Musical Theatre

Interview | William Whelton & Joseph Houston talk RENT

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Earlier this month Hope Mill Theatre celebrated the bittersweet opening – and closing – of its sold-out production of RENT on the same night. The venue had become one of the first venues in England to stage an indoor theatre production since the Covid-19 pandemic forced the closure of theatres back in March.

This new production of the show – initially scheduled for August then moved to Autumn – was due to run at the Grade II-listed former cotton mill from Friday 30th October to Sunday 6th December, following all recommended Covid-secure measures.

The entire run sold out in 48-hours following the announcement of an exciting and diverse young cast, with Hope Mill being granted permission by the rights holders to make up the shortfall in capacity (a result of the necessary social distancing measures) by filming the production and broadcasting it online over four weekends. The filmed version was something that Hope Mill founders William Whelton and Joseph Houston say was crucial in terms of the viability of the production – and even more so when the live run was cut short due to the new national lockdown.

Ahead of the first streamed performance this evening we caught up with William Whelton and Joseph Houston to reflect on the challenges of 2020 and their excitement at bringing RENT to audiences online.


Opening Night: Tell us about RENT and why you wanted to bring it to Hope Mill Theatre and Manchester?
WILL – “RENT is a rock musical loosely based on Giacomo Puccini’s 1896 opera La Bohème. The story evolves around a group of struggling artists living in New York City and dealing with issues surrounding the AIDS epidemic, regeneration, drug abuse and homelessness. It is also a celebration of diversity, individuality and creativity at its core. All of these themes are so relevant not only to our current climate but to the city of Manchester and we feel that this show has never felt more poignant and important.”

ON: What about the show makes you think it will be the perfect fit for the venue?
JOE: “It’s always very exciting reimagining musicals for a smaller scale and RENT is no exception. The music in RENT and the relationships between characters are so beautifully told and it really lends itself to a more intimate setting. The show is also set in an old apartment block in New York with exposed brick and feels very bohemian. I think aesthetically Hope Mill fits this setting perfectly.”

ON: The cast is incredibly exciting – and extremely diverse. Why is presenting a diverse cast important to you as producers?
WILL: “It is always so important to us as an organisation to celebrate diversity in all of its forms and we are always very proud of the casts we assemble. Especially for a show like RENT, it was even more important that we put together a cast which celebrates individuality and inclusivity. The cast and wider team that we have assembled is so exciting and all of these amazingly talented unique individuals brought so much heart and hope to this production.”

ON: The director Luke Sheppard directed Spring Awakening at Hope Mill – were you excited to have him back at the venue?
JOE: “We loved working with Luke on our production of Spring Awakening, which was such a success for our venue. After seeing &Juliet when it premiered at the Opera House we knew that Luke was the perfect choice to reimagine RENT for a new age. He brings together the most incredible creative team and always gets the best out of his cast members. His vision and creativity is spectacular and RENT was also a musical which is very close to him and was a real inspiration for him pursuing a career in this industry.”

ON: There must have been times this year when you felt RENT wouldn’t be possible in 2020 – what made you so determined to stage the production this year if you could?
WILL: “The past 6 months have been a roller coaster of emotions for everyone, especially in the arts sector. We postponed RENT from the summer, not knowing if it would be at all possible for us to produce this year, but as more guidance was released around inside performances we started planning on trying to make it possible and safe. RENT has really never felt so relevant to now and this time and in our hearts we knew that it was the right time to tell this story. It was also so important to us to give all of the amazing actors and freelancers involved in this production the opportunity of working and earning in a time when many have been badly affected by the pandemic.”

ON: Just how challenging was it making the production and venue ‘covid-secure’?
JOE: “It has been extremely challenging trying to navigate opening and producing in a covid-secure world. The main issue has been the financial impact on making the venue and process of making and running the show. Obviously we have had zero income since we closed our doors in March and along with high production values and the equipment needed to make the venue fully covid-secure we have had to spend a lot of money that we don’t currently have to spend. However, we were always determined to only progress with the production and opening if we felt we could deliver it in the safest possible way for everyone involved. We have made a significant investment in PPE equipment, safety screens, hand sanitising stations, signage, fogging systems and testing for the team which gave us the confidence to be able to open our doors once again.”

ON: How important was being able to offer a digital streaming version of the show for audiences who are unable to attend for whatever reason?
WILL: “We were operating the run of RENT at 50% capacity, which is only 70 seats per performance. This meant that the production would have had a deficit of around £100,000, which made it completely unviable. Having the extraordinary option to offer an online viewing of the show has allowed us to take our lost capacity and offer it as a digital ticket, and helping us make up lost income. It is also important for us that audiences could not attend or still didn’t feel ready to return to the theatre can still enjoy RENT from the comfort of their own homes. The digital version obviously took on even greater significance when we were forced to close the show early due to the second national lockdown.”

ON: Opening and closing RENT on the same night must have been a bittersweet experience – what was the evening like?
JOE: “We heard the news that we would be entering a second lockdown half an hour before curtain up on our second preview and it was very upsetting for everyone involved. We were so glad that we could at least make it to our official opening and press night on Wednesday 4th November which allowed us to invite press to review the show. The reviews have been incredible and we are so proud of the hard work from everyone involved. The final performance was very emotionally charged but it was really electric and showed Just how special this production is.”

