive audience reception, the Wildhorn/Black
version failed to impress the critics and closed after just four weeks and 36 regular performances. However, it was
nominated for 3 Outer Critics Circle Awards and 5 Drama Desk Awards, both including Best New Musical, as well
as two nominations for the 2012 Tony Awards.)
ON A CLEAR DAY YOU CAN SEE FOREVER (1st Revival)
London run: Union Theatre, September 4th – 28th
Music: Burton Lane
Book & Lyrics: Alan Jay Lerner
Director: Kirk Jameson
Choreographer: Sam Spencer-Lane
Musical Director: Inga Davis-Rutter
Cast: Nadeem Crowe (Dr Mark Bruckner),
Vicki Lee Taylor (Daisy/Melinda),
Matt Beveridge, Howard Jenkins, Felix Mosse,
David McKechnie
Photo by Kay Young
Notes: Its British premiere had been at the Bridewell in
2000, and it had received very
mixed notices. This time its
quirky eccentric story about
reincarnation earned a much
warmer reception, thanks
mainly to the lead
performances. The music was
provided by a three-piece band,
See Original London
production: Bridewell, Jan 2000
Nadeem Crowe & Vicki Lee Taylor
Photo by Roy Tan
London run: King’s Head,
August 21st - September 21st
Music & Lyrics: Joe Evans
Book: Linnie Reedman
Director: Linnie Reedman
Choreographer: Kathleen Gilbert
Musical Director: Phil Mitchell
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HOLLY GOLIGHTLY
London run: Lilian Baylis, September 8th (4 successive Sundays)
Music & Lyrics: Bob Merrill
Book: Abe Burrows
Director: Ian Marshall Fisher
Musical Director: Chris Walker
Producer: Lost Musicals series
Cast: Holly Dale Spencer (Holly Golightly),
Joseph Wilkins (Jefferson Claypool),
Gary Raymond (Doc Golightly),
Simone Craddock (Mag Wildwood), Myra Sands (Madam Spanella),
Stewart Permutt (Yunioshi), Jonathan Dryden (Sally Tomato),
Gareth Davies (Rusty Trawler), George Bryan, Sarah Pearman, Julio
Galan, Paul Lincoln, Jay Worthy,
Songs: Travelling, I’ve Got a Penny, Here We Are Again, Nothing is
New in New York, Ciao Compare, You’ve Never Kissed Her, The
Girl you Used to Be
Joseph Wilkins & Holly Dale Spencer
Notes: Based on “Breakfast at Tiffany’s” by Truman Capote, the
musical version, called “Holly Golightly” had a score by Bob Merrill, and was directed by Abe Burrows, who
also wrote the book. It began try-outs at Philadelphia and Boston and went so badly that the producer, David
Merrick, decided to scrap the entire book and engage Edward Albee to re-write the show from scratch. At this
point Abe Burrows walked out and Joseph Anthony took over direction.
The cast, which included Mary Tyler Moore, Richard Chamberlain and Larry Kert, were given major re-writes
each day, and ended up demoralised and exhausted. The show, now given the title
“Breakfast at Tiffany’s”, was scheduled to open on Boxing Day 1966 in New York, and
already had advance sales of over a million dollars due to the strength of its stars and
provenance. The first preview was held on December 12th, during which members of
the audience walked out, some shouting abuse at the actors. Then, after just three more
previews, David Merrick made the unprecedented announcement that he was shutting
down the production "rather than subject the drama critics and the public to an
excruciatingly boring evening." The announcement made Merrick a hero with the
public.
The Lost Musicals production – the first time the show had been produced anywhere
since its 1966 flop – used the very first version of the book as written by Abe Burrows
and reverted to the first title, “Holly Golightly”. It was regarded as an over-long and
slightly distasteful version of the novel, but nonetheless a fascinating insight into the
construction of a musical.
WHEN MIDNIGHT STRIKES (1st Revival)
London run: Upstairs at the Gatehouse, September 11th – 29th
Music: Charles Miller
Book and Lyrics: Kevin Hammonds
Director: Grant Murphy & Damian Sandys
Choreographer: Ellie Rutherford
Musical Director: Matt Ramplin
Cast: Miranda Wilford (Jennifer), Ashley Emerson (Christopher),
Newley Aucutt (Edward), Lucyelle Cliffe (Murial), Jessica Anne Ball
(Josephine), Sarah Harlington (Twyla), Stephanie Parker (Nicole), Charles
Miller, John Hicks, Kevin Hammonds, Tash Holoway, Tom Millen
Notes: This revival received the same enthusiastic praise as the original 2007
production: it was generally praised for its tunefulness, wit and intriguing
plotting. Original London production: Finborough, September 2007
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ANOTHER WAY
London run: Cockpit Theatre, September 13th – October 5th
Music: Benedict
Book & Lyrics: Sarah Henley & Tori Allen-Martin
Director: Bo Boland
Musical Director: Susanna Squires
Cast: Bart Edwards (Toby), Aiden Crawford (Sam), Andy Coxon (Oliver),
Julie Atherton (Carrie), Matthew Collyer (Alex), Ria Cherrelle Horsford (Viv)
Story: Toby and Sam have created a short film for YouTube, and it has gone
viral. This potentially life-changing success puts strains on their artistic, creative
and business partnership. There are two other couples experiencing stresses and
strains as they, too, have to deal with turning points in their lives: Oliver, who
dreams of success as a novelist, and his partner Carrie, who has to deal with their financial struggles; and Viv,
struggling to cope as her partner Alex undergoes his chemotherapy treatment.
