A full band concert after several solo excursions with material drawn from the early years. Elvis pretty much defines the phrase “musically prolific” embracing different styles, formats and genres at a whim.
I first saw him 49 years ago as part of the Bunch of Stiffs tour ( Elvis is a stiff!- ho ho ho), so I predate Steve Nïeve and Pete Thomas
When Elvis broke he was competing with emerging British singer songwriters Graham Parker and Joe Jackson. Both formidably talented. But it was Elvis who endured, not least because he wrote more good songs than anyone else
Opening the night was an hour long set of eight Squeeze songs and anecdotes from Chris Difford. He was very good and won a standing ovation at the end- a rarity for a support act.
Take Me I’m Yours
Pulling Mussels (From the Shell)
Up the Junction
Is That Love
Tempted
Cowboys Are My Weakness
Labelled With Love
Cool for Cats
A healthy looking and vibrant elvis then delivered a nuanced 100 minute set, albeit beset by sound problems
This Year’s Girl
Mystery Dance
Watching the Detectives
Little Triggers
Clubland
Beyond Belief
Watch Your Step
(EC solo, announced as a prototype for AWH, from which he later took lines when writing AWH.)
Accidents Will Happen
Opportunity
Lovers Walk
Hamburg (A Postcard)
Almost Blue / All or Nothing at All
Who Will the Next Fool Be
Lovable
Heathen Town
Brilliant Mistake
Honey, Are You Straight or Are You Blind?
The Angels Wanna Wear My) Red Shoes
Everyday I Write the Book
Less Than Zero
Shipbuilding
Oliver’s Army
Alison
No Dancing
Pump It Up
(What’s So Funny ‘Bout) Peace, Love and Understanding
It was a performance that divided opinion. The set list was excellent, the sound was often awful. Some allege that this was deliberate, in order to mask Elvis’s faltering vocal abilities. However on “Shipbuilding”, “Watch Your Step”, “Oliver’s Army” and “Opportunity” he sounded fine. Steve’s piano and keyboard were too low in the mix, Auxiliary guitarist Charlie Sexton seemed to be doubling up on Elvis’s guitar parts. Drummer Pete Thomas looked ill as did Steve, but his drum opening for “This Years Girl” was incendiary.
A reworked Clubland was superb, a reworked “Detectives” was a mess. “Everyday I write the book” was unrecognisable. I loved the new “Oliver’s Army” I could have done without “Alison” and “pump it up”.
I am off to see him in Manchester in ten days,. His set lists constantly change, his performances have always been mercurial. Cant wait.
On Monday evening, legendary electronic outfit Kraftwerk arrived in Nottingham as part of their first UK tour since 2017, their last gig being also at the same venue some nine years ago. Before that their only previous appearance in the City was at the adjacent Rock City, in 1981, forty five years ago
A capacity crowd awaited this rare visit, one which is likely to be their last for the legendary electronic pioneers, influencers for electronica ever since, not least the Human League. This Multimedia tour offers stunning graphics and a familiar crowd pleasing romp through their back catalogue
So many of the band’s tracks have become much celebrated not only for Kraftwerk’s original renditions but also for their sampled use elsewhere in modern music.Tthe main synthesiser motif from the band’s Computer Love track was used by indie-rock titans Coldplay on their single Talk,Whilst Trans Europe Express was sampled by Afrika Bambaataa in their unmistakable hip-hop floor filler, Planet Rock. Both featured in the band’s two-hour career-spanning setlist.
Kraftwerk’s signature use of visuals helped t provided a stunning setting for the musid.of the four members of the group stood static in illuminated boiler suits behind their consoles throughout the course of the show. the sound in this purpose built concert hall was faultless.
Starting with opening tracks Numbers and Computer World, Kraftwerk walked the strong crowd down memory lane, thanks to staples from their discography such as The Model, Autobahn, Radioactive, Tour De France, Trans Europe Express, Music Non Stop and encore closer Robots.
The band even gave a nod to the East Midlands as visuals of Nottingham featured on screen during Space Lab.
Witty onstage badinage was at a premium, except for a moment from only remaining original band member Ralf Hutter to discuss Kraftwerk’s collaboration with Japanese musician Ryuichi Sakamoto- the exquisite “Merry Christmas Mr lawrence.”The band, currently made up of founder Ralf Hütter, Henning Schmitz, Falk Grieffenhagen and Fritz Hilpert were otherwise silent and taciturn
At the end of the show, each member of the group exited ceremoniously one by one by way of finale-Leaving only Hütter to bid his farewells, by way of “Gute Nacht, Auf Weidersehen.”
Enjoying the soubriquet ‘Greatest British Sitcom of All Time’ (Radio Times), Fawlty Towers is back is back – this time on stage! 50 years since it first graced our TV screens, it morphs into a brand-new stage play adapted by comedy legend John Cleese, who wrote and starred in the original as Basil Fawlty and directed by Caroline Jay Ranger.
It is a greatest hits mash up of the best bits of the show but with many segments presented in their entirety. As was traditional, at the interval the hotel sign was rearranged. Inevitably gems from the series were truncated or culled in their entirety, most notably the Rat episode. Manuel’s naming of the rat as Basil and declaring “ees not rat is hamster” lives in in our memoriesif not in this production.
