MAME

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In the same week they celebrate their 4th birthday Hope Mill Theatre open their biggest and most ambitious show to date. Tony award-winning Broadway musical Mame hasn’t been seen in the UK since it’s original 1969 West End production starring the late, great Ginger Rodgers, but Hope Mill Theatre and Aria Entertainment don’t do things by halves. Teaming up with Ray Rackham Theatrical collectively they have created quite simply their most impressive and jaw-droppingly brilliant production since opening their doors in 2014.

Beginning in 1920’s New York City Mame Dennis really is the belle of every ball. Life truly is a banquet for Mame and her party loving friends so when her deceased brother’s 10 year old son Patrick is thrust into her care you may think the party may be over but then you haven’t met the magnificent Mame.

Even when she loses her fortune in the Wall St crash she perseveres with irrepressible positivity and her own unique sense of style, whoever let getting repeatedly fired get in the way of living their life anyway? Spanning several years through relationships, love and loss Mame captivates entirely, her exuberant soul is addictive, she thrills, delights, excites and entertains along the way.

Hope Mill Theatre has been transformed for this enchanting revival. Philip Witcomb’s design ensures that the intimate space seems to open up before your eyes as the jaw-dropping first number begins. Nick Winston’s choreography is sublime; transporting the audience from a rainy Manchester to a glittering Broadway with each full-out and fabulous number. Winston who also directed the piece leaves the audience open-mouthed at the sheer scale and brilliant of the production, it feels lavish, luxurious and deliciously decadent.

Tracie Bennett is entirely mesmerising as Mame she absolutely gives her everything to the role and is truly brilliant. Hilariously comedic one moment and utterly gut-wrenching the next her delivery of If He Walked Into My Life is spellbinding.

The pairing of Bennett and Harriet Thorpe who takes on the role of bosom buddy Vera is nothing short of iconic. They are a joy to watch as they barb off each other with booze fuelled brilliance. Tim Flavin is a suave and sophisticated Beauregard, the connection between Flavin and Bennett feels warm and genuine.

Special mention must also go to junior cast member Lochlan White who at tonight’s performance played Young Patrick. Demonstrating fine acting skills, a pitch perfect voice and the kind of charisma Mame would be proud of.

Every member of this talented cast deserves high praise. They work together in such slick harmony that each scene flows seamlessly into the next yet feels full of surprises. They deliver Nick Winston’s choreography to dazzling perfection, teamed with Tim Mitchell’s impressive lighting design and strong musical direction from Alex Parker each ensemble number packs a powerful and perfect punch.

The boldness and bravery shown by Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre in bringing this all-new revival to such vibrant life must be commended. How lucky we are in a Manchester to have such committed and passionate theatre makers.

Mame is an absolute triumph, dazzling, daring and utterly delightful, world-class theatre right on our doorstep. A perfectly peachy slice of theatrical heaven. Mame feels like the start of something very, very special and I for one am here for the ride!

Catch MAME at Hope Mill Theatre until Saturday 9th November tickets available here.

The King and I

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Bartlett Sher’s production of the Rodgers and Hammerstein classic which wowed both New York and London audiences opened at Manchester’s Opera House this week; its first stop on an extensive UK and Ireland tour which sees the multi-award winning production hitting the road until May 2020.

Starring Jose Llana direct from Broadway as The King of Siam and Annalene Beechey from the West End production as Anna, The King and I remains without doubt one of the all-time greats from the golden age of musicals.

Featuring a company of over 50 as well as a full-scale orchestra no expense has been spared in ensuring this lavish production impresses from the moment the overture begins.

Following the death of her beloved husband, English widow Anna takes on the job as teacher to the King of Siam’s children. She soon discovers however that the job isn’t entirely what she expected as she ends up teaching not only the King’s many children but several of his wives too. Further complications arise when the house she was promised fails to materialise and conflict begins with the stubborn King: a dictator whose command all must obediently obey.

Although set in the 1860’s the story is still surprisingly relevant as we see Anna set about changing the King’s old fashioned and out dated views on women. While there is an element of civilised Westerner going to the East to teach what is decent and right the context here feels more like a meeting of minds proving both can learn from and benefit each other.

Michael Yeargan’s exquisite set design combined with Catherine Zuber’s sumptuous costumes mark this production out from the start as a lavish and beautifully enthralling revival.

Christopher Gattelli’s additional choreography breathes new life into Jerome Robbins original 1950’s choreography adding a fresh vibrancy which the strong ensemble deliver with impressive precision.