ON: RENT has been a long time in the planning, especially given the situation this year. What was it like finally getting to see the show and the cast come to the stage?
WILL: “Working towards opening our doors and staging RENT is what really got us through the last year and gave us the hope and drive to push on, when times became very difficult. I know that this feeling echoed with the whole team involved and it was a beacon of light in a dark time for the arts. I knew that the show had the recipe to be exceptional from the amazing creative team to the cast and it really lived up to expectations and then some. The whole experience of the show, the design, the band, the performances, it was worth only 5 performances to feel that energy and watch.”

ON: Now it has been filmed, what can you tell us about the filmed version of RENT and what can audiences expect?
JOE: “This production was created for the stage and to be experienced live and although in the current climate that can’t be, we have worked so hard to film the show for online, whilst trying to keep that live theatrical experience. Having seen some of the initial footage, the film company have managed to capture the whole essence, heart and overall look of what was experienced live in the venue. It really is the next best thing!”

ON: Hope Mill has recently celebrated its 5th birthday – looking back what have been the highlights during this time?
JOE: “We can’t believe we have reached 5 years since opening Hope Mill Theatre, it’s incredible. There have been so many highlights since opening our doors, from winning awards to transferring shows. But believe it or not the biggest highlight has got to be working on RENT, yes it’s been tough and difficult to navigate and there is the constant fear that anything could happen and it all comes crashing down, but the level of positivity, hard work, passion and hope that has come from everyone involved is truly why we do what we do and what gives us the drive to keep going.”

ON: What next for Hope Mill in 2021?
WILL: “Once again we will work hard towards opening our doors and welcome back audiences. We won’t be opening this year, however, we have our queer arts festival: Turn On Fest launching again in January 2021 and we also have an incredible programme lined up and of course we will he doing everything within our power to bring back RENT.”

• Online streamed performances of RENT are available on selected dates from Friday 27th Nov until Sunday 20th December.

More information and online tickets can be found www.hopemilltheatre.co.uk

Marry Me A Little

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Offering a glimmer of hope that theatre was finally returning, Marry Me A Little directed by Kirk Jameson opened at Cirencester’s Barn theatre on 16th October to rave reviews. Thankfully the piece was filmed ahead of lockdown allowing audiences to watch limited streamed performances online.

Starring Celinde Schoenmaker and Rob Houchen, two of musical theatre’s most loved voices; this musical revue from Sondeheim’s back catalogue is an emotive observation on what was and what could have been for two now single New Yorkers.

Played out side by side yet never physically touching, their history together is illustrated via Benjamin Collins’ projections of social media screen grabs which light up Sam Spencer-Lane’s atmospheric stage, while their uncertain future is examined and considered through Sondeheim’s thinking out loud, melodic vocal commentary.

The song list bursts with gems culled from final productions of Follies, Company, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle and A Little Night Music breathing new life into this intimite piece first seen off Broadway in the 1980’s.

Each piece is an absolute gift for these two talented performers resulting in an hour of musical theatre heaven as they take you on an emotional journey of lost love and their individual search for happiness. Circling each other with their tender delivery whilst wowing with their extrodinary talents throughout.

Bittersweet in its beauty this revamped storyline offers enough background via the couples online communication to retell this story as a relationship gone sour rather than strangers yearning for their own happy ending. Houchen swipes through Tinder while Schoenmaker responds to a booty call as their desperate need to fill the void of loneliness rings out.

Accompanied by Arlene McNaught on the piano Schoenmaker and Houchen perfectly deliver the nuances that make Sondeheim’s lyrics so special, open and ecstatic one moment, cynical and closed off the next they ensure this journey is both an unforgettable and heartbreaking hour of note-perfect escapism.

This relatable piece at a time when social media continually reminds us of the fun we’ve previously had will take you on a familiar Sondeheim rollercoaster of emotions, enthralling from the start through honest and effecting storytelling and leaving you yearning to watch again. If there was a theatrical treat like this on offer every weekend lockdown would be an absolute breeze!

Catch Marry Me a Little until Sunday 22nd Nov tickets at £13.50 are available here

RENT

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Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

When Hope Mill Theatre announced their summer revival of RENT back in January the buzz about the show quickly engulfed social media; this felt like the most perfect choice for the boundary-pushing, award-winning theatre. Punchy, loud, proud and fuelled by hope, RENT was swiftly propelled into many a ‘must-see list’; billed as the show we all needed in our lives, then…well we all know what happened next.

While the pandemic closed theatres across the country, devastating the Arts, Hope Mill Theatre never lost faith that their much-anticipated production would play to audiences this year. Safeguards were made to film the production should the worst-case scenario of a second lockdown happen and so unbelievably we find ourselves at the show’s official opening which heartbreakingly is also its closing.

The exposed brickwork and anti-Reagan graffiti of David Woodhead’s set transports us to Manhattan’s East Village where a group of young, penniless bohemians strive to live, love and create underneath the looming shadow of the HIV/AIDS epidemic. As the devastation and desperation increases so does their sense of family and the ultimate need to make a lasting mark on the world before their lights are extinguished.

Director Luke Sheppard and his team of creatives have truly embraced this piece resulting in a bold, dynamic and meticulously crafted production. The love bursts from each character while their palpable desperation combined with a spirit of defiance is as heart-breaking as it is heart-warming. There is an undeniable sense of urgency; these are stories that need to be told, experiences that need to be shared and a love that needs to be felt.