Basil (Danny Bayne) is still raging at the world as part of a large 18 strong cast ably assisted by the ensemble.,with sharp wit, chaos, and calamity abound! Polly (Joanne Clifton), is a delight, Mia Austenhas a lot of fun as Sybil the dragon. Paul Nichols is unrecognisable and outstanding as the bumbling Major. The cast on stage aren’t simply doing impressions of their screen predecessors they give them a new identity- the show is all the better for it.
The split level set, designed by Liz Ascroft, is painfully accurate and took me back to 1970s seaside family holidays. Its multi room design is fully exploited for the glorious fire drill finale- the upper level less so.
The packed matinee performance on a Thursday afternoon bears testament to the Series’ enduring popularity. The audience was staunchly aficionados , the cognoscenti scrutinising every word, and every element- the show was not found wanting and drew rousing warm applause at its finale.
The German’s scene is of its time, and Basil’s casual misogyny would have Jess Phillips apoplectic- but Basil wouldn’t care- and nether did the audience.
Intriguingly, despite its one hour 40 minute show time there was enough left out- for an entirely new reworked show. Here’s hoping!
Any revival of this 1982 ( and 1960) cult classic has two alternatives, to reimagine and embrace the absurdist original source material , or go 2026 digital. This production takes option one with an innovative exception- the use of onstage creative captions.
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It is the tale of how a mysterious shrub turns around the fortunes of Seymour, a hopeless florist in love with Audrey. Like the shrub- this show grows on you.
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Where it is pioneering , is in its use of creative captions – still a rarity in UK theatre. Caption designer Ben Glover incorporates them into the fabric of the show, making this staging accessible and good fun too, with chunky, horror movie-style lettering and cartoonish speech bubbles popping up on screens behind the action.
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The star of the show is Audrey II – the carnivorous plant that grows from a bud into a monstrosity. Here, the role is split in two, with Tasha Dowd providing soulful vocals from off stage and Ross Lennon acting as puppeteer, manoeuvring Audrey II’s increasingly bulbous foam head from within.
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Elsewhere, a cast of actor-musicians lend broad New York accents to the doo-wop and rock’n’roll favourites, including Skid Row (Downtown) and Feed Me (Git It)
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The show’s origins are awash with illustrious associations. David Geffen was one of the original producers of the off-Broadway show and he began planning to produce a feature film adaptation. Originally Steven Spielberg was attached to serve as an executive producer with Martin Scorsese attached to direct the film John Landis was also attached to the project for a time. Music producer and Four Seasons member Bob Gaudio adapted and produced the musical’s songs for the film.
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Director Sarah Brigham cannot be accused of a lack of ambition. Brigham loves utilising actor/ musicians and these are used to the fore with veteran Ivan Stott to the fore. She delivers her own revival first ,in advance of next year’s new production of the show from Oxford/ Leeds playhouse.
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Vocals are consistently impressive throughout,“Suddenly Seymour”, stands out as a highlight and opens Act Two strongly.
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The success of the puppetry is pivotal, and Audrey II is realised brilliantly. Tasha Dowo supplies powerhouse vocals while Ross Lennon gives the creature genuine menace through expert puppetry. The puppet itself, growing steadily throughout the production, is top-class, and by the final moments genuinely feels capable of taking over the world.
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Forty years on from the 1986 film adaptation of Little Shop Of Horrors – catapulting it from its earlier cinematic and stage iterations to Hollywood legend – this production delights audiences just as much as it did four decades ago.
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Under Sarah Brigham’s direction, the carefully illuminated and smoke-filled stage is set for the monstrous version of this tale as old as time – the man who wanted more at any cost. Vibrant colours abound with glowing greens, vibrant purples and pinks, and angry reds fir a show that borders on the noir.
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Amena El-Kindy brings a fiery depth to the tragic Audrey and arrests with her incredible vocals, while Jon Bonner’s Mr Mushnik adds a warmth while simultaneously skirting around caricature with his dynamic performance. The dulcet tones of the production’s Audrey II, voiced brilliantly by Tasha Dowd, meld beautifully with the plant.
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David Rankine is superb as the sadistic Orin Scrivello Rankine camp and outrageous.
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Alongside playing the iconic evil dentist to perfection, Rankine seamlessly transforms into several supporting characters, from the comically noir-coded Bernstein to the lascivious editor’s wife and the pushy Patrick Martin who is hellbent on the proliferation of little Audreys everywhere.
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The music is glorious with Motown and blues-inspired instrumentals and vocals from Chiffon (Chioma Uma), Crystal (Shekinah McFarlane), and Ronette (Emmanuella Chede) as well as brass and strings from supporting musicians,
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The show is pacy and brisk, and at two hours does its job, before bidding farewell
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A great night out that is visually striking, tinged with darkness horror and campy thrills -tthe magic of theatre brought to life with puppets.
Dave Formula and Noko play Magazine- Rescue Rooms, Nottingham
For the die hard fans of the era. The original line up of the Magnificent magazine is now represented by only Dave Formula on keyboards. Bassist Barry Adamson is now a film soundtrack composer, guitarist McGeough is dead, drummer John Doyle is a graphic artist and frontman Howard Devoto now aged 74, “Just got tired”
Noko on guitar is a long time collaborator, but for this tour, Max, Formula’s son is on drums, Frenchman Peter is on vocals, his son Tim on bass. They are all terrific.