Annalene Beechey is everything you’d wish for as Anna: wonderfully engaging, gracious and warm, with a strong sense of self while gifted with the most sublime voice she embodies to perfection the compassionate teacher.

Jose Llana equally impresses as the King of Siam. Brilliantly sharp and incredibly witty he has a playful, cheeky charisma winning the audience over in an instant despite his characters archaic opinions on women.

The connection between the two feels genuine and well developed cementing the climactic scene as they waltz around the stage during Shall We Dance? as one of the most joyful moments you’re likely to witness in the theatre.

They are supported by a superbly talented supporting cast with special mention going to both Cezarah Bonner as Lady Thiang, Aaron Teoh as Prince Chulalongkorn and Kamm Kunaree as Tipton.

High praise must also go to the incredibly talented children in the show who together with Beechey deliver a delightfully endearing version of audience favourite Getting To Know You while Billy Marlow impresses enormously as young Louis Leonowens.

The pace of this rich production is consistent throughout with the significance of the story convincingly expressed. The King and I proves there is no puzzlement in its status as a timeless classic: this is a truly epic and joyous production both visually and musically. Thrilling in its scale and spectacular in its delivery, the King and I is a dazzling must-see.

The King and I is on at Manchester’s Opera House until Saturday 11th May here.

 

Interview| Kinky Boots Cast | Callum Francis | Joel Harper-Jackson |Paula Lane

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Based on the 2005 hit screenplay by Tim Firth, the musical which first opened on Broadway in 2012 has become a worldwide sensation receiving an incredible 13 Tony Award nominations, winning 6 including Best Musical and Best Score. In 2016 following it’s West End premiere the awards kept on coming with an incredible three highly prized Olivier Award wins.

After an incredible opening night at Manchester’s Opera House, earning 5 star reviews across the board and receiving one of the most enthusiastic standing ovations we have EVER seen, we were lucky enough to catch up with Kinky Boots stars, Callum Francis who plays Lola, Joel Harper-Jackson who plays Charlie and Paula Lane who takes on the role of Lauren.

Opening Night: With all three of you having connections to Manchester how did last nights opening night feel for you?

Paula: I’ll be honest I felt a little more nervous than usual last night, I’d said to Helen who plays Nicola, “You’re gonna have to give me a little pep talk just before the show” and she did and was great, some really wise words which really helped and then once I came on stage the love we got back from the audience was just unbelievable.

Callum: It was another level last night it really was.

Joel: I don’t well ever forget the reaction from Manchester, we all had friends and family in last night and the energy was just the best, it was incredible.

Callum: We’ve all been so excited to get to Manchester, it’s been so brilliant in all the other cities we’ve been to and now we’re here in Manchester we just all feel so lucky.

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ON: This is such a well loved show, is there a pressure in delivering the first ever UK tour?

Callum: Yes, I would say so but then I do feel that doing this show anywhere comes with a lot of pressure, the incredible message of acceptance is more than just playing a part in a show it’s a reponsibility, people comes and soon realise it’s much more than just a show. People are really learning something as well as having a great time. I think anywhere you do it be it the first tour, be it in the West End, the responsibility is still massive. There are some incredible fans out there, there’s one fan in particular who saw me in London, she travelled to Australia, she’s already been to three venues on this tour and is coming to Broadway to see the show, so you also want to get it absolutely right for those committed fans, old and new.

Paula: I actually see it slightly different in a sense as it’s a show which has won so many awards and clearly is a fantastic musical the mould is already there so we’re all already onto a winner, it can’t not be great because it’s such an incredible show to be involved in, it’s an honour.

Callum: This show has taken over the world, it might be coming to an end in certain places but there’s something about it that will be talked about forever. The show itself is an absolute legend along with the legends who put it together, it’s a brilliantly made show, brilliantly written with brilliant music, it’s just taken over.

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ON: Do you think the message of inclusivity is key to the success of Kinky Boots?

Callum: Yes I think so 100%, it’s still needed, the message of acceptance is still one that needs to be pushed.

Joel: We’ve come on a massive way, but there is still such a way to go, massively. Any person who comes along to the show who maybe has been dragged along by their wife and doesn’t really want to go, they are the people who need to hear this message and incredibly they are always the people who are up on their feet at the end of the show.