The cast sit around the stage throughout, feeling and experiencing the heartache, pain and joy of each other’s stories. Touch is infrequent, marked by a fizz of electricity as Howard Hudson’s light design flickers in reaction, making those infrequent yet delicious moments all the more powerful.

Tom Francis makes an incredible stage debut as Roger, his strong swagger is ripped away as his fear of dying takes hold, cradled collectively by the soothing ensemble of resolute voices. Blake Patrick Anderson’s Mark has a quirky sweetness, hiding behind his camcorder in a bid to save him from connecting too deeply thus exposing him to ultimate loneliness while ex-housemate Benny (Ahmed Hamad) plays a strong enemy to the bohemian life he once embraced.

Mimi’s (Maiya Quansah-Breed) strutting and sass is replaced by a heart-breaking vulnerability while Maureen (Millie O’Connell) and Joanne’s (Jocasta Almgill) fractious relationship bubbles and simmers throughout. Deeply entwined in the story is the moving relationship between HIV positive Angel (Alex Thomas-Smith) and older lover Collins (Dom Hartley-Harris) their purity and commitment to each other brings heartening joy to the piece while Hartley-Harris’ delivery of I’ll Cover You – Reprise is gut-wrenchingly brilliant.

RENT is truly an ensemble piece and is at it’s most powerful when this talented cast together with outstanding featured ensemble members Kayla Carter, Allie Daniel, Isaac Hesketh and Bethany Terry unite to deliver Larson’s anthemic score. From the iconic Seasons of Love to the stirring No Day But Today the sheer brilliance of this production envelopes you entirely. Tom Jackson Greaves’ choreography adds an edgy punch while Musical Supervisor Katy Richardson ensures the pounding score will long echo after the curtain comes down

While 2020 has been a year of unprecedented heartbreak and bitter disappointments this incredible piece stands proud, shouting from the rooftop for all to hear, not only is RENT viable it is vital; it’s pounding energy combined with gut-wrenching optimism confirming to all that the show most definitely MUST go on.

Rent is available to view online on selected dates from Friday 27th November until Sunday 20th December booking is essential tickets available via https://hopemilltheatre.co.uk/events/rent-online

Back To The Future The Musical

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️1/2

Ever since it was announced that Back To The Future would be receiving a musical makeover the buzz online has been immense, with fans eager to see just how their beloved film would be recreated on stage while some theatre fans a little sniffy at the possibility of a remake.

With the film’s original creative team of Bob Gale and Robert Zemeckis bringing this project from screen to stage it’s certainly fair to say Back To The Future is in very safe hands. Add to the mix Tony award-winning director John Rando and a new score from multiple Grammy-winning Alan Silvestri and Glen Ballard, alongside classics from the film’s original soundtrack and any pre-nerves about the quality of the show should disappear, for anyone still unsure, strap yourself in and get yourselves down to Manchester’s Opera House for one hell of a fun ride!

This inventive production stays true to the source material with all the classic lines fans know and love making an appearance with the addition of some welcome creative surprises. Upon entering the theatre what immediately strikes you is Tim Hayley’s bold design lit spectacularly by Hugh Vanstone and Tim Lutkun, illuminating the Opera House stage, sides and ceiling which has the already excited audience positively fizzing.

Recreating such an iconic film means the stakes are unquestionably high, one thing that absolutely had to be right was the casting and boy did they get it right!

Olly Dobson is superb as Marty McFly, perfectly embodying the character fans know so well he sounds so unbelievably like Michael J Fox it’s incredible. Bursting with charisma and bucket-loads of Marty charm this hugely talented actor carries the role off with an effortless ease.

Roger Bart is sensational as Doc Brown, it’s clear to see he’s having a hell of a lot of fun with the role and takes the audience along for the ride. This is not so much an impression more his own eccentric interpretation which die-hard fans will be more than happy giving them even more reason to love the legend that is Doc Brown.

The chemistry between Dobson and Bart is an absolute joy, they bounce of each other brilliantly; their friendship entirely convincing, bringing an enormous amount of fun to this well-crafted piece.

There is strong support from the rest of the cast most notably Hugh Coles, Rosanna Hyland and Cedric Neal who play George McFly, Rosanna Hyland and Cedric Neal respectively.

Hugh Coles is absolutely adored by the audience, receiving a huge roar of approval the moment he utters his first line. So convincing is his portrayal it’s almost as if someone went back in time and grabbed him from the 1985 film. Unbelievable to think this is his professional stage debut as he has the audience rooting for him from the off.

Similarly, Rosanna Hyland convinces entirely as Lorraine Baines, a strong actress with a stunning voice her impressive Lorraine would be hard to top.

Adding a little sass to the production Cedric Neal makes the absolute most of his two roles, he’s a born entertainer and has the audience well and truly in the palm of his hand.

The strong ensemble delivers Chris Bailey’s choreography with precision whilst doubling up in various supporting roles adding some hilarious twists to famous scenes.

Then of course there is the DeLorean, WOW! When these big scenes come my goodness do they impress. The effects are nothing short of spectacular, there’s a feeling from the audience that lifelong dreams are being fulfilled with every activation of the flux capacitor, seeing really is believing, it really is an absolute must-see.