Notes: This was a warm-hearted and witty story, but it was generally felt to be a bit shapeless in structure and
suffering from some banal lyrics and a very schmaltzy “happy ending”. However, there was praise for its witty
dialogue and some very tuneful music. The music was re-worked versions of songs by Benedict.
MOLLY WOBBLY’S TIT FACTORY (Cancelled)
London run: Hackney Empire, September 22nd – October 5th
Music,Book & Lyrics: Paul Boyd
Director: Paul Boyd
Choreographer: Sarah Johnston
Musical Director: Matthew Reeve
Cast: Gary Wilmot, Sophie Louise-Dann, Samuel Buttery, Shona White, Conleth Kane, Stephanie Fearon,
Christopher Finn, Russell Morton
Songs: Stranger in Town, Catholic Girl, Little Happening High, One Day Without Her, Trust Yourself to Me,
Off My Chest, Presbyterian Minister’s Wife
Photo by Darren Bell
Story: Set in Mammary Lane in the town of Little Happening, a strange hunch-backed man appears—a man
with the power to stop watches and cast eerie spells over the townsfolk. It turns out he is the servant of the mad
beautician Molly Wobbly who sets up a Tit Factory in a disused church. He offers a strange glowing potion
with magic powers enabling three dissatisfied wives to awaken their suppressed sexualities and start craving
self-expression through surgery and breast enhancement at Molly Wobbly’s Tit Factory.
This show had played the 2012 Edinburgh Fringe Festival to the widest range of critical reviews, from utterly
damning to “the next Rocky Horror”. There was sufficient enthusiasm to bring the show to London, with an
opening fixed at the Hackney Empire
and the hope of further dates to follow.
However, it was cancelled just hours
before the first preview after its
producers claimed a major investor
had dropped out at the last minute.
The management at Hackney Empire
suggested running a few performances
until the Sunday when it was due to
have its press day, and even offered to
pay “half of the money outstanding to
the actors” to buy the producers time.
But the actors refused the offer and
because no other money was available,
the show was pulled. The cast had
been paid for rehearsals but the
producers admitted there was likely to
be “outstanding” money owed to
Photo from the technical rehearsal at Hackney Empire
people.
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THE BOYS FROM SYRACUSE (2nd Revival)
London run: Union Theatre, October 4th – 26th
Music: Richard Rodgers
Lyrics: Lorenz Hart
Book: George Abbott
Director: Ben de Wynter
Choreographer: Mark Smith
Musical Director: Michael Riley
Cast: Matthew Cavendish (Dromio of Syracuse),
Alan McHale (Dromio of Ephesus), Kaisa Hammarlund (Courtesan),
Aaron Hayes Rogers (Antipholus of Syracuse),
Oliver Seymour-Marsh (Antipholus of Ephesus),Natalie Woods (Luce), Carrie Sutton (Adriana),
Cara Dudgeon (Luciana), Daryl Armstrong, Marc Forde, Samuel Hopkins, Matt Lee-Steer, Oliver Meredith,
Alexia Collard, Lizzy Connolly, Emily Juniper, Mary Farragher, Daniel Conway.
Notes: The Union, which had a good record of successful revivals, was felt to have fallen short with this show.
The book, itself, felt dated, and the production, despite much enthusiasm and energy, was lacking in any true sense
of purpose. It was regarded as all a bit half-hearted, but it was also said that even half-hearted Rodgers & Hart can
provide a better evening’s entertainment than many modern shows.
See Original London Production: Drury Lane, November 1963; First revival: Open Air Theatre, July 1991
DAYS OF HOPE (2nd Revival)
London run: Ye Olde Rose and Crown, EC1, October 8th – 18th
Music & Lyrics: Howard Goodall
Book: Renata Allen
Director: Tim McArthur
Musical Director: Aaron Clingham
Cast: Christopher Dingli (Carlos), Jo Wickham (Maria), Annie Kirkman (Sofia),
Rupert Baldwin (Stanley), Lydia Marcazzo (Teresa), Alexander Barrier (Pablo),
Emanuel Alba (José)
This was just the third time in over twenty years that Howard Goodall’s musical set in
the Spanish Civil War was having a London revival. As before, it raised mixed
emotions in the audience: for some it was a serious, high quality work of artistic
integrity; for others its historical and political reality did not sit comfortably in a
musical format.
Original London production: Hampstead Theatre, April 1991
First revival: King’s Head, March 2007
SEVEN BRIDES FOR SEVEN BROTHERS (4th Revival)
London run: New Wimbledon Theatre October 8th – 12th
Music: Gene de Paul
Lyrics: Johnny Mercer
Book: Lawrence Kasha & David Landay
New songs: Al Kasha & Joel Hirschhorn
Director - Choreographer: Patti Colombo
Musical Director: Bruce Knight
Producer: Peter Frosdick, Paul Nicholas
Cast: Sam Attwater (Adam),Helena Blackman (Milly), Sam Stones (Frank),
Jack Greaves, Carrie Willis, Georgina Parkinson
Notes: This played a week at Wimbledon as part of a UK tour. It was regarded as much superior to the 2006
touring version, and praise was heaped on the principals and the 18 strong cast, with much acclaim for the ebullient
choreography.