Callum: I had an audience in Melbourne where I was booed constantly, a lot of rugby guys in the audience who took the show to be more like a pantomime, they cheered for Don, absolutely loved Don and at the interval the rest of the cast were all checking if I was ok, and I told them all I was absolutely fine as I know how this show works and how different parts affect the audience and after Not My Fathers Son it changed and they were the ones up on their feet, cheering and then even went round to stage door asking for pictures, I literally saw a group of men completely change their minds in front of me, it was amazing and I had no doubt that that would happen by the end.

Paula: There was a stand out moment for me on our first night here in Manchester and I caught the eye of a young boy in the audience, aged maybe about 10 and his face at the end was just beaming. I think hearing that positive message of acceptance when you are so young is exactly what needs to happen.

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ON: It’s such an uplifting, high-energy show, we literally left the theatre beaming and that was just watching, how do you come down after such an energetic performance?

Callum: From an energy point of view we put so much into the show that we are tired at the end of the day which of course helps with relaxing afterwards.

Joel: I was so tired after last nights show but I just couldn’t switch off once I did go to bed, it was just such a buzz.

Paula: It’s really hard to come down but I’ve got two children who I need to FaceTime at a reasonable hour as they don’t understand working late and different bodyclocks, if they get up at 6am they get up at 6am.

Callum: When I was the understudy in London I actually used to bake when I got home. I used to get in, make something, pop it in the oven then go and shower and by the time it was done that had relaxed me and I’d then decorate what I’d baked in the morning.

Paula: Can you start baking again now?

Callum: Ha ha if I did it now you’d find I’m so exhausted you’d find my watch or something would be in it or my rings, glitter you name it ha ha.

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ON: Callum, you have some incredibly quick changes as you change from Lola to Simon, what’s your secret?

Callum: Lint rollers gets glitter it off brilliantly. All of my changes are quick changes, I stand in the wing just before the alleyway scene, holding my bag and I’m like ‘ok, here we go, I’m about to begin and then I’ll stop in about 2 hours’ it’s so much fun though we all have such a laugh. During Everybody Say Yeah last night I caught both Paula and Joel’s eyes and it just felt so so good. The energy you put in you get back ten fold.

ON: The show features themes of family and acceptance, were your families always supportive of your career choices?

Joel: Not always, my Dad was builder with his own building company and similar to Charlie really my Dad wanted me to work with him and I was studying drama and he would tell me not to pursue anything in drama because it was too hard but thanks goodness I had my biggest fan who is my Mum who would say “Don’t you listen to your Dad you can do this”. But yesterday really was amazing as he said to me at the end of the show “I am so proud of you”.

Callum: He said that to me too, not about me ha ha but about Joel, he turned to me and said “You think he’s good don’t you? And I said yes I do and he said, yes so do I”.

Joel: Callum’s Dad is so proud of him too, he said back in the day Callum would go to parties when he was a child and he wouldn’t want to stay and socialise but last night he he said “And now look at my boy”.

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Callum: I’m so lucky I’ve been so brilliantly supported, I’m the youngest of five boys and my Grandparents, my Mum and Dad from day 1 have supported me. In 2004 I watched a show at the Palace theatre and thought to myself I think I could do that and within the year I got everything ready to move away, my Dad helped and said we’ll find the money and do whatever we need to do. He’s always been my champion. He’s absolutely desperate and I haven’t mentioned this to any of the producers but he’s desperate to be the Dad in the chair after Hold Me In Your Heart.

Joel: Oh yes how amazing would that be! I’m telling them, that would be so incredible.

Callum: My Grandad is 81 and his background on his phone is me in the red dress, he’s brilliant. I’ve been so extremely lucky.

Paula: I’m lucky too, my Mum is a nurse and I’d told her that’s what I had decided I was going to do and she said “look you can do that anytime I really want you to try and pursue this”. She’s seen me go from high to low, she’s seen me in some really dark places and then it just comes right. My husband is equally supportive and often says “Something will always turn up” and you have to have that belief in yourself.

Callum: You absolutely have to have that belief, even though it’s an amazing industry and we’re loving life right now it can be an extremely lonely one at the same time. But, I would absolutely still do it, even knowing how hard and how lonely it can be I would still do it.

Joel: The highs really make up for it.

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ON: Now about those boots….!

Callum: The blue heels are the hardest, Jerry the director and choreographer didn’t want any stilettos in the show until the finale apart from my blue ones because I’m teaching Charlie and the factory gang about stillettos, they had to be the 6 inch stiletto. But, because they are ankle boots they don’t have the full support of the full leg boots we wear at the finale so it is a challenge.