While music favourites from the original film score are greeted with affectionate applause some of the new songs do feel a little unnecessary, while they all work well and fit the story at times it feels like the drama of the piece is interrupted by the introduction of a musical number, shaving a couple wouldn’t do any harm and would allow for the dramatic tension that’s built to grow further. This is a minor quibble however on what really is a hugely impressive production.

Back To The Future The Musical feels like a theatrical event, which has West End written all over it; you know the story yet it continually surprises you, never taking itself too seriously the show delivers everything fans would expect and so much more. State-of-the-art in its delivery the show must be celebrated for bringing many new theatre goers through the doors at the Opera House, such it the appeal of this cultural phenomenon.

No fan could ever come away disappointed and new audiences will marvel at the spectacle while having a whole heap of fun along the way. It’s pure theatrical escapism which you’ll want to return to again and again, spectacular!

Catch Back To The Future The Musicalat Manchester’s Opera House until Sunday 17th May before it’s planned transfer to the West End, further information for London can be found here.

 

Marisha Wallace | Live

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Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Hot on the heels of her final Waitress performance and ahead of opening as Motormouth Maybelle in the London Coliseum production of Hairspray this April, Marisha Wallace has embarked on her first ever UK tour; launching with a bang last night at Sale’s Waterside Arts venue.

Bursting onto the stage looking spectacular in silver sequins and white marabou feathers Marisha proves she means business opening with a stunning rendition of Etta James’ Something’s Got A Hold on Me.

Accompanied by a four-piece band led by musical director Ross Stanley and two soulful backing singers, Marisha’s warm personality and magnetic charisma shine through as she opens up to her audience through frequent heartfelt exchanges between songs. Announcing that when she first performed in public aged just 5 years old she forgot all the words, it’s safe to say she had no such problem last night as she promptly treated the excited audience to a superb rendition of Stevie Wonder’s I Was Made To Love Her.

It’s clear to see that soul runs through her veins and the music she listened to growing up as a child in North Carolina has really shaped her as an incredibly expressive performer who communicates not only with her voice but with her whole being. She is an absolute natural on stage, incredible to think at aged just 17 she was told she may never sing again due to a cyst on her vocal chords which following the prayers of her parents miraculously disappeared when she went for surgery leaving scar tissue in its place.

The varied set list has been lovingly created catering perfectly for all tastes, Act 1 is made up largely of soul classics with a lively rendition of Tina Turner’s River Deep Mountain High ensuring this party gets well and truly started while Marisha’s version of The Bee Gee’s How Deep Is Your Love is as emotional as it is pure.

There’s well-chosen tracks from musical theatre with a heartbreakingly beautiful performance of Heart of Stone from musical theatre phenomenon SIX which is given a goose-bump inducing gospel spin while Marisha explains to the audience how the lyrics speak to her, “A heart of stone to me means that love is resilient, that I have loved before and I truly believe my resilient heart means I have the capacity as we all do to love again”. This level of honesty combined with her unquestionable talent endear her to her audience so completely they literally hang on her every word.

She closes Act 1 will a sensational Aretha Franklin medley, a tribute to the legendary singer whom she met backstage when the star came to watch Disney’s Aladdin on Broadway, you can’t help but think how much joy her performance would bring to the late great Aretha.

Act 2 opens with Marisha’s catchy new single Fight Like A Woman, a sassy, strong pop anthem entirely fitting for International Women’s Day; she then continues her celebration of iconic performers with a high-energy tribute to the woman she describes as ‘The Voice’ the one and only Whitney Houston. Lapping up this upbeat medley the audience leap to their feet in approval before Marisha silences the room with a powerhouse performance of I Will Always Love You, nothing short of phenomenal, the audience once again up on their feet.

A rousing rendition of I Know Where I’ve Been from Hairspray gives the audience a hint of what they can expect from the forthcoming West End production while Marisha gives us an insight into just how much of a life changer her roles in the West End have been. As her career soared, she faced heart-breaking times in her personal life and through the roles she’s undertaken has developed an optimistic resilience which leads her beautifully into a special version of Tomorrow from Annie blended with Chaka Chan’s moving Love Me Still.

Inviting children from Stagecoach Salford and Manchester Contemporary Youth Choir to join her in an empowering performance of This Is Me from The Greatest Showman allows an opportunity for another inspiring reminder that, “anything is possible, if you just believe in yourself” and of course another standing ovation, the forth or fifth of the show at least, we lost count!

Of course, no performance would be complete without Marisha treating the audience to her jaw-droppingly perfect delivery of And I Am Telling You from smash-hit musical Dreamgirls, this one song is without doubt worth the ticket price alone, stunning from start to finish.

As cries of ‘More’ ring out from the audience Marisha returns to the stage treating us to one final classic, ending the night on the most joyful of highs with a fabulous rendition of Proud Mary, there’s strutting, sass and even an opportunity for some great fun audience participation.

Marisha Wallace’s genuine warmth and incredible talent ensure this is an unforgettable night. Her voice is sublime, smooth as honey and strong as hell. She takes you on an emotional journey with her refreshing honestly while her note perfect delivery will completely blow you away. Talent like hers is rare, so grab your opportunity to witness it while you can!

Tour dates for Marisha Wallace can be found here.