See original London run: Old Vic July1985; First revival: Prince of Wales, May 1986 ;
Second revival: BAC Main, December 1999; Third revival: Theatre Royal, Haymarket August 2006
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THE COMMITMENTS
London run: Palace Theatre, October 8th—November 1st, 2015
Music & Lyrics: Various
Book adaptation: Roddy Doyle
Director: Jamie Lloyd
Choreographer: Ann Yee
Musical Director: Alan Williams
Cast: Denis Grindel (Jimmy Rabbitte), Joe Woolmer (Mikah),
Matthew Wycliffe (Outspan), Ben Fox (Joey Fagan), Killian Donnelly (Deco),
Sarah O’Connor (Imelda), Clodagh Long (Sharon), Stephanie McKeon (Natalie),
Barnaby Southgate, Mark Dugdale, Brian Gilligan
Songs: In The Midnight Hour, What Becomes of the Broken-Hearted, Satisfaction, I
Heard it Through the Grapevine, Try a Little Tenderness, I Can’t Turn You Loose, You Keep Me Hanging On,
Mustang Sally.
Story: Jimmy Rabbitte, an ambitious would-be band manager in 1980s Dublin, gathers together an unlikely
bunch of amateur musicians, and wants to turn them into the finest soul band Dublin has ever produced.
Naming them The Commitments, the line-up includes a useless saxophonist, a bolshy drummer (Mickah), and
a couple of so-so guitarists (one is called Outspan). Jimmy persuades Joey “The Lips” Fagan, an old Irish soul
trumpet player, to put the youngsters through their paces. He chooses the obnoxious but charismatic Deco as
the lead vocalist, and three girls - Imelda, Sharon and Natalie – as a backing group chosen more for their looks
than their voices. The humour kicks in as the band get to know each other and their instruments, and proceed
through early rehearsals for their first gig. Just as they improve and begin to get a name for themselves they
combust. The backing singers are all getting off with the middle aged Joey, Deco has entered Eurovision and
the saxophone player has dangerous leanings towards a jazz career.
Photo by Tristram Kenton
Notes: Adapted from Roddy Doyle’s novel and the 1991 film version directed by Alan Parker, this show
received very mixed reviews. For some critics it was much more than a standard juke-box musical: it was an
exuberant, fast, funny and gritty portrait of teenage passion for music, and of the seedier side of life in 1980s
Dublin. For others it was a desperately disappointing, over amplified foul-mouthed and manipulative laddish
evening “little more than ‘We Will Rock You’ for soul fans” (Guardian). However, most of the critics agreed
the music itself was the saving grace of the show. The show began previews on September 21st.
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THE 25TH ANNUAL PUTNAM COUNTY
SPELLING BEE (1st Revival) Cancelled
London run: Fairfield Halls, Croydon, October 8th - 9th
Music & Lyrics: William Finn
Book: Rachel Sheinkin
Director: Alex Howarth
Choreographer: Ken Oldfield
Musical Director: Lee Freeman
Cast: Darren Day (Douglas Panch), Niki Evans (Rona Perretti),
Rhys Owen, Ellie Mason, Thomas Mackley, Janette McManus,
Arina II, Ross Cobbald, Joshua Dowen, Jamie Lee Pike and
Will Bradnam.
Notes: This was a touring production which opened an initial six-week tour at Harlow Playhouse on October 3rd,
and then moved to Croydon, where it was cancelled on its second night. It was the second time this year that a show
starring Darren Day had been cancelled (after “The Golden Voice” failed to raise enough backing money at the Arts
Theatre in July.) The producers announced “The show has been subject to the same extreme economic pressures as
many productions touring the UK this autumn. Ticket sales across the board have been lower than average and
unfortunately we have not escaped this trend. A difficult financial environment means that covering operating costs
has become impossible. As a result we had no option but make the extremely hard and painful decision to stop the
tour.” Original London production: Donmar Warehouse February 2011
Photo by Brinkhoff Moegenburg
THE LIGHT PRINCESS
London run: Lyttleton,
October 9th – January 9th 2014
Music: Tori Amos
Book & Lyrics: Samuel Adamson
Director: Marianne Elliott
Choreographer: Steven Hoggett
Musical Director: Martin Lowe
Cast: Rosaslie Craig (Althea),
Amy Booth-Steel (Piper),
Clive Rowe (King Darius),
Nick Hendrix (Digby),
Hal Fowler (King Ignacio),
Laura Pitt-Pulford (Falconer)
Story:
Princess Althea of the
Kingdom of Lagobel and Prince Digby of the neighbouring warring Kingdom of Sealand both suffer from the deaths
of their respective mothers. The shock makes Althea lighter than air, and she constantly floats and levitates – so
much so that the citizens fear she may be a witch, and her father King Darius locks her in a tower. Prince Digby
reacts quite differently: he becomes heavy-hearted and belligerent. His father, King Ignacio sends him to the rival
land to shoot and kill Althea, the floating witch. However, when he sees her he falls in love with her. Naturally, by
the end of the show she has grown up, faced love and loss, and accordingly returned to a proper earth-bound life; and
he, too, has undergone a transformation which enables him to come to terms with his loss and return to a normal life.