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I regarded Magazine as being Punk Prog, with Dave Formula’s keyboards and intricate extended arrangements to the fore and so it was once again
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The big surprise is Peterson on vocals. Could Devoto ever be replaced? Yes. Peterson has a certain gallic Je ne sais quoi and style which is perfect for the role. He pointed out when we were chatting post gig that Devoto frequently used French phrases and quotes anyway
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The setlist is a meticulously constructed best of. I recall going round to my late friend Petes’ house as a teenager, and listening to Real Life, Secondhand daylight, and Songs from under the Floorboards, and it was just like being back at Pete’s hous forty eight years later .
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“Now that I’m out of touch with anger- now I have nothing to live up to-I think we’ve been forced to our knees, but I cant tell”
“The border guards smile unconvincingly”
“Shadows flicker, sweet entrée, dancing like crazy mourners”
“I will drug you, and fuck you- on the permafrost”
Hearing these lines again was exquisite- Peter Petersen’s addition ;
“Garcon, l’addition sil vous plait” was genius.
The opening “Thin Air” was ethereal, “Back to nature” barnstorming, “Parade” probably the highlight and the one/two finish of Definitive gaze/ Shot by Both Sides” showstopping.
Thanks for the memories Dave and Noko , and for bringing this great music back to life again with such a great band.
The Thin Air
Back to Nature
Give Me Everything
Sweetheart Contract
Motorcade
The Great Beautician in the Sky
Feed the Enemy
Rhythm of Cruelty
Cut‐Out Shapes
Thank You (Falettinme Be Mice Elf Agin)
Model Worker
Permafrost
Parade
A Song From Under the Floorboards
the Light Pours Out of Me
Twenty Years Ago
Definitive Gaze
Shot by Both Sides
And to cap it all the band came out post gig to chat to the fans. Tim was needlessly anxious that the fans were tracking every bass note ( he didnt put one wrong) and Max, was rock steady on the drums. Dave was charming and generous with his time, Pete as engaging offstage as he was onstage
A production which seems omnipresent on the regional theatre circuit and one I have seen many times
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Willy Russell’s tale has endured for a reason. Superficially it is the tale of twin brothers separated at birth but raised in vastly different worlds within post-war Liverpool. One grows up in poverty and hardship, the other in comfort and privilege, with their lives repeatedly crossing as they grow older. A girl predictably coming between them. However underneath, the undercurrents of class, fate and family swirl and twist before colliding for a cataclysmic conclusion.
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Blood Brothers has been performed for forty five years now. Over that time the familiarity of the audience with the narrative has given it greater weight. The inevitability of the denouement is inescapable in the finest tradition of Greek Tragedy from which the tradition of a narrator/chorus is borrowed.
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Vivienne Carlyle excels as the pivotal Mrs Johnstone, combining beautiful vocals delivered with a nuanced dramatic performance alongside Kristofer Harding as the Narrator who is authoritative, brooding and menacing.
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The ensemble assume multiple roles with Alex Harland and Graeme Kinniburgh working particularly hard. Nick Richings does a superb job with the lighting. Great lighting does everything from atmosphere – the suggestion of interior or exterior mood and time of day – to animation and heating up scenes with energy. Richings achieves all of these things, offering seamless punctuation: controlling tension and flow.
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Fortunately, the Garrick is a modern, acoustically refined space, perfect for hearing Bright New Day, Marilyn Monroe and the curtain closing Tell Me It’s Not True. Musical Supervisor Matt Malone, and sound man Dan Samson deliver crispness and volume in perfect measure.
Blood Brothers continues until sat 23rd May then continues on nationwide tour. The so called “Standing Ovation Musical” lived up to its aim at the end from an enthusiastic Lichfield audience.
As 1980’s pop recedes into ancient history so the play with the playful Spoonerism title based around the almost eponymous Eighties hit band embarks on a nationwide tour.
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All Photos Richard Lakos
Bollywood style has been first a South east Asian , and then an imported, favourite, for a long time. This week its hits the mainstream and Derby.
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Frankie Goes to Bollywood, is a spectacular musical from Rifco Theatre Company, and a vibrant celebration of British South Asian culture. It cleverly fuses modern contemporary storytelling with the established traditions of Bollywood cinema. It is also not afraid to borrow thematically from previous stories on fame and adulation including Lloyd Webber’s Sunset Boulevard and Evita, the seventies film Stardust, with a bit of Korean K Pop thrown in.
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Conceived by Rifco’s Artistic Director, Pravesh Kumar MBE, and inspired by his decade working in the heart of Bollywood, the hit musical was written and directed by Pravesh Kumar, songs & lyrics by Tasha Taylor Johnson and songs & music by Niraj Chag, the production follows a young dreamer with big ambitions as she journeys into the heart of the Bollywood film industry.
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This was my first live, full exposure to a Bollywood show so my interest, curiosity and expectation was high. How would it compare to traditional Western big production musicals?
