The next interview in our stagey chat series, is with the amazing Olivia from Handmade Broadway. Handmade Broadway is a UK Etsy store, run by Olivia. From handmade posters, to bookmarks, keyrings and theatre journals - the store is a theatre lover's dream. 

Get yourself comfy and join Olivia and I for a chat about all things stagey!

Hi Olivia! Thanks so much for chatting to Stage to Page today. Can you tell us about your incredible store and the products you make?
My small business is Handmade Broadway and I create theatre based products such as posters, badges, keyrings and more! I specialise in calligraphy and it’s what I enjoy most in this world! Creating my products for my business is my favourite thing to do!

How did you come up with the idea for Handmade Broadway?
I have always loved writing and being creative plus I have grown up with the theatre and it just made sense to put them both together! It took off mostly because of lockdown and it continues to grow to this day which i am extremely grateful for!

What were you doing before you started Handmade Broadway?
Before Handmade Broadway I was still doing calligraphy but for weddings and events! I enjoyed doing this but the market was full of people doing the same thing! So I found a niche market combining my skills and passion for theatre and it helped me stand out!

Has the ongoing pandemic had any impact on your store - positive or negative?
Covid, although devastating to society, it helped a lot of small businesses grow and bloom! It was a positive to my business as theatres were closed and people were really missing them! My business came in handy if people wanted a musical gift in substitute to going to the theatre!

All of your products are hand-drawn or handwritten. I have to ask - how do you have such beautiful writing? Is that something you taught yourself?
Thank you :)! I’ve always had nice hand writing, my class mates would always say how do I do it! I taught myself all the different fonts I use on my posters. Everyday I am learning and getting better! I see new fonts all the time and take on the challenge, sometimes I fail, don’t get me wrong, but trial and error is all part of life! 

What is your favourite product to make in your store, and why?
I absolutely adore making my new monochrome collection posters! I just love the use of 2 colours and seeing how I can incorporate different shades whilst doing this! It’s fun to do this for my bookmarks too!

Can you give us any clues to which products you're thinking of launching in the future?
I don’t want to give much away, but it’s definitely something completely different for my business and it’s definitely out of my comfort zone but that’s what business and life is all about!! 

When you're not crafting, what do you enjoy doing?
When I’m not doing Handmade Broadway, I love spending time with my family and friends! Out and about (I don’t really like sitting still for long haha!) but my all time hobby is crafting so if I’m not working on my business I’ll be crafting just for fun such as my bullet journal :)!!

And finally, what's your favourite show currently in the West End, and why?
At the moment my favourite show on west end would be Tina! When I saw it back in December I was absolutely blown away at the talent on stage!! I would highly recommend and I’m hoping to go again this summer! My other two faves, In the Heights and Be More Chill, aren’t in the West End at the moment unfortunately, but I did have the pleasure of seeing Be More Chill last September!

A bonus question I like to ask anyone who features on my blog. My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
Ooo that’s a great bonus question! I’d probably say Perks of Being a Wallflower by Stephen Chbosky! This is a great story and such a moving piece of literature! I think this would have the same kind of vibe as Dear Evan Hansen! I would love to see it portrayed one day on the stage. If you haven’t read the book I’d 100% check out the movie!

Thank you so much for chatting to us Olivia. You can check out Handmade Broadway's full range of products here.

Cock the Play
Rating: ★★★★★
Venue: Ambassadors Theatre, London 
Cast: Jonathan Bailey, Joel Harper-Jackson, Jessica Whitehurst and Phil Daniels

“The fact is that some of us like women and some like men and that’s fine that’s good in fact that’s good, a good thing, but it seems to me that you’ve become confused.”

In a world full of endless possibilities why must we still limit ourselves with labels?

Jonathan Bailey, Joel Harper-Jackson, Jade Anouka and Phil Daniels star in Mike Bartlett’s razor sharp play which redefines the battle of the sexes.

Cock has been the centre of drama since opening several weeks ago. From a cast member fainting on first preview, to a major casting change more recently - everyone's been talking about the show. I had little knowledge of the show before entering, but I did have high expectations. With such a stellar cast, I was expecting performances that wowed. And that's certainly what I was met with.