(And, as well as this fairy-tale love story, the show also has themes concerning the wickedness of war, the evils of
patriarchy, and the need protect the environment and the water supply.)
Notes: Based on George MacDonald’s 1864 novel, this sung-through musical was originally announced for
production at the National Theatre in 2011, but was suddenly postponed citing the need for further work on the music
and the book. The staging was universally praised, and the performance of Rosalie Craig received huge plaudits –
for most of the show she was suspended on wires, or held up by black-clad acrobats, and, at one point, even sang a
whole number suspended upside down. However, for many critics it was a ponderous, preachy and very silly story
with mostly unmemorable music and lyrics. It was a victory of style (and brilliant style and performances) over
content. “Not since the dying days of British Leyland and its Austin marque has the word ‘Princess’ been applied to
quite such a ropey vehicle” (Daily Mail)
2013
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FROM HERE TO ETERNITY
London run: Shaftesbury Theatre, October 23rd – March 29th, 2014
Music: Stuart Brayson
Lyrics: Tim Rice
Book: Bill Oakes (based on the James Jones’ novel)
Director: Tamara Harvey
Choreographer: Javier de Frutos
Musical Director: David White
Producers: Tim Rice and Lee Menzies
Cast: Darius Campbell (Milt Warden), Rebecca Thornhill (Karen Holmes),
Ryan Sampson (Angelo Maggio), Robert Lonsdale (Robert Prewitt),
Siobhan Harrison (Lorene), Martin Marquez (Captain Holmes)
Songs: G Company Blues, Thirty Year Man, Marking Time, Don’cha Like Hawaii, You Got the Money, Fight
the Fight, Run Along Joe, Love Me Forever Today, I Love the Army, Something in Return, Almost Perfect Lie,
The Boys of ‘41
Story: The US Army’s G Company is based in Hawaii in 1941, in the months leading up to the attack on Pearl
Harbour. The story deals principally with three soldiers: First Sergeant Milt Warden, who begins an affair with
his captain's wife, Karen Holmes; Angelo Maggio, an insubordinate Private who makes extra money by “rolling
queers” in a gay club; and Private Robert E. Lee Prewitt, a self-described career soldier (“a thirty-year man”)
who falls in love local prostitute Lorene. Because he had once accidentally blinded a fellow soldier while boxing,
Prewitt refuses to box for his company’s outfit despite the bullying of Captain “Dynamite” Holmes. As a result
this stubborn refusal he is given the "Treatment," a daily hazing ritual in which the non-commissioned officers of
his company run him into the ground.
Notes: James Jones’s 1951 novel “From Here to Eternity” was based loosely on his personal experience serving
with the US Army in Hawaii. The original underwent heavy censorship by the publishers who insisted on
removing all profanity, the gay prostitution sub-theme, and any material that might embarrass the US Army.
Despite the cuts, the novel was a huge success and has since been acknowledged as one of the best American
novels of the 20th Century. In 1953 it was adapted into a film, but only after the undergoing further censorship in
order to gain the military’s co-operation. The film was an enormous box office and critical success, winning eight
Academy Awards. (The love scene on the beach with waves washing over Burt Lancaster and Deborah Kerr has
become an iconic moment in cinema history).
Photo by Johan Persson
Finally, in 2011, the original uncensored novel was published – and it was this version that was adapted into the
musical production, marking Tim Rice’s first big-show return to the West End for thirteen years. The show
incorporates references to prostitution and gay sex, as well as the Army's investigation into them, and proved to be
controversial from the first preview (September 30th) onwards. Several critics found this too explicit for a West
End musical, while others welcomed a “serious” theme being given musical treatment. There was unanimous
praise for the choreography (“a heady mix of boxing, military drill, surfer poses and hula”) and general
enthusiasm for the music and the lyrics. The reaction to the “realism” in the staging and in the story itself
provoked many
d i v e r g e n t
opinions.
Shortly
after
opening it was
announced that
the
production
would close on 29
April 2014, after
a seven and a half
month
run,
though it might
possibly transfer
to another venue.
In the event it
closed a month
earlier due to poor
ticket sales.
2013
129
AROUND THE WORLD
(1st Revival)
London run: Lilian Bayliss,
October 20th- November 10th
(four successive Sundays)
Music: Cole Porter
Book: Orson Welles
Director: Ian Marshall Fisher
Musical Director:
Producer: Lost Musicals series
Cast: David Firth (Phileas Fogg),
Lance Fuller (Passepartout),
Rebekah Hinds (Molly Muggins),
Michael Roberts, James Vaughan, Davina Perera, Rob Eyles.
Notes: The Lost Musicals company had premiered this show in London in 2007 following the rediscovery of the
“lost” material from its original 1946 Broadway production. Further work has been done on re-developing this
show, and this production, ending the 2013 season, transferred to New York for eight performances at the Mint
Theater from December 6th – 12th .