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Counterintuitively, the action starts in Huddersfield before traversing the globe to its homeland in Mumbai,India, to focus on Frankie, played by Elinor Hallett as a child, telling her mother of her dreams of being a Bollywood Hero. Frankie quickly grows up, played by Sarah Pearson, and a bereaved Frankie is now serving popcorn with her cousin at a Huddersfield cinema
We follow the story of Frankie, a young British Asian woman, with little interest in fame, who finds herself becoming a star in the complicated, corrupt, male dominated world of film making in India. Which is no different from the fame machine in any part of the world
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Cousin Goldy, played by Katie Stasi, also dreams of being in the movies, but fate intervenes and Frankie is the one who gets the opportunity to go to Bollywood and become a movie star. But will Frankie find her dream and remain true to herself, will she be the Warrior she always thought she was or will she get chewed up by the relentless pressure that is the production of movies in Bollywood? Will the brown Sugar girls team hold? Will Frankie find herself too brown to be British and too British to be brown
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The answer comes swathed in sparkle, glitz and glamour. Costume designer Andy Kumar’s imagination is to the fore, as are the backstage costume changers with dazzling colours, sequins, high heels , and more sequins. All revolving on and off stage with bewildering speed.
The choreography is mesmerising, courtesy of choreographers Nicola Mac and Anna Maria Barber. Watch out for the airborne transatlantic dance transporting Frankie to Bollywood . But this show is not just about the girls.
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Luke Suri shines as Shona, camp, dazzling and energetic. Raju King, the aging Bollywood lothario is played by Ankur Sabharwal who provides the laughs with a very good running joke about shampoo.
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Bollywood drama demands that the hero or heroine triumphs leaving the virtuous protagonists to live happily ever after- and this show follows that script . A show to savour, combining laugh out loud comedy , the seamy side of Bollywood, and putting on the Ritz glitz. A terrific production driven by concealed live onstage musicians
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Irish music found its place with Riverdance, English traditional music with Brassed off, English Pop music with Sunny Afternoon and now Frankie Goes to Bollywood establishes South east Asian popular music in its own right on the stage of British Musical theatre. “Frankie” shimmies and sashays at Derby until Saturday 16th before continuing on nationwide tour.
If you are reading this in New York the Tony awards nominations have been announced .
The magnificent Giant, which originally opened at London’s Royal Court, is in the
running for best play. American star John Lithgow is in contention for his shattering
portrayal of Roald Dahl, as is Aya Cash for her performance as a publishing executive,
Nicholas Hytner is nominated as director.
Meanwhile, that modest little British fable Two Strangers (Carry a Cake Across New
York) is up for eight awards, including best musical,
Watch out foro the extraordinarily witty Schmigadoon! And spoof Titanique
In further British success, Mark Strong and Lesley Manville are singled out for their roles
in Robert Icke’s modern-dress take on Oedipus (which receives seven nominations.
And Andrew Lloyd Webber, will be pleased to see the reboot Cats: The Jellicle Ball listed
for best revival of a musical. (It’s up against Ragtime and The Rocky Horror Show.)
Nominations for the 2025-2026 Season
American Theatre Wing’s Tony Awards®
Presented by The Broadway League and the American Theatre Wing
Best Book of a Musical
The Lost Boys
David Hornsby and Chris Hoch
Schmigadoon!
Cinco Paul
Titaníque
Marla Mindelle, Constantine Rousouli and Tye Blue
Two Strangers (Carry a Cake Across New York)
Jim Barne and Kit Buchan
Best Original Score (Music and/or Lyrics) Written for the Theatre
Arthur Miller’s Death of a Salesman
Music: Caroline Shaw
August Wilson’s Joe Turner’s Come and Gone
Music: Steve Bargonetti
The Lost Boys
Music & Lyrics: The Rescues
Schmigadoon!
Music & Lyrics: Cinco Paul
Two Strangers (Carry a Cake Across New York)
Music & Lyrics: Jim Barne and Kit Buchan
Best Performance by an Actor in a Leading Role in a Play
Will Harrison, Punch
Nathan Lane, Arthur Miller’s Death of a Salesman
John Lithgow, Giant
Daniel Radcliffe, Every Brilliant Thing
Mark Strong, Oedipus
Best Performance by an Actress in a Leading Role in a Play
Rose Byrne, Fallen Angels
Carrie Coon, Bug
Susannah Flood, Liberation
Lesley Manville, Oedipus
Kelli O’Hara, Fallen Angels
Best Performance by an Actor in a Leading Role in a Musical
Nicholas Christopher, Chess
Luke Evans, Richard O’Brien’s The Rocky Horror Show
Joshua Henry, Ragtime
Sam Tutty, Two Strangers (Carry a Cake Across New York)
Brandon Uranowitz, Ragtime
Best Performance by an Actress in a Leading Role in a Musical
Sara Chase, Schmigadoon!
Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show
Caissie Levy, Ragtime
Marla Mindelle, Titaníque
Christiani Pitts, Two Strangers (Carry a Cake Across New York)
Best Performance by an Actor in a Featured Role in a Play
Christopher Abbott, Arthur Miller’s Death of a Salesman
Danny Burstein, Marjorie Prime
Brandon J. Dirden, Waiting for Godot
Alden Ehrenreich, Becky Shaw
Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone
Richard Thomas, The Balusters
Best Performance by an Actress in a Featured Role in a Play
Betsy Aidem, Liberation
Marylouise Burke, The Balusters
Aya Cash, Giant
Laurie Metcalf, Arthur Miller’s Death of a Salesman
June Squibb, Marjorie Prime
Best Performance by an Actor in a Featured Role in a Musical
Ali Louis Bourzgui, The Lost Boys
André De Shields, Cats: The Jellicle Ball
Bryce Pinkham, Chess
Ben Levi Ross, Ragtime
Layton Williams, Titaníque
Best Performance by an Actress in a Featured Role in a Musical
Shoshana Bean, The Lost Boys
Hannah Cruz, Chess
Rachel Dratch, Richard O’Brien’s The Rocky Horror Show
Ana Gasteyer, Schmigadoon!
Nichelle Lewis, Ragtime
Best Scenic Design of a Play
Hildegard Bechtler, Oedipus
Takeshi Kata, Bug
Chloe Lamford, Arthur Miller’s Death of a Salesman
David Korins, Dog Day Afternoon
David Rockwell, Fallen Angels
Best Scenic Design of a Musical
dots, Richard O’Brien’s The Rocky Horror Show
Soutra Gilmour, Two Strangers (Carry a Cake Across New York)
Rachel Hauck, Cats: The Jellicle Ball
Dane Laffrey, The Lost Boys
Scott Pask, Schmigadoon!
Best Costume Design of a Play
Brenda Abbandandolo, Dog Day Afternoon
Qween Jean, Liberation
Jeff Mahshie, Fallen Angels
Emilio Sosa, The Balusters
Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone
Best Costume Design of a Musical
Linda Cho, Ragtime
Linda Cho, Schmigadoon!
Qween Jean, Cats: The Jellicle Ball
Ryan Park, The Lost Boys
David I. Reynoso, Richard O’Brien’s The Rocky Horror Show
Best Lighting Design of a Play
Isabella Byrd, Dog Day Afternoon
Natasha Chivers, Oedipus
Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone
Heather Gilbert, Bug
Heather Gilbert, The Fear of 13
Jack Knowles, Arthur Miller’s Death of a Salesman
Best Lighting Design of a Musical
Kevin Adams, Chess
Jane Cox, Richard O’Brien’s The Rocky Horror Show
Donald Holder, Schmigadoon!
Adam Honoré, Cats: The Jellicle Ball
Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime
Jen Schriever and Michael Arden, The Lost Boys
Best Sound Design of a Play
Justin Ellington, August Wilson’s Joe Turner’s Come and Gone
Tom Gibbons, Oedipus
Lee Kinney, The Fear of 13
Josh Schmidt, Bug
Mikaal Sulaiman, Arthur Miller’s Death of a Salesman
Best Sound Design of a Musical
Kai Harada, Cats: The Jellicle Ball
Kai Harada, Ragtime
Adam Fisher, The Lost Boys
Brian Ronan, Richard O’Brien’s The Rocky Horror Show
Walter Trarbach, Schmigadoon!
Best Direction of a Play
Nicholas Hytner, Giant
Robert Icke, Oedipus
Kenny Leon, The Balusters
Joe Mantello, Arthur Miller’s Death of a Salesman
Whitney White, Liberation
Best Direction of a Musical
Michael Arden, The Lost Boys
Lear deBessonet, Ragtime
Christopher Gattelli, Schmigadoon!
Tim Jackson, Two Strangers (Carry a Cake Across New York)
Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball
Best Choreography
Christopher Gattelli, Schmigadoon!
Ellenore Scott, Ragtime
Ani Taj, Richard O’Brien’s The Rocky Horror Show
Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball
Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys
Best Orchestrations
Doug Besterman and Mike Morris, Schmigadoon!