 

 

 

 

 

 

Insane Animals

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Insane Animals press pic 4 (2026). Photo by Drew Forsyth

Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

Back in 2017 HOME launched it’s T1 project, the idea was to commission new projects and bring them to the art houses 500 seat theatre. The first of these commissions went to the writing duo of George Heyworth and Liv Morris, better known as comedy double-act, Bourgeois & Maurice. What they’ve come up with is Bourgeois & Maurice’s Insane Animals.

This is an epic sci-fi, comedy journey takes us right from the dawn of civilisation through to a bleak looking future for humanity, along the way there are catchy tunes, biting gags, costume changes and sequins… lots of sequins!

Bourgeois & Maurice are a pair of alien gods who have arrived on earth in the present to see what a mess human are making of the world and to bear witness to our inevitable destruction. However, the pair decide to offer humanity a chance of salvation, by looking at the story Gilgamesh. Gilgamesh is believed to have formed the basis of the world’s first every recorded story. He is an arrogant, cruel ruler, who persecutes his people. However, with the help of our extra-terrestrial visitors, we will see Gilgamesh, fall in love, suffer and learn what it is to be human, but will it be enough to save humanity?

Insane Animals press pic 9 (2323). Photo by Drew Forsyth

If Bourgeois & Maurice’s Insane Animals is an indicator HOME’s future output then we are in for a treat: this is a silly, surreal, and smart musical, filled with great tunes, cracking one-liners, and great gags. Any show that has references to Ru Paul’s Drag Race and the British Museum’s questionable attitude to how it acquired its collection is of course going to be quite special.

As well as Heyworth and Morris, that cast includes great comic turns from Emer Dineen and Kay Mohamed-Mason playing multiple roles, with the remaining cast double us the backing band, The Forgettables. The songs are catchy, with some great, cutting lyrics with standout numbers being Brink of Extinction and the hilarious, self-aggrandising Thank God.

Michael Hankin’s set design is clearly a love letter to to the B movies of the 1950’s with the set during the first act resembling an unopened buffet at a labour club, there’s lots of silver foil which is by no mean a criticism, it adds to the shows charm.  Julian Smith’s costumes are OTT and look absolutely fabulous, perfect for the production.

Insane Animals press pic 5 (2054). Photo by Drew Forsyth

The show isn’t without its flaws at times the choreography is a bit all over the place whilst adding to the sense of fun can become a little distracting.

With Bourgeois & Maurice’s Insane Animals the writing team of Heyworth, Morris and director Philip McMahon have created the natural successor to Rocky Horror Picture Show (no one really remembers 1981 follow up Shock Treatment), knowingly kitsch, often camp and occasionally crude, this is an original, fun, entertaining romp where nothing is off limits and everything is fair game!

Bourgeois & Maurice’s Insane Animals is at HOME till the 14th March 2020 tickets available here.

 

Cabaret

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Cabaret

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️

Set in Berlin in 1931 during the chilling rise of the Nazi’s, Cabaret introduces us to the unconventional love story of American writer Cliff Bradshaw and English performance artist Sally Bowles, who entertains nightly at the city’s decadent and debauched Kit Kat Klub.

An additional and deeply moving sub-plot detailing the ill-fated romance between elderly Jewish fruit seller Herr Schultz and German boarding house owner Fräulein Schneider ensures that Cabaret is as intricate as it is entertaining, with its own Master of Ceremonies Emcee, ominously overseeing the action.

Cabaret

Amidst the razzle dazzle of the big numbers which are delivered spectacularly by an impressive ensemble the story is firmly anchored in the drama of the period as a much darker landscape emerges and the reality of the changing political climate is realised in everyday life.

Kara Lily Hayworth excels as good time girl Sally Bowles, with soaring vocals delicately delivered she finds the genuine vulnerability of this troubled soul. Charles Hagerty makes for a strong Cliff Bradshaw, wide-eyed in wonder initially he leaps headfirst into the decadence of the city until the stark reality of what is happening to Belin is realised.

James Paterson and Anita Harris are a real joy as Herr Schultz and Fräulein Schneider making the inevitable outcome of their doomed love story all the more heart-breaking to watch.

Cabaret

John Partridge makes for a commanding and charismatic Emcee, strutting and strong initially his journey from start to finish is the most humbling of all as we see the reality of this crushing regime played out. His transition from fearlessly flamboyant to painfully oppressed a bleak reminder of the grim history of the period. Director Rufus Norris gives us a stark and honest climax to the show which Partridge and the ensemble deliver with an unspoken sensitivity.

Designer Katrina Lindsay has ensured this complex piece engages from the off, the vibrancy of the Kit Kat Klub lures you in with it’s flashing lights and twirling staircases which in turn gives the gut-wrenching final scenes the impact they deserve.

The whole show is beautifully lit by Tim Olivier giving it a somewhat cinematic feel while Dan Samson’s sound design is superb. Javier De Frutos gives the ensemble cast some incredibly complex choreography which they deliver with ease bringing the Kit Kat Klub to vivid life.

Cabaret

Just as Kara Lily Hayworth sings during titular number “What good is sitting, alone in your room? Come hear the music play!” we can’t help but agree, with impressive staging, strong performances and superb choreography this is a Cabaret which will long stay with you.

Cabaret is on at Manchester’s Palace Theatre until Saturday 29th February tickets are available here.

 

 

 

 

Samantha Womack & Cameron Blackely reunite for The Addams Family Tour

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Samantha Womack & Cameron Blackely to revive their roles as Morticia & Gomez Addams in The Addams Family when it returns to The Lowry in November!