Paula: Due to timing/quick change I get the red shoes but they too are so hard to dance in, the amount of surface area on the floor is tiny. When Charlie spins me round I have to be careful I don’t just keep on spinning, one day if I’m a bit egar everyone’s gonna be looking saying ‘yep she’s still going!’ but at least I can style it out as ditzy Lauren.

Callum: The two hardest dance numbers have the hardest shoes to wear ha ha. Joel on the other hand was an absolute natural! He put them on and it was like he’d literally been born to wear then.

Joel: It was actually harder to look like I couldn’t walk in them. The falling over part is the biggest challenge to make it look realistic as I was so comfortable in them from the start!

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ON: Finally Callum we have to ask you how did you feel when you got the call about Broadway?

Callum: It’s an absolute dream come true, it’s so strange to be able to talk about it now. I’ve actually known since February and now the news is finally out, it feels incredible. I’ll be getting to make my Broadway debut with a part that has changed my life completely, it’s amazing I am so so lucky.

And we’re lucky enough to have the show in Manchester for a limited 3 week run. You can catch Kinky Boots at the Opera House until Saturday 1st December and take advantage of a final opportunity to catch Callum Francis as Lola before he heads off to Broadway. Tickets available here.

Kinky Boots – Opera House – Manchester until Saturday 1st December

http://www.kinkybootsthemusical.co.uk

Kinky Boots

Kinky

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

Reviewed by Nikki Cotter

Broadway and West End sensation Kinky Boots has hit the road on its first ever UK tour and if you were ever in any doubt that these boots were made for walking the deafening roar of last night standing ovation should comfortably settle any such fears.

Based on the 2005 British film written by Geoff Dearne and Tim Firth this superb show with music and lyrics from the legendary Cyndi Lauper serves fierce, feel-good fun with a capital F.

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Charlie Price (Joel Harper-Jackson) is left the failing family business when his shoemaker father passes away, leaving him torn between saving the family business and the jobs of the friends he’s come to know as family or giving it all up to follow his girlfriend Nicola (Helen Ternent) to a life in London.

After a chance meeting with spectacular drag queen Lola, Charlie soon begins to realise he may just have the power within him to save the factory and indeed save himself as he explores the challenges of following his heart and learning how to be who he truly wants to be.

Joel Harper-Jackson last seen in the city in Hope Mill Theatre’s 2017 production of Little Women is superb as Charlie. Torn by the decision he faces he brings genuine warmth and powerful emotion to the role which ensures the audience are rooting for him from the start. Particularly impressive is his powerful delivery of the challenging ballad Soul Of A Man, note perfect in his execution and packing a powerful emotional punch.

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The relationship between Harper-Jackson and Lola (Callum Francis) is an absolute joy to watch; as their friendship grows so does our affection for them both.

Francis gives a world-class performance as the outrageously brilliant Lola, fierce and utterly fabulous he is completely mesmerising, you literally cannot take your eyes off him. It comes as no surprise to learn he’s off to Broadway soon to take up the role there, how lucky we are that we get to see him in Manchester for 3 whole weeks first.

He entirely dazzles as Lola, oozing sass and style one moment then grabbing you right in the feels the next during the heartfelt tender ballads I’m Not My Father’s Son and Hold Me In Your Heart. Commanding and charismatic you’d struggle to find a better performer on any side of the pond.

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Paula Lane makes a welcome return to Manchester bringing great humour to the role of factory girl Lauren who falls hopelessly in love with Charlie. Clearly an audience favourite she is kooky, kitch and magnificent fun.

The real show-stopping moments which push the story forward at a perfect pace belong of course to Lola’s magnificent angels, as they back-flip and high kick their way through electrifying numbers showing off Jerry Mitchell’s choreography to perfection. In addition to the angels the incredibly hardworking and hugely entertaining ensemble cast come together so tightly they truly lift this show to the next level.

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There aren’t many shows you’d happily stay in your seat and watch immediately again, Kinky Boots is undoubtedly one of them.

It’s witty script and effortlessly catchy score deliver and then some, while its message of love and acceptance really touches the heart. There is glitz & glamour in this high-kicking, high-energy show but at its heart is a joyous, uplifting and deeply moving story. A kinky, kick-ass treat!

On at the Opera House until Saturday 1st Dec here.