Ethan Popp, Adrianne “AG” Gonzalez, Gabriel Mann, Kyler England, The Lost Boys
Lux Pyramid, Two Strangers (Carry a Cake Across New York)
Brian Usifer, Chess
Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball
Best Play
The Balusters
Author: David Lindsay-Abaire
Producers: Manhattan Theatre Club, Nicki Hunter, Chris Jennings
Giant
Author: Mark Rosenblatt
Producers: Brian & Dayna Lee, Stephanie Kramer & Nicole Kramer, Josh Fiedler & Robyn Goodman, Royal Court Theatre, Tilted, Federman Koenigsberg TS Perakos, Scott M Delman & Timothy C. Headington, Stephanie P. McClelland, Jessica R. Jenen & Linda B. Rubin, Tom Smedes & Peter Stern, Mark Rubinstein LTD, Pam Hurst-Della Pietra & Stephen Della Pietra, Ruth Hendel, Daryl Roth, Tom Tuft, Four Front Productions, A Golden Ticket Production, Willette Klausner & Tom D’Angora, Kuhnsabi Furman Furie, Alex Levy & Shari Redstone, Oddly Specific Productions, Rialto Productions, Winkler & Smalberg, The Shubert Organization, James L. Nederlander, John Gore Organization
Liberation
Author: Bess Wohl
Producers: Daryl Roth, Eva Price, Rachel Sussman, Jenny Gersten, Betsy Dollinger, FineWomen Productions, Craig Balsam/Broadway Women’s Fund, Jessica Goldman Foung/Rachel Styne, Michelle Noh/Todd B. Rubin, Gold Sky Productions, MHSSP Productions, Creative Partners Productions, Sheri Henriksen, Hopkins Haffner Wright, Pam Hurst-Della Pietra, Ellie Hurwitz, Willette Klausner, Hilary Ley Jager, Los Angeles Media Fund, Jonathan Littman, Isabelle Mann, Practical Mayhem, Jenna Segal, Tracy Semler, Marcy Syms, The Weisbrots, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave
Little Bear Ridge Road
Author: Samuel D. Hunter
Producers: Scott Rudin, Barry Diller
Best Musical
The Lost Boys
Producers: James Carpinello, Marcus Chait, Patrick Wilson, James L. Nederlander, At Rise Creative, Ayesha & Stephen Curry, Lauren Shuler Donner, Neil Patrick Harris, Douglas Sills, Slash, Kiefer Sutherland, Steve Young, Amy & Grady Burnett, Allison Bloom & Gabriel Mann, Hunter Arnold/Broadway Strategic Return Fund, Eastern Standard Time, DJD Productions/ZK Productions, Jay Marcus/Carl Moellenberg, Stark Sands, Jordan Silver/Kerri Mandelbaum, James Bolosh & Hillary Wyatt, Decca Broadway/Federal Films, Creative Partners Productions, Independent Presenters Network, The John Gore Organization, Stewart F. Lane/Bonnie Comley/Leah Lane, Greg & Lisa Love, MacPac Entertainment, Murray Entertainment, Inc., Oddly Specific Productions, The Shubert Organization, Toho Co Ltd., We R Broadway Artists Alliance, Stage Entertainment, Carrie & Joe Staley, W Thompson Family, Drew Elhamalawy/Kirsten & David Abdo, Brandon Blaser/Davis-Carroll, Crossroads Live/Marla McNally Phillips, Anthony & Maria Diaco/D’Angora Padgett Productions, Nancy Glass/Handler-Pawliuk Family, Grove Entertainment/KLIVE Entertainment, Howard-DePhillips/Jamie Stone O’Brien, Pam Hurst-Della Pietra & Stephen Della Pietra/ Polly & Ed Han, Willette Klausner/Waikit Lau, Knudsen-Weissberger Productions/April Dovey Productions, Nabatoff-Caise/Sean Nyberg, Andy Raab/Ratelle-Eliason, Orfeh/Braedon Young, David & Megan Scacco/Jason & Sarah Sobel, Jason Taylor/Michael Graf, An 11:11 Experience, Devin Keudell, Warner Bros. Theatre Ventures
Schmigadoon!
Producers: Lorne Michaels, No Guarantees Productions, Micah Frank, Caroline Maroney, Marylee Fairbanks, James L. Nederlander, SAMS Entertainment, Charles D. Urstadt, Bradford & Melissa Coolidge, Jeffrey Finn, John Gore Organization, Theatrical Rights Worldwide, Cinco Paul, Andrew Singer, Willette Klausner/Kolson-Prisand, Leah Bergoffen/Andrew Paradis, Wendy Bingham Cox/Jodi Oh, Jamie deRoy/TT Partners, Donnelly Harris/Roth-Manella Productions, Marc David Levine/Jack Sullivan, JMB Collective/Jillian Robbins, Broadway Video, Apple TV, Universal Theatrical Group
Titaníque
Producers: Eva Price, Diamond Dog Entertainment, Marla Mindelle, Constantine Rousouli, Tye Blue, OD Company/OD Universe & Co., MEP, James L. Nederlander, Tristan Schukraft, Joey Fatone & Joe Mulvihill, Matt Rogers, Bowen Yang, Deborah Cox & Melissa Haizlip, Patty Baker, James Berwind, Broadway MDs, Crossroads Live, Ken Davenport, Hungryman Entertainment, John Gore Organization, Perakos-Fellman Adventures, Rogers & Spiro, Monica Saunders-Weinberg, ShowTown Productions & Matthew Sycle, Tom Tuft, JC Chasez/Boucher & Grant, IPN/NSST Entertainment, Jelmoni & Lazar/Lauren Kennedy Brady, D’Angora Padgett Productions/Willette Klausner, Scott & Mark Hoying/Manhead Merch, Griffin Schultz/Donald Smith, FGSW Productions/Iris Smith
Two Strangers (Carry a Cake Across New York)