Original London production: Lilian Baylis Theatre, June 2007 in the Lost Musicals season.
LOVE STORY (1st Revival)
London run: Jack Studio, Brockley, October 22nd – November 16th
Music: Howard Goodall
Book & Lyrics: Stephen Clark & Howard Goodall
Director: Joseph C. Walsh
Musical Director: Rob Archibald
Cast: Caroline Keating (Jenny Cavilleri),
Jonny Muir (Oliver Barrett IV),
John Sears (Phil Cavilleri),
Paul Tate (Oliver Barrett III),
Laura Armstrong, Jennifer Lucy Cook,
Daisy Jorgensen, Lesley Molony,
Ian Southgate, Anton Tweedale.
Notes: The original production ran for a
limited ten week season in the West End to
mixed reviews. This revival at the tiny
fringe theatre in Brockley passed with very
little impact.
Original London run: Duchess Theatre,
December 2010
Photo by Tony Nandi
Generally the work is felt to suffer from
brevity (it is an hour and a half long), a
lack of real conflict, and an unmemorable
score, although it does supply some
genuinely moving scenes.
Caroline Keating & Jonny Muir
2013
130
THE SCOTTSBORO BOYS
London run: Young Vic, October 29th – December 21st
(see transfer to Garrick Theatre, October 2014)
Music: John Kander
Lyrics: Fred Ebb & John Kander
Book: David Thompson
Director-Choreographer: Susan Stroman
Musical Director: Robert Scott
Cast: Julian Glover (Interlocutor), Kyle Scatcliffe (Haywood),
Idriss Kargbo (Eugene), Dawn Hope (Rosa Parkes),
Colman Domingo (Mr Bones), Forrest McClendon (Mr Tambo/ Leibowitz), James T. Lane (Ruby Bates),
Christian Dante White (Victoria Price), Adebayo Bolaji, Rohan Pinnock-Hamilton, Carl Spencer, Clinton Roane,
Emile Ruddock, Joshua Liburd, Jordan Shaw
Songs: Hey Hey Hey!, Commencing in Chattanooga, Alabama Ladies, Nothin’, Electric Chair, go Back Home,
Shout, Make Friends with the Truth, That’s Not the Way We Do Things, Never Too Late, Financial Advice,
Southern Days, You Can’t Do Me
Story: The show opens with a black lady waiting at a bus stop, a kind of “dream sequence” which fades into an oldtime Minstrel Show, where The Interlocutor introduces the players and begins the story of Haywood and Eugene,
two of nine boys accused of rape by two runaway Alabama girls. Without a good lawyer, they are found guilty and
are sentenced to death. At the last minute the verdict is overturned following a Supreme Court ruling that the boys
did not get effective counsel. A year later, they receive a new trial, represented by Samuel Leibowitz, a top New
York lawyer, where Ruby Bates, one of the girls, surprises the court and admits that the boys are innocent. But, upon
cross-examination, the Southern District Attorney claims that Ruby Bates' change of heart was purchased by the
defence. Once more the boys are found guilty and the death sentence re-imposed. Haywood tries to escape in order
to see his mother before she dies but is quickly caught.
As time passes, Leibowitz and the Northern supporters continue to appeal the verdict. In every trial, the boys are
found guilty. Even the other girl, Victoria Price, begins to buckle, and by 1937, four of the youngest boys are
released, but the other five remain in prison. Haywood is brought up for parole, but the governors refuse to consider
this unless he changes his plea to guilty. Twenty-one years later Haywood dies, still in prison. As the show ends,
the Interlocutor calls for the finale, but the boys refuse to accept this ending. The scene fades back to the bus stop,
just as the bus arrives. The lady, who is, in fact, Rosa Parks, boards the bus. The driver tells her to sit in the back to
make room for a white man to sit down, but she refuses and stays in the front.
Photo by Richard Hubert Smith
Notes: The early plans for a Scottsboro Boys musical came to a sudden end in 2004 when Fred Ebb’s died. The
project was revived in 2010, with John Kander finishing the lyrics, and a limited-run off-Broadway production began
previews on February 12th 2010, opening on March 10th and closing on April 18th. Its excellent reviews led to a
full Broadway production opening on October 31st 2010 (previews from October 7th). But this time the reviews
were very mixed: some said the subject was unsuitable for musical treatment, and "the use of minstrelsy and
blackface” was racist; but others praised its exciting and compelling approach to the subject. It was a flop, closing
on December 12th, 2010, after just 29 previews and 49 regular performances. After closing it received an
astonishing twelve Tony Award
nominations, but failed to win a single
award.
The London production began
previews on October 18th and the
critics almost unanimously reached for
the superlatives: “audacious and
thrilling”, “passionate, original and at
times deeply moving”, “an ingenious,
taboo-busting musical epic”, and “this
shocking, gripping, superbly staged,
fabulously well performed show”.