Cock was originally written in 2009, and was inspired by cock-fighting; which is how it came to have it's eye-catching name. The name itself certainly piques your interest, and leaves you wondering what the story could entail.

The story follows our protagonist John. John (Jonathan Bailey) is in a not-so-happy relationship with M (Joel Harper-Jackson) and comes to the conclusion that they're no longer compatible with one another. In the midst of his confusion, he meets W (Jessica Whitehurst) and soon realises he has feelings for her. After having sex with her, he finds himself more confused about his self-identity than before. 

While trying to navigate his feelings and further explore his sexuality, John decides that a dinner with M and W is the ideal way of moving forward. At said dinner, M's dad, F (Phil Daniels) makes an appearance and the play reaches its emotional climax. 

To hold an audience's attention for an hour and forty five minutes (with no interval) is no small feat. But the story is compelling and the acting is sublime. Bailey's take on John is nothing short of perfection. Throughout the play he's lost and trying to find his sexual identity within the world. In fact, F says at one point, "Well there's lots of new words to choose from aren't there...why don't you pick one of them?". In an ever-evolving world, John feels overwhelmed and doesn't understand why he has to label himself. He likes who he likes, and it should be as simple as that.

As someone who's recently come out as pansexual, I identified with the story and John's journey, in a way in which I'd never felt seen before. It took me a long time to reach this point in life, and John's being forced into a decision before he's ready; which is something he's struggling massively to come to terms with, after identifying as gay his entire life.

The set is incredibly simple. There are no props, or alternating sets; it's very much left to your imagination. This production relies heavily on the power of words, and does so perfectly. It almost feels as though you're in a pit, watching John battle against not just M and W, but himself too. The reflective set feels as though you're in an arena, and witnessing a fight; which is more powerful than I imagined could be.

Joel Harper-Jackson recently took over from Taron Egerton and as much as I love Taran, I can't imagine anyone playing the role of M better than Joel; he was witty and fit to explode throughout the show. Jessica Whitehurst is the understudy for the role of W, but she was incredible. Phil Daniels only appears for the last segment of the play, but he certainly makes an impact.

I think I'm slightly biased with my review of Cock, because it's something I relate to so much personally. But it is a fantastic piece. It's far funnier than I was expecting, but it also makes you feel intensely. The last twenty minutes of the show are a rollercoaster of emotions, and left me feeling choked several times.

I would urge you to see Cock before it ends it's limited season on 4th June. It feels incredibly intimate and certainly gives you something to think about after leaving the production. It's a show of self-identity and why society puts such pressure on giving everything a label, and how frustrating that can be. If you get the chance to see Cock before it closes, please do - it's a special show.

You can buy tickets to Cock the Play at Ambassadors Theatre, London, here.

Lillias White Sings Broadway
Rating: ★★★★
Venue: Crazy Coqs, London (LIVE STREAM)
Cast: Lillias White

For the first time, Broadway star and Tony Award winner, Lillias White is appearing at The Crazy Coqs in London with two of her most popular shows, ‘Lillias White sings Broadway’ and ‘Hoagy Carmichael & Friends’.

She is accompanied by the internationally celebrated artist Billy Stritch on piano, performing these very different shows, which will alternate from night-to-night.

Ms. White is renowned for the many Broadway shows she has starred in, including Cats, Dreamgirls, How to Succeed in Business Without Really Trying, Fela, Once on This Island, The Life, Chicago, and Barnum. 

I think I'm one of the very few theatre lovers who frequents London that hasn't ever been to Crazy Coqs, but today that changed! Well, in the virtual sense, at least. Crazy Coqs are currently running An American in London series, and the most recent guest was the infamous Lillias White. An intimate 80 minute concert, accompanied by the legendary Billy Stritch; I knew we were in for a treat.

Her performance throughout this concert was nothing short of sensational. She opened with an almost jazzy interpretation of the much-loved Something's Coming from West Side Story; which just so happens to be one of my favourite musical theatre pieces of all time. From ballads to showstoppers from iconic musicals such as Chicago and Dreamgirls; there is something for everyone in this show.