The musical comedy, with book by Marshall Brickman and Rick Elice, the creators of multi award-winning Jersey Boys, and music and lyrics by Andrew Lippa, based on the characters created by Charles Addams will return to The Lowry as part of a new 2020 UK tour.

The Addams Family opens at The Lowry on Tuesday 3rd November and runs until Saturday 7th November tickets available here.

Interview | Marisha Wallace

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One of the West End and Broadway’s most instantly recognisable voices and beloved leading ladies is heading out on her first ever UK Tour beginning at Sale’s Waterside.

Marisha Wallace – the sensational star of such smash-hit shows as Dreamgirls, Waitress, Aladdin, The Book of Mormon and very soon Hairspray – will play a series of unmissable theatre shows in March 2020.

Beginning at Sale’s Waterside (March 8), Marisha will then play Newbury Corn Exchange (March 11), Horsham Capitol (March 13), Birmingham Hippodrome (March 14), Leeds City Varieties (March 16), Lichfield Garrick (March 17), Glasgow Glee Club (March 18) and the Arts Theatre in London’s West End (March 23).

Ahead of the tour we sat down with Marisha to get the lowdown on what we can expect from the tour, why audience participation is crucial to her performance, what ‘that song’ “And I’m Telling You I’m Not Going” means to her and why she has her heart set on becoming the “Beyoncé of Broadway”.

Opening Night: HOW EXCITED ARE YOU FOR YOUR DEBUT UK TOUR?

Marisha: Like you cannot believe – it’s going to be incredible!  To be going out around the country and singing in these different regions is going to be wonderful –the experience of a lifetime. This is my first time as a solo headliner so I can’t wait.

ON: YOU’VE BEEN IN THE UK FOR SOME TIME NOW – WHAT DO YOU LOVE ABOUT THIS COUNTRY?

Marisha: I love the people here, they are so warm, and they are so dedicated, so supportive. Those who come to my concerts seem to really get me and understand where I am coming from. I feel like I’m something of an underdog and I think they tap into that and are willing me to succeed which is really nice. I also just love being in London, I love the history and the fact that every minute I’m here I feel like I am on holiday!

ON:  SINCE COMING TO THE UK HAVE YOU HAD MUCH CHANCE TO VISIT DIFFERENT PLACES OUTSIDE OF LONDON?

Marisha: I really love Manchester, the food is incredible, it’s almost like a different kind of London, reminds me of Boston a little bit and it’s an incredible place.

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ON: WHAT CAN AUDIENCES EXPECT ON THE TOUR?

Marisha: They can expect a lot of amazing songs, a lot of soul, a lot of big numbers from your favourite musicals that I’ve been in over the years and some of my own songs.
This is a brand-new show which I feel has something for everyone. I will be performing songs by artists and songwriters that mean the world to me. I feel sure the audience will get up on their feet and dance. It’s going to be high energy and inspirational!

ON: WHO WILL BE JOINING YOU ON STAGE?

Marisha: I have my four-piece band, who are all good friends of mine. We will also have some surprise guests, some choirs and singers from the towns and cities where we are going to be playing – so you’ll see some of your hometown friends on stage singing with me as well.

ON: YOU ARE USED TO PERFORMING WITH A CAST ON STAGE, THIS TIME IT IS JUST YOU AND YOUR BAND. DO YOU PREFER PLAYING A CHARACTER OR BEING YOURSELF ON STAGE?

Marisha: I feel most comfortable on stage as Marisha Wallace because I’m in control of everything! In musical theatre I can only play the one part and it’s already written for me. With my own shows I get to be the architect of the whole thing. It’s a very personal thing for me. I feel like a showman and it’s what I like to do – I will come out on the night like a firecracker!

ON: SO IT’S A DIFFERENT EXPERIENCE FOR AUDIENCE MEMBERS WHO MAY HAVE ONLY SEEN YOU IN THE WEST END?

Marisha: If you’ve only seen me in a show before you’ve never seen me like this. When I do my concerts, this is the full version of me. You will get to hear stories about my life and hopefully be inspired. That’s kind of my biggest thing when I do a show, I want to inspire people because if I can make it to where I am, then anyone can make it.

ON: SO YOU ALWAYS WANTED TO BE A SINGER?

Marisha: I’ve been a singer my whole life, music was such an important part of my family growing up, and early on I decided I wanted to make a career out of it. I went to go to university, but I did not get in because they said there was something wrong with my voice. It was then found I had a cyst on my vocal chords and had to have surgery.
I was told they did not know if I would be able to sing again after surgery but thankfully the surgery turned out well and I went back to the same school and they asked whether I would like to do musical theatre.

I’ve worked so hard to get here. I have been working at this for 15, 20 years just trying to make my dreams come true, going from nothing to making it.

ON: ON YOUR WEBSITE IT STATES YOU “GREW UP IN A SMALL TOWN IN NORTH CAROLINA, BUT THE SMALL TOWN NEVER HELD DOWN HER BIG CITY DREAMS”. IS IT FAIR TO SAY YOU ARE LIVING YOUR DREAM?