 

Interview – Sting | The Last Ship

Sting

Undoubtedly one of the most successful UK artists of all time having sold millions of records, won every award & prestigious accolade imaginable including multiple Grammy’s, Brits, a Golden Globe, 4 Oscar’s nominations, an induction to the Hollywood walk of fame and a CBE to name but a few, Sting has now set his sights on musical theatre with the self-penned, The Last Ship. We were lucky enough to be invited to an intimate launch of the musical which docks at the Lowry Theatre from 3rd July 2018.

Sting may have come a long way since his childhood days spent in the shadows of the shipyard in Tyneside but he has never forgotten his roots. In writing The Last Ship Sting rediscovers the impact industrialisation & loss of identity has on a town and it’s inhabitants. As a child Sting thought of the shipyard as a dark and dangerous place, his biggest fear that he would end up there, unable to fulfil his dreams of being a singer. “Many years later I realised I owed a debt to my community, a community who’d had their incredible skills set thrown on the scrap heap, their dignity in working taken away, I wanted to explore what happens when you take this away, economics does not exist without community.”

Not strictly autobiographical but certainly very influenced by Sting’s childhood, lead character Gideon has turned his back on his hometown, leaving to become a sailor, after 17 years away her returns to reconnect with a lost love, however tensions between his past and his future flare as the once proud town he left is now a community in demise as the local shipyard is closing and fear for the economic stability of the town is overwhelming.

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Of the story Sting said “I know how difficult it is to write an original story, many musicals are based on stories we already know, films, even cartoons but I wanted to take on that challenge, it was fun, it was hard-work, inspiring, challenging, disappointing, thrilling so many emotions, almost like a ship, there are so many moving parts and elements that need to come together, effectively you are the captain of the ship. It was hugely challenging but also so much fun.”

The musical has a very strong sense of regional identity, having lived away from the North East for so many years now Sting feels he is in the perfect place to look from the outside in, “I live an international life, I’m from a community but I live outside of it which to me feels like a good place to be impartial and give a voice to a community who maybe don’t have one.”

Giving his childhood community a voice is clearly a huge driving force behind The Last Ship as well as the emotional debt Sting feels he has to pay. “I was formed by the North East, my engine of ambition was created there, I was very lucky to be able to do what I did and it was only through good fortune when I left at aged 18/19 that I was able to, I am enormously grateful for the environment in which I was raised. It was rich and full of symbolism, the launching of a ship makes me tearful even now, something so enormous being launched by the hands of its makers, the workers of the town, happy and proud of what they have created yet at the same time anxious at when their next job might be.”

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Sting explained what drove him to take on the challenge of musical theatre, “I’m undoubtedly driven by curiosity, driven always by the thought of ‘What’s next?’ I never want to keep pressing the same buttons, creativity is an elusive animal, hunting creativity means putting yourself out of your comfort zone, I’m not driven by success but driven by my own curiosity, I’m an eternal student.”

After a runs on Broadway, Chicago, Salt Lake City and now Finland, Sting explained how the piece has been altered slightly for the UK and Ireland tour which opens in Newcastle in March. “I felt the show needed slightly refitting for this tour, it’s more political than it was on Broadway, the struggle of the men takes precedence here as opposed to the love story which was very much focussed on for Broadway. Once I’d started with the characters the songs then came very, very quickly, almost like it was stored up deep inside, a story just waiting to be released. I’ve never been so passionate about anything I’ve done.”

Directed by Lorne Campbell with set design by the Tony Award-winning 59 Productions The Last Ship promises to a powerful, emotional and inspiring piece of theatre. Steeped in the proud history of the North with a stunning score, melodic folk music as well as rousing ensemble numbers The Last Ship starring Jimmy Nail sails into the Lowry from Tuesday 3rd July 2018, tickets available here

 

 

Extra matinee of The Play That Goes Wrong!

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Due to enormous demand an additional matinee performance of the West End and Broadway hit The Play That Goes Wrong has been added to the Lowry run on Friday 9th June at 2pm!

The multiple international award winning production will entertain north west audiences for a week long run from Monday 5th-Saturday 10th June, this highly physical comedy delivers the finest of slapstick humour and has audiences literally rolling in the aisles as the bonkersly brilliant cast act up a storm on stage.

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The play introduces The ‘Cornley Polytechnic Drama Society’ who are attempting albeit disastrously to put on a 1920s’ murder mystery, but as you would guess (and secretly hope), everything that can go wrong ultimately does, as the accident prone thespians battle on against all the odds to get to their final curtain call.