Producers: Kevin McCollum, Tim Johanson, Glass Half Full Productions, Jamie Wilson Productions, Evan McGill, Dennis Trunfio, Abrams Corr Riemer Productions, Marc David Levine & Stephen S. Miller, Laura Lonergan, James L. Nederlander, Michael Patrick & Paul Gavriani, Merrie L. Davis/Tony Spinosa & Barbara Gallay, Walport Productions, Agrawal & PBT/JKDNV Productions, Aleff & Nothing Ventured/Flatto Turchin, Pam & Stephen Della Pietra, Nicole Eisenberg/Willette & Manny Klausner, Liddell Shilaimon/John Voege, Cecilia Lin/Wanyue Jie, Kevin Shen/We Believe, The Transatlantic Alliance/IPN, Oki Wallace-Phoebe/Laurie Tisch & Greg Field, Clemmie Forfar, Oliver Mackwood, Victoria Weinberg, Lucas McMahon, The Kiln Theatre
Best Revival of a Play
Arthur Miller’s Death of a Salesman
Producers: Scott Rudin, Barry Diller, Roy Furman, Composite Capital Partners, Cue to Cue Productions, Thomas Tuft, John Gore Organization, Peter May, The Shubert Organization, Jane Bergère, Corey Brunish & Spencer Dress, Lynne & Marvin Garelick, Bruce Robert Harris & Sean Nyberg, Alex Levy & Shari Redstone, Lloyd Tichio Productions, William C. Martin, Scott H. Mauro, Jeffrey Schoenberg, Emerald Drive, Al Nocciolino
Becky Shaw
Author: Gina Gionfriddo
Producers: Second Stage Theater, Evan Cabnet, Adam Siegel, Creative Partners Productions
Every Brilliant Thing
Author: Duncan Macmillan with Jonny Donahoe
Producers: Second Half Productions, Seaview, Gavin Kalin Productions, Pam Hurst-Della Pietra & Stephen Della Pietra, Rodeo Productions and Tilted, Winkler & Smalberg, ZL Productions, Tom Tuft, Larry Lelli, Grace Street Creative, Salem Productions, Barbara Chiodo, Cohen-Gutterman Productions, The Array IX, Julie Boardman, Kate Cannova, Creative Partners Productions, JMB Collective, Mickey Liddell & Pete Shilaimon, Oren Michels, Carl Moellenberg, Origin Story Productions, Roth-Manella Productions, Echo Lake Entertainment, P3 Productions, Jamie deRoy, FineWomen Productions
Fallen Angels
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel
Oedipus
Author: Robert Icke
Producers: Sonia Friedman Productions, Sue Wagner, John Johnson, Patrick Catullo, Jillian Robbins, Winkler & Smalberg, Stephanie P. McClelland, Alan Shorr, Tilted, Mickey Liddell & Pete Shilaimon, Jon B. Platt, John Gore Organization, Scott Abrams, No Guarantees, Adam Zell & Company, Christopher Ketner & Hunter Regian, Carl Moellenberg & Ricardo Hornos, Barbara Chiodo, Linda B. Rudin & PRLH Productions, The Shubert Organization, Nederlander Presentations, Willette & Manny Klausner, Charles & Charles, deRoy Adler, Garcia Haung, Kierstead & Laurence, Koenigsberg Federman Riley, Art Koski, Nick Padgett & Tom D’Angora, Carl & Jennifer Pasbjerg, Marj Press, John Voege, Richard Batchelder, William Berlind, Dodge Hall Productions, Craig Balsam & Bellanca Smigel Rutter, Goldfischer Sabi Turchin, Ordinary Magic & The Transatlantic Alliance, Ilona Rozwadowska & Max Cantor, The Araca Group, Jonathan Demar, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave
Best Revival of a Musical
Cats: The Jellicle Ball
Producers: Michael Harrison, Mike Bosner, Lloyd Webber Harrison Musicals, Cynthia Erivo, Get Lifted, LaChanze, Jeremy Pope, Law Roach, Lena Waithe, Origin Story Productions, Miranda Gohh, George Strus, William Berlind, Timothy Bloom/Martinez Grimmett Productions/Drama Club Productions, Adam Kantor & Charly Jaffe, Alex Levy & Shari Redstone, Kevin Cahoon, AEG Presents/Jay Marciano, D’Angora Padgett Productions/Open Horizon, Gavin Kalin Productions, Jake Hine, Nederlander Presentations, Scott Mauro Entertainment/Leachman Feigelson Productions, Lindsay Holmes, Sean Nyberg, MeoWZ Productions, Nelson & Tao, TFLO Theatricals, artEquity Acton, Bob Boyett, Chimney Town, Cloth Fair Productions, Crooked Letter, DJD Productions, DudaMarcus, EK Productions, Lian Bloch Gill, Grace Street Creative, Lisa Hane, Harris Lanedo Productions, Hill Steinfast, John Gore Organization, Key to the City Productions, Willette Klausner, KLive Entertainment, L+E+N+Z Entertainment, LBH Productions, Christina Liceaga, LTJOF Productions, Lucky Tea Productions, Gates McCaffrey, Mount Caperton Productions, Mumby Foung, Mark Musico, Debbie Ohanian, Ryan R. Ratelle, Adam Riemer, Second Set, The Shubert Organization, The Brians, The Theater Offensive, Theatre Producers of Color, Andy Jones, The Perelman Performing Arts Center/PAC NYC
Ragtime
Producers: Lincoln Center Theater, Lear deBessonet, Mike Schleifer, Bartlett Sher, Nicole Kastrinos, Naomi Grabel, Maria Manuela Goyanes, Tom Kirdahy, Kevin Ryan, Robert Greenblatt, Lamar Richardson, Thomas M. Neff, Roy and Jill Furman, Stephanie P. McClelland, Michael Page, Acton Rothschild Productions/Willette and Manny Klausner, Alexander-Taylor Deignan/Jay and Mary Sullivan, D’Angora Padgett Productions/Janet and Marvin Rosen, Maggio Lane/Rubin Bolosh, Peter May/Coluzzi Cohen
Richard O’Brien’s The Rocky Horror Show
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel, Trafalgar Entertainment, The Dodgers
In a remarkable coup for the Garrick this is the Uk professional premiere of the off Broadway hit musical Disenchanted.