Marisha: I am totally living my dream. When I was on Broadway I thought ‘This is it, I’ve made it’ but when the West End came calling I realised ‘Wait there is an even bigger dream than I ever thought’. To be here getting to do all the things I love is amazing.
Everything I ever wrote down or said I wanted to do is happening to me right here in the UK. The exciting thing is you feel that your journey can lead you to the right place and I certainly feel I’m at the right place at the right time.

ON: IT CAN BE A HARD LIFE THOUGH?

Marisha: Yes, it’s hard for a musical theatre performer. By your very nature you have to be multi-faceted, be able to sing, dance, act, and must have the stamina of a crazy person because you do eight shows a week. But at the same time it’s also a wonderful life. To be able to do all these things, live all these roles alongside performers who become true friends is so special. Every time I go out I want to prove myself as a performer – I basically want to be the Beyoncé of Broadway! She does everything; she sings, dances, acts, she likes to use all her gifts and I love her for that!

ON: WHO WERE YOUR MUSICAL HEROES GROWING UP?

Marisha: Definitely all of the soul women: Etta James, Aretha Franklin, Gladys Knight, Jennifer Holiday. I do a lot of these artists in my show, and of course Whitney Houston. My God, Whitney’s voice. The way those tones affect people is just truly amazing.

ON: HOW MANY OF THEIR SONGS WILL FEATURE IN YOUR TOUR?

Marisha: Lots of them. It is brilliant to be able to take a song by Whitney, Janis Joplin, Etta James and fit them alongside songs from musical theatre and my own material. I’m blessed I can sing a number of different styles and while at one point I thought I needed to focus on just one sound or genre I then thought ‘Who cares… I’ll sing it all!’

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ON: HOW IMPORTANT TO YOUR PERFORMANCE IS THE AUDIENCE?

Marisha: They are everything to me. The audience truly help make the show. On this tour it is just me, my band and the audience – they are my other actors in this play.
Audiences want to be part of a concert and with me they get the chance to sing along, stand up, dance, scream, cheer, let out your emotions because that’s what a concert should be. You don’t just sit and watch – I want you to participate!

ON: “AND I AM TELLING YOU…” FROM DREAMGIRLS HAS BECOME SUCH AN ICONIC SONG THAT AUDIENCES NOW INSTANTLY RELATE IT TO YOU. WHAT DO YOU FEEL WHEN YOU SING THAT SONG?

Marisha: The song is so special to me – I’ve never sung any song like it, it’s one of a kind.
Singing that line ‘And you’re going to love me’ and then getting that love back from the audience is something that you cannot describe. It means so much. It’s an incredibly powerful and personal song for so many people who have all been on their own journey in life.

You know when things have not gone well, they’ve been beaten down, but then they come out from the ashes and say ‘you know what, I am going to make it’ and ‘you are going to love me in the end’. That is why that song is so important, it has such a powerful message, one of never giving up. I think everyone, at some stage in their life, can relate to it.

Every time I sing it I think I’m not going to go there, you know all the way there, but every time I sing it I go there because it swoops you up into this world of emotion.
Also, all the things I have been through and my journey to get here to the stage just envelopes me when I sing that song. I always cry at the end.

ON: HOW HAS THE RETURN TO WAITRESS BEEN FOR YOU?

Marisha: It’s been so exciting because I’ve never gone back to a show that I’ve left before. Everyone has been so wonderful. This company is the most beautiful company and just a really big family.

ON: AFTER YOUR TOUR YOU BEGIN THE ROLE OF MOTORMOUTH MAYBELLE IN A STAR-STUDDED REVIVAL OF HAIRSPRAY. YOU MUST BE TREMENDOUSLY EXCITED.

Marisha: I can’t believe it because I kind of thought that role would not come my way for another 10, 15 years.  Michael (Ball) and I both performed last summer at Lytham Festival in Lancashire and we did ‘You Can’t Stop The Beat’ We got talking, I got the audition and I got the part. I’m so excited.

ON: WHAT WOULD BE THE DREAM ROLE FOR YOU?

Marisha: My dream role has not been written yet. I want to do an original piece where I get to create the role from scratch using all my talents. It would be cool to do something brand new, that no-one has done before.

I feel in my career I have had to top all the best who’ve gone before me. Behind me I had Jennifer Hudson, Jennifer Holliday, Amber Riley and I had to aim to be a better version than all those who went before. I would be so excited to be the foundation version so the next person to come to the role would be challenged to top Marisha!

ON: DO YOU HAVE A MESSAGE AHEAD OF THE OPENING NIGHT OF YOUR TOUR?

Marisha: Get your tickets now, it’s going to be wonderful, emotional and a hell of a night out!

Tickets for Marisha Wallace’s show at Sale’s Waterside can be found here.

Malroy Towers adaptation heading to Chester

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Emma Rice’s critically acclaimed musical adaptation of Enid Blyton’s Malory Towers will be heading to the Storyhouse this summer.

This new production by Wise Children will be co-produced with Theatre By The Lake in Keswick, where the show will open on 27 March 2020, before going on a national tour.

Malory Towers opens at the Storyhouse on Tuesday 30th June running until to Saturday 4th July 2020 for eight performances, including three matinees. Tickets are on sale now and can be booked here.

Original 2019 cast of Malory Towers, credit Steve Tanner 1

Nostalgic, naughty and perfect for now, Malory Towers is the original ‘girl power’ story, filled with high jinks, high drama and high spirits, all set to sensational live music and breath-taking animation.