Most of them commented on the fact
that it had been cheated out of its Tony
Awards, losing heavily to “The Book
of Mormon”, which “just goes to
prove that in the world of showbiz, as
in the American South of the 1930s,
there ain’t no justice” (Guardian)
2013
131
HMS PINAFORE (Revival)
London run: Union Theatre, November 1st – 30th
Music: Arthur Sullivan
Lyrics: W.S. Gilbert
Director: Sasha Regan
Choreographer: Lizzi Gee
Musical Director: Chris Mundy
Cast: David McKechnie (Sir Joseph Porter),
Ciaran O’Driscoll (Buttercup), Tom Senior (Ralph Rackstraw),
Bex Roberts (Josephine),Ben Vivian Jones (Captain Corcoran),
Lee van Geelen (Dick Deadeye)
Cast for tour: David McKechnie (Sir Joseph Porter), Alex Wetherill
(Buttercup), Keith Jack (Ralph Rackstraw), Alan Richardson (Josephine), Neil
Moors (Captain Corcoran), Aidan Crowley (Dick Deadeye)
Notes: Set on a Second World War warship, this was an all-male production,
with the naval crew deciding to stage the G&S classic as a form of on-deck
entertainment. This was another of Sasha Regan’s all-male productions at the Union, and although one or two
reviews felt it was an idea that was running out of steam, the general reaction was one of praise. Following its
successful run at the Union, a tour was announced, to open at Hackney Empire in February 2014 and then to play
various touring dates until May
See earlier London Production: Her Majesty’s, February 1962
Also Old Vic revival April, 1986 ; Open Air, Regent’s Park, July 2005
CANDIDE (3rd Revival)
London run: Menier Chocolate Factory, November 23rd – March 1st
Music: Leonard Bernstein
Lyrics: Richard Wilber
Additional Lyrics: Stephen Sondheim, John Latouche, Lillian Hellman,
Dorothy Parker & Leonard Bernstein
Book: Hugh Wheeler in a new version by John Caird
Director: Matthew White
Choreographer: Adam Cooper
Musical Director: David Charles Abell, Sean Alderking
Notes: Following a number of previews, the show had its official opening night on December 2nd. As before, the
critics found much to praise in its “dazzling musical craftsmanship”, its bravura numbers, and “one of the most
beautiful finales of any musical”.
However the general reaction remained
somewhat cool, finding the show too
diffuse, too repetitious, and “a musical in
constant danger of seeming strenuous,
bloated and effortful”. The show was a
complete sell out, and was able to add an
extra week to its original planned season.
James Dreyfus was not available for these
additional performances and his role was
taken by Michael Cahill.
Original London production:
Saville Theatre, April 1959
First Revival: Old Vic, Dec 1988
Second Revival: Olivier, April 1999
Photo by Tristram Kenton
Cast: James Dreyfuss (Pangloss/Voltaire), Fra Fee (Candide),
Scarlett Strallen (Cunegonde) , Jackie Clune (Old Woman),
David Thaxton (Maximilian), Carly Anderson, Jeremy Batt, Michael Cahill,
Christopher Jacobsen, Cassidy Janson, Frankie Jenna, Ben Lewis, Rachel Spurrell,
Helen Walsh, Matt Wilman.
2013
132
SEUSSICAL (1st Revival)
London run: Arts Theatre, December 2nd – January 12, 2014
Music: Stephen Flaherty
Book & Lyrics: Lynn Ahrens
Additional material: Eric Idle
Director: Kirk Jameson
Choreographer: Racky Plews
Musical Director: George Bryan
Cast: D (Horton), Jordan Veloso (Jojo), Jessica Parker (Mayzie la Bird),
J (Cat in the Hat), K (Gertrude McFuzz), Benjamin Vivian-Jones, Ste Clough,
Elliot Fitzpatrick, Kirsty Marie Ayers, Shekinah McFarlane
Notes: This had been produced at the Arts Theatre the previous Christmas, but this
revival was a completely new production.
Original London production: Arts Theatre, December 2012
USHERS – THE FRONT OF HOUSE MUSICAL
London run: Hope Theatre, Islington, December 3rd – 31st
Proposed transfer: Charing Cross Theatre, March 7th – April 19th 2014
Music & Lyrics: Yiannis Koutsakos & James Oban
Book: James Rottger
Director: Max Reynolds
Choreographer: Russell Smith
Musical Director: Michael Riley
Cast: Liam Ross-Mills (Ben), Will Jennings (Gary), Ross McNeil (Stephen), Abigail Carter-Simpson (Lucy),
Chloe Brooks (Rosie), Ralph Bogard (Robin)
Songs: Dreams & Ice Creams, It’s Time to Let Go, Welcome, Spend per Head, Loving You is All I Know,
Leading Men
Photo by John Hunter
Story: This “Front of House” musical follows a shift in the lives of the stagiest people in the theatre - the front
of house staff! The three-year gay romance between Ben and Gary is under threat because of career
movements; an immediate love-at-first-sight affair occurs between Stephen and Lucy on her very first night on
the job; blogger Rosie is obsessed with leading men; and Machiavellian manager, Robin, needs to cut costs.
Throughout their shift the ushers dream of staging and appearing in their own show, “Oops, I did it Again!”
using the songs of Britney Spears.