The Play That Goes Wrong is an absolute riot of expertly choreographed mayhem and side-splitting silliness, a huge audience pleaser an absolute barrel of laughs.

Tickets available via the following link https://www.thelowry.com/events/the-play-that-goes-wrong

Running Time: 2 hours & 5 minutes including 1 interval Suitable for ages 8+.

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Miss Saigon returns to Manchester!

Miss S 5Hot on the heels of yesterday’s exciting Matilda announcement Cameron Mackintosh has today announced that Miss Saigon will land at Manchester’s Palace Theatre on 21th March 2018 and will stay in the city for a total of 7 weeks until 12th May 2018, with tickets going on sale on 18 May. www.miss-saigon.com

Mackintosh also announced the principal casting of his acclaimed new production of Boublil and Schönberg’s legendary musical, Red Concepcion will play ‘The Engineer’, Sooha Kim ‘Kim’, Ashley Gilmour ‘Chris’, Zoë Doano ‘Ellen’ and Gerald Santos ‘Thuy’. At certain performances ‘Kim’ will be played by Joreen Bautista.

Here at Opening Night we’re thrilled to hear that Barnaby Hughes most recently seen in Hope Mill Theatre’s stunning production Yank! will be amongst the cast, huge congratulations Barnaby!

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Miss Saigon tells the heart-wrenching story of the last days of the Vietnam War, 17-year-old Kim is forced to work in a Saigon bar run by a notorious character known as the Engineer. There she meets and falls in love with an American GI named Chris but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.

Since its London premiere in 1989, Cameron Mackintosh’s production of Alain Boublil and Claude-Michel Schönberg’s legendary musical Miss Saigon has become one of the most successful musicals in history.  The show has since been performed in 28 countries, over 300 cities in 15 different languages, has won over 40 awards including 2 Olivier Awards, 3 Tony Awards, and 4 Drama Desk Awards and been seen by over 35 million people worldwide.

Tickets will be in huge demand for this epic production, we are thrilled to say in Manchester the heat is most definitely on!

MISS SAIGON UK TOUR 2017/2018

www.miss-saigon.com

 

MONDAY 3 JULY – SATURDAY 22 JULY 2017

CURVE, LEICESTER

www.curveonline.co.uk – 0116 242 3595

ON SALE NOW

 

WEDNESDAY 26 JULY – SATURDAY 23 SEPTEMBER 2017

BIRMINGHAM HIPPODROME

www.birminghamhippodrome.com – 0844 338 5000

ON SALE NOW

 

WEDNESDAY 4 OCTOBER – SATURDAY 18 NOVEMBER 2017

BORD GAIS ENERGY THEATRE, DUBLIN

www.bordgaisenergytheatre.ie – +353 (1) 677 7999

ON SALE NOW

 

WEDNESDAY 29 NOVEMBER 2017 – SATURDAY 6 JANUARY 2018

WALES MILLENNIUM CENTRE, CARDIFF

www.wmc.org.uk – 029 2063 6464

ON SALE NOW

 

WEDNESDAY 17 JANUARY – SATURDAY 17 FEBRUARY 2018

FESTIVAL THEATRE EDINBURGH

www.edtheatres.com – 01315296000

ON SALE NOW

 

WEDNESDAY 21 FEBRUARY – SATURDAY 17 MARCH 2018

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk – 02380 711811

ON SALE NOW

 

WEDNESDAY 21 MARCH – SATURDAY 12 MAY 2018

MANCHESTER PALACE THEATRE

www.atgtickets.com/venues/palace-theatre-manchester/0844 871 3019

ON SALE 18 MAY 2017

 

WEDNESDAY 16 MAY – SATURDAY 23 JUNE 2018

THE BRISTOL HIPPODROME

www.atgtickets.com/venues/bristol-hippodrome/0844 871 3012

ON SALE 18 MAY 2017

 

WEDNESDAY 4 JULY – SATURDAY 4 AUGUST 2018

THEATRE ROYAL PLYMOUTH

http://www.theatreroyal.com/01752 267222 ON SALE 18 MAY 2017

 

WEDNESDAY 15 AUGUST – SATURDAY 15 SEPTEMBER 2018

NORWICH THEATRE ROYAL

www.theatreroyalnorwich.co.uk  01603 63 00 00

ON SALE 21 AUGUST