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The 2022 Disenchanted film was an American Walt Disney live-action/animated musical fantasy comedy film and the sequel to the 2007 film Enchanted set in a fairytale castle.
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An imagined sequel, this is a musical fairy tale that bites back. There are no simpering helpless hopeless damsels in distress here- and the princes are nowhere to be seen
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Imagine the Spice girls meet the cast of “Six” with Girl Power to the fore, the excellent three piece on- stage band are women too. All of the lazy princess tropes are forgotten. Cinderella has burst out of the kitchen and sleeping beauty is wide awake. As for Rapunzel, well you wouldn’t want to cross her.
Rapunzel making sure you are paying attention.
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Each character tells their own story with a powerful original musical score including the Little Mermaid, Pocahontas ,the Princess Who Kissed the Frog and a comic Teutonic Rapunzel who steals the show.
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The show combines, panto, pop concert, cabaret, with stand up comedy but crucially has heart and inspiringly declares that it’s never too late to re-write our own endings.
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It boasts two secret weapons. In a brand new show, inevitably the audience is adjusting to the format. Just before the interval any adjustment time is sidelined by the arrival of Jewelle Hutchinson as the princess who kissed a frog.
Jewelle Hutchinson dazzles with her costume and voice.
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With a voice so powerful the rest of Lichfield must have suffered an electricity shortage she blasted the show into the interval with great vocals and personal presence, the lift she provided to the show and audience was palpable. In the second half Eliza Bowden seizes the limelight as Rapunzel with Germanic zeal and efficiency. Make sure you have done your bit in the audience for the call and response sections – as she doesn’t tolerate any slackers.
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Dennis Giacino and Fiely Matias are responsible for the Book, Music and Lyrics which skip along briskly for a show that does not outstay its welcome at just under two hours including interval and is very funny. The copyright gags are amusing and droll. . The set design is utilitarian, the costuming lavish, no princess is going to tolerate skimping on the dress budget.
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The audience was predominantly a traditional mature one. However I sneaked in a nine and ten year old ( the advisory is fourteen) and they loved it. The brief profanity was nothing they had not heard in the playground that day. The empowerment message resonated strongly with them and it may be that the producers might want to find a way to reach out to that audience in the future.
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Disenchanted runs until Saturday 2nd May before heading for the Edinburgh festival. Director Daniel Buckroyd has done a superb job with the show which I suspect will be critically acclaimed north of the border. Outstanding, refreshing entertainment which deserved its prolonged standing ovation leaving us all definitely Enchanted.
The story is that of Phineas Taylor Barnum (1810-91) who ‘humbugged’ his way through life, written by Mark Bramble, Michael Stewart and Cy Coleman.
It premiered on Broadway in 1980, where it starred Jim Dale as Barnum, it came to the London Palladium the following year with Michael Crawford who estblished himself, and the show, as box office gold.
In the current revival, Lee Mead takes the titular role. He has enjoyed a distinguished career in musical theatre after winning the television talent show Any Dream Will Do. He went on to enjoy a short lived marriage with Denise Van Outen- how much luck does any man need?
The show is predicated on spectacle that is delivered in spades. It is a visual extravaganza with the circus sequences expertly expounded , the costuming a cornucopia of colour and styles designed by Lee Newby. Mead inevitably dominates but is ably accompanied by. Monique Young is believable as Barnum’s wife, Charity. Penny Ashmore, as opera singer Jenny Lind with whom Barnum falls in love, is convincing as a Swede and vocalist. Fergus Rattigan entertains as Tom Thumb.
Dominique Planter, as Joice Heth, the ‘oldest woman in the world’ and one of Barnum’s first “humbugs”, sings brilliantly channelling her inner Ella Fitzgerald. the music is played by the ensemble on stage playing over 150 musical instruments during the course of the show, including mass Kazoo in effort, the Sousaphone for “Come Follow The Band” at the start of Act Two, and the harp beautifully played by Jenny Lind/Penny Ashmore.
Oti Mabuse’s choreography is busy and omnipresent, Lee Newby’s multilevel circus-themed set is copiously utilised and Jai Morjaria’s lighting is dazzling. The circus element is assisted by by Zippo’s Circus and the National Centre for Circus Art.
But for me the show was style over substance. After the initial visual impact the first half at almost an hour and a quarter dragged , ghe shorter fifty minute second half was much stronger. Considering that there were thrre writers, the narrative was poor, lacking pace, drama and conviction. The American backdrop was out of touch with the prevailing anti American zeitgeist. As a child I was lucky enough to see the Barnum and Bailey three ring circus in America, that childhood awe is now long since tarnished. I would not see it again. These days a mass standing ovation is almost de rigeur for shows, on Friday night it was limited to polite applause.
Garyswordz 