Notes: The general reaction felt the basic idea was fun, but the characters were under-developed, and the plot
developments too predictable to give the show anything more than passing interest. A number of critics
suggested that the
straightforward portrayal
of
the
boy-boy
relationship and the
comic-book approach to
the boy-girl love affair
meant the show did not
have an overall cohesive
style.
However, it
transferred to the Charing
Cross Theatre in March
2014, playing Thursdays
to Saturdays as a late
night show, starting at
10.15.
2013
133
AMERICAN PSYCHO
London run: Almeida,
Dec 3rd – Feb 1st 2014
Music & Lyrics: Duncan Sheik
Book: Roberto Aguirre-Sacasa
Director: Rupert Goold
Choreographer: Lynne Page
Musical director: David Shrubsole
Songs: Clean, Everybody Wants to Rule the World, Cards, You Are
What You Wear, True Faith, Killing Time, Hardbody, If We Get
Married, Not a Common Man, Hip to be Square, Killer Wolf, I am
Back, This is Not an Exit
Photo by Nigel Norrin gton
Cast: Matt Smith (Patrick Bateman),
Ben Aldridge (Paul Owen),
Charlie Anson (Craig McDermott),
Jonathan Bailey (Tim Price),
Susannah Fielding (Evelyn Williams),
Hugh Skinner (Luis Carruthers), Cassandra Compton (Jean),
Gillian Kirkpatrick, Katie Brayben, Holly Dale Spencer, Simon
Gregor, Holly James, Lucie Jones, Tom Kay, Eugene McCoy
Matt Smith
Story: Living the high life in 1980s Manhattan, Patrick Bateman has
it all – looks, money, style and status. He and his entourage buy the most expensive designer clothes, eat at the
most exclusive restaurants and party at the hottest clubs. But privately, Patrick indulges in another kind of
transgression. And people - including those closest to him - keep disappearing.
Notes: Based on the 1991 novel by Bret Easton Ellis and the film version of 2000, this was a musical about
what is happening inside a man’s head - a study of an existential crisis and what is presented as a serial killing
spree. Such an undertaking was predicted to be a piece of directorial indulgence and almost certainly a nonstarter until it was announced that Matt Smith (formerly a “Dr Who”) would be playing the leading role. The
critics were all mightily impressed with his performance, and even his singing voice, as well as the electronicpop inspired musical score. However, the show itself received mixed reactions: “works superbly” (Guardian);
“glib, heartless and pretentious” (Telegraph). With astonishing video-projections and exciting choreography,
and a dazzling production by Rupert Goold, not to mention Matt Smith clad only in a pair of tiny white
underpants and performing a sexual threesome with a pink teddy bear, it was anticipated this was a show with a
future. (It began previews on December 3rd and opened on December 12th)
MEET ME IN
ST LOUIS
London run:
Landor Theatre,
Dec 16th – Jan 18th 2014
Photo by Darren Bell
Georgia Permutt and
Piers Bate
2013
134
MEET ME IN ST LOUIS
London run: Landor Theatre, December 16th – January 18th 2014
Music & Lyrics: Hugh Martin & Ralph Blane
Book: Hugh Wheeler
Director: Robert McWhir
Choreographer: Robbie O’Reilly
Musical Director: Michael Webborn
Cast: Georgia Permutt (Esther), Piers Bate (John),
Emily Carewe-Jeffries (Rose), Thomas Judd (Rose’s boyfriend),
Rebecca Barry (Tootie), Samuel Pope (Lon), Bryan Kennedy (Alonso Smith),
Nova Skipp (Mother) Carolyn Allen (Katie, the Maid), Tom Murphy (Grandpa)
Songs: The Boy Next Door, Be Anything But a Girl, Wasn’t it Fun, The Trolley Song, Raving Beauty, A Touch of
the Irish, You are for Loving, A Day in New York, Diamonds in the Starlight, Have Yourself a Merry Little
Christmas, Paging Mr Sousa
Story: The Smiths, a well-to-do suburban family live in Midwestern St. Louis at the beginning of the 20th Century.
The city is about to host the World’s Fair, a spectacular exhibition on a scale never before seen, and the Smiths are
preparing to celebrate its arrival. Meanwhile, sisters Esther and Rose are dreaming of romance. Esther is in love
with the boy next door, whilst Rose is awaiting a phone call in which she hopes to be proposed to. The younger
sisters, Tootie and Agnes, are out to cause chaos, while brother Lon is dreaming of college. However, their father
Alonso is unexpectedly beckoned to New York with the offer of a promotion and the Smith’s are suddenly
arranging to move away from St. Louis; an uprooting that threatens to change their lives forever.
Notes: “The Kensington Stories” by Sally Benson had been adapted into the much acclaimed 1944 MGM film
“Meet Me in St Louis” starring Judy Garland and directed by Vincente Minelli. The composer/lyricist Hugh Martin
had always dreamt of a Broadway stage-production, but it was not until the mid-1980s that this dream began to take
shape. A new libretto was prepared by Hugh Wheeler (who died just prior to the opening); Hugh Martin and Ralph
Blane (both of whom were 75 years old by opening night) came out of retirement to write an additional ten songs for
the musical version; the South-African director, Louis Burke, was put in charge of the project; and a cast of top
names including George Hearn, Milo O’Shea, Charlotte Moore and Betty Garrett were assembled for a Broadway
opening on November 2nd 1989. It received very mixed notices, with the critics mostly finding it too sickly-sweet
for modern consumption, though a few praised its charm, its tunefulness and its lavish staging. It ran for just 252
performances. This fringe production at the Landor was its UK professional premiere, performed in the postBroadway authorised version, and accompanied with a four-piece band. Inevitably the stage version was compared
(unfavourably) to the film, but for many reviewers it had a nostalgic charm which chimed nicely with the Christmas
period.