Whilst White's vocals are exceptional, her storytelling is what kept me completely captivated. She's full of wit and charm. Her storytelling is so clever, that it perfectly segways into the next song, which makes the set feel seamless and fly by in the blink of an eye.

One moment, I'm belting along to "When You're Good to Mama" from Chicago, and the next I'm wiping my eyes to the encore of the evening, "Somewhere" from West Side Story. While the entire set is brilliant, those two particular songs stood out to me, and truly capture the depth of Lillias White's talent. I think the nod to the late Stephen Sondheim at the beginning and end of the concert was a lovely touch, and it didn't go unnoticed.

If you were ever in doubt of Lillias White's legendary theatre status, you won't be for much longer. If you're looking for an evening of stunning vocals, interesting (and completely hilarious) anecdotes and stories, plus accompanied by a legend like Billy Stritch (who also has his own set in this series) - this is the show for you. The only way I would have enjoyed it more, was getting to experience it in person.

Check out the remaining scheduled dates at Crazy Coqs:

Friday 22 April at 7pm
Hoagy Carmichael & Friends

Saturday 23 April at 7.00pm
Lillias White Sings Broadway

You can book tickets here.

If you'd prefer to watch the show virtually, you can do so for £12 here.

Fantastically Great Women Who Changed the World: the Musical
Rating: ★★★★★
Venue: Rose Theatre, Kingston 
Cast: Renee Lamb, Kirstie Skivington, Jade Kennedy, Christina Modestou and Kudzai Mangombe

The world premiere of the brand new kickass-pirational pop musical. Join our inquisitive heroine Jade as she breaks away from her class to take a peek behind the scenes at the not yet open Gallery of Greatness in the local museum. Along her journey she is surprised to meet the incredible wonder women: Frida Kahlo, Rosa Parks, Amelia Earhart, Marie Curie, Emmeline Pankhurst to name just a few.

From the moment I heard about Fantastically Great Women, I knew I just had to see it. It was pitched as a 75 minute pop musical about inspirational women. As a huge lover of Six the Musical, it definitely piqued my interest. Especially as it has such an incredible cast of talented women. As there's no cast recording and it's a fairly new production, I went in with very little knowledge of the show; which made it all the more exciting.

The story follows our main protagonist Jade, as she visits a museum on a school trip with her classmates. She finds herself lost in the Gallery of Greatness, which is not yet open to the public. The Gallery of Greatness is a celebration of some of the most inspirational women from history. Jade is feeling insignificant and invisible in life, and feels she'll never make her mark on the world like these fantastic women. 

It's at this moment that she's transported into the Gallery of Greatness, and starts her empowering journey to finding her purpose. Along the way, she meets infamous women you'll already be familiar with such as Rosa Parks, Marie Curie, Anne Frank and Emmeline Pankhurst. But we're also introduced to some women's stories which aren't as well known, but still just as badass. From Mary Anning, to Agent Fifi, to Gertrude Ederle - my eyes were opened to so many amazing women, whose stories I had very little knowledge of.

The cast are simply sensational. It's a small cast, and every member gets their time to shine. Kirstie Skivington's (& Juliet) portrayal of Emmeline Pankhurst in "Deeds Not Words" is one of the most empowering performances I've seen. And Renee Lamb's (Six) performance of "Lullaby Little Girl" as Rosa Parks alongside Anne Frank and Jade is heartbreakingly beautiful. The majority of the show is upbeat and fast paced, which is what made this song even more striking. Rosa Parks was known as a "quietly strong" woman, and this song captures her perfectly.

Christina Modestou (Six) and Jade Kennedy (Billy Elliot) are just as fantastic, and each cast member plays several of these inspirational women. However, there's no doubt that the star of the show is Kudzai Mangombe who plays our protagonist, Jade. She barely leaves the stage and is a part of almost every song. Her arc of realising her importance and the impact she can make in life is truly beautiful, and made me feel quite emotional towards the end of the show.

While there's currently no soundtrack (it's being recorded now!), you'll still be singing the songs from the show days later. The music is incredibly catchy and a whole lot of fun. There's a megamix at the end of the show which you're able to film (check out my recording here). Each song is packed with meaningful messages and motivational stories of women who deserve to be celebrated - including our Jade.

The set is relatively simple, but the