Adapted and directed by Emma Rice, this is a show for girls, boys – and grown-up children who still dream of midnight feasts and Cornish cliff-tops. Set and costume design are by Lez Brotherston, lighting by Malcolm Rippeth, sound and video by Simon Baker, and original music by Ian Ross.

Tickets for Malory Towers are on sale now priced from £19.50. Each ticket is subject to a £1.50 booking fee. There is a special offer running of any ticket bookings made before 1 March 2020, children can go half price for Malory Towers shows at Storyhouse between Tuesday and Thursday.

 

Back To The Future musical in rehearsals

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Olly Dobson (centre) and the company in rehearsals for Back to the Future The Musical, credit Sean Ebsworth Barnes

With just over 3 weeks until BACK TO THE FUTURE The Musical, opens in Manchester for a strictly limited 12-week season, prior to transferring to the West End brand new rehearsal images have been released and great Scott do they look good!

Opening at the Manchester Opera House on Thursday 20th February and running until Sunday 17th May the musical based on the Universal Pictures/Amblin Entertainment film boasts a book by Bob Gale with new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including audience favourites The Power of Love and Johnny B. Goode.

Roger Bart in rehearsals for Back to the Future The Musical, credit Sean Ebsworth Barnes (2)

The good stuff doesn’t stop there ! The show will be directed by Tony Award-winning John Rando (Urinetown, On The Town) and boasts a multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Hugh Vanstone and Tim Lutkin (lighting), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher.

The company in rehearsals for Back to the Future The Musical, credit Sean Ebsworth Barnes (2)

With Roger Bart taking on the iconic role of ‘Doctor Emmett Brown’ and Olly Dobson stepping into Michael J Fox’s sneakers as ‘Marty McFly’ BACK TO THE FUTURE The Musical looks set to be the theatre event of the year!

The show will transport the 1985 movie from screen to stage as Marty is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Doc Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence!

Rosanna Hyland and Olly Dobson in rehearsals for Back to the Future The Musical, credit Sean Ebsworth Barnes

So strap yourself in, set your destination to the Opera House, Manchester and made a date with history!

Tickets from £19.55 are available here.

 

 

 

 

We Will Rock You

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WE WILL ROCK YOU

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

If ever there was a perfect time to revive the 2002 hit musical featuring the iconic music and lyrics of the mighty Queen it most is definitely now. The band were thrust back into the spotlight with the enormous success of smash-hit movie Bohemian Rhapsody introducing their music to a whole new generation so it comes as no surprise to see the Palace Theatre full to the rafters for We Will Rock You’s welcome return to Manchester.

The Ben Elton penned show transports us to the dystopian land of iPlanet set 300 years in the future. Freedom of expression is all beut gone as the Globalsoft Corporation control minds and hearts with their computer generated over produced pop tracks. Musical instruments are banned while rock music is a thing of the past, wiped from the minds of the masses as conformity is expected and rebellion quickly stamped out.

WE WILL ROCK YOU

Galileo and Scaramouche however are desperate to ‘break free’ from the dismal world around them, unique from the rest of the Ga Ga clones they stand out from the crowd as individuals, drawn to a life of freedom and expression, something Killer Queen the head of Globalsoft fears enormously. A chance meeting with Bohemians Brit and Oz cements their belief that there’s more to life than mindless scrolling, then just need to find out what!

6 years since it closed on the West End We Will Rock You has been brought bang up to date visually with the addition of stunning wall projections from Giles Maunsell and Sam Pattinson – Treatment Studio while Ben Elton has revisited his original script revamping it with modern references making it feel current and fresh, Alexa #MeToo and even Gangnam Style all get a mention.

WE WILL ROCK YOU

The success or failure of this production undoubtedly rests upon the ability of the cast to deliver Queen’s monster tracks to a standard Freddie would be proud of and boy do they do him justice! Ian McIntosh is superb as Galileo, vocally outstanding he confidently channels his inner rock God. Bursting with talent and personality this isn’t a Freddie imitation but a standalone performance of the highest quality.

Elena Skye impresses enormously as an empowered Scaramouche, her soulful vocals are delivered with self-assured sass while she playfully interacts with McIntosh (Galileo) & proves convincingly that sisters can indeed do it for themselves.

Jenny O’Leary is an absolute powerhouse as Killer Queen, slaying each song with her huge voice and tremendous on stage presence. David Michael Johnson and Amy Di Bartolomeo play off each other wonderfully as Brit and Oz each delivering knockout vocals while Adam Strong is hugely impressive as Khashoggi. Special mention must also go to Michael McKell who brings the laughs as Buddy with his Jaggeresque swagger and hilarious mispronunciations of pretty much everything!

WE WILL ROCK YOU

This is a jukebox musical that never takes itself too seriously it delivers and then some! Take Queen’s killer back catalogue, team it with Ben Elton’s clever book then add a creative team whose motto is quite probably ‘Go big or go home’ and you’ve got an irresistibly brilliant production, not just for Queen fans but music and musical theatre fans alike. Just as one mega hit finishes another begins all delivered by a cast at the absolute top of their game, it’s high-energy, highly entertaining, blow your socks off theatre. Perfect escapism for anyone with the January blues, We Will Rock You really is a kind of magic!

We Will Rock You is on at Manchester’s Palace Theatre until Saturday 8th February tickets available here.