KISS ME KATE (6th Revival)
London run: Upstairs at the Gatehouse, December 17th – January 26th 2014
Music & Lyrics: Cole Porter;
Book: Sam & Bella Spewack
Director: John Plews
Choreographer: Ryan-Lee Seager
Musical Director: Simon Burrow
Cast: Gavin Keenan (Fred Graham), Sabrina Carter (Lili Vanessi),
Phillip Arran (Baptista/ Harrison Howell), Olivia Holland-Rose (Lois Lane) ,
Robbie Durham (Bill Calhoun), Dominic Quinn & Martin Steven Carlton
(Gangsters) Danielle Morris (Hattie), Dean Bray (Paul), Leigh Lothian,
Matthew Hartley, Chloe Porter, Helen Reuben
Notes: With a five-strong band and a cast pared down to 13 players (many of them doubling, trebling and even
quadrupling!) this production came in for great praise. It was considered to be every bit as enjoyable as the
Chichester/Old Vic production that had been playing earlier in the year. There was much praise for Sabrina Carter
and especially for Gavin Keenan’s new approach to the role, playing him as a camp English Thespian. (Previews
from December 12th)
Original London Production, March 1951 ; 1st revival, Coliseum, Dec 1970;
2nd revival: Old Vic/Savoy, May 1987; 3rd revival: Open Air Theatre, July 1997;
4th Revival: Victoria Palace, Oct 2001; 5th Revival: Old Vic, Nov 2012
2013
135
STEPHEN WARD
London run: Aldwych, December 19th – March 29th 2014.
Music: Andrew Lloyd Webber
Book & Lyrics: Christopher Hampton & Don Black
Director: Richard Eyre
Choreographer: Stephen Mear
Musical Director: Graham Hurman
Cast: Alexander Hanson (Stephen Ward), Charlotte Spencer (Christine Keeler),
Charlotte Blackledge (Mandy Rice-Davies), Anthony Calf (Lord Astor),
Daniel Flynn (John Profumo), Ian Conningham (Ivanov),
Joanna Riding (Valerie Hobson)John Stacey (Lord Boothby),
Martin Callaghan (Peter Rachman), Ricardo Coke-Thomas (Lucky Gordon).
Songs: Human Sacrifice, Super Duper Hula Hooper, When You Get to Know Me, This Side of the Sky,
Manipulation, You’ve Never Had it So Good, Black-Hearted Woman, Mother Russia While We Can, Love Nest,
Give Us Something Juicy, I’m Hopeless When I Come to You, Too Close to the Flame.
Story: Stephen Ward, a sexually permissive osteopath, is portrayed as a scapegoat, a victim of a gross miscarriage
of justice which drove him to suicide on the last day of what was a political “show trial”. This real-life story opens
with Ward looking at his own waxwork in Blackpool’s Chamber of Horrors, and introduces the real-life characters
of Christine Keeler and her friend Mandy Rice-Davies, two good-time girls he introduced to the randy aristocrat,
Lord Astor. The sex- parties at Astor’s mansion led to Keeler’s simultaneous affairs with John Profumo, the
Minister for War, and Yevgeny Ivanov, a Soviet naval attaché. When this story hit the headlines, it caused a
major scandal, this being 1963 and the height of the Cold War. Profumo originally denied the affair, and then,
having lied to Parliament, was forced to resign. Harold Macmillan’s government was suddenly under threat. This
was an age of hypocritical politicians, grubby journalists and cynical police officers, and so, a trumped up charge living off immoral earnings - was brought against Ward to deflect the scandal. Profumo’s wife, the actress Valerie
Hobson, was one of the few people to come out of the affair with any dignity.
Notes: Several of the critics felt that, fifty years on, this was a forgotten scandal of no real interest; the real-life
Stephen Ward was too seedy a character to engage much sympathy for the injustice he suffered; the rollicking
orgies of old codgers being spanked by young lovelies in corsets no longer had any theatrical shock value. It was
all a bit of a yawn with clunky lyrics and very few memorable songs. However, others thought it was a powerful
musical about defeat and decay, its pastiche songs were sharp and funny, and the Establishment’s destruction of
the little people was genuinely moving. A few, in the middle, thought it was an honourable failure. On balance,
the naysayers just had the majority. “Stephen Ward” was nicknamed “Hospital Ward” and the general view was it
would not last long.
Photo by Nobby Calrke
The show, budgeted at £2.5 million, began previews on December 3rd and opened on December 19th. It was
originally
taking
bookings to March 1st,
but in spite of the
mixed
notices,
announced the run had
been extended to May
31st 2014. However, a
collapse in ticket sales
saw the closing date
moved back to March
29th.
Charlotte Spencer as
Christine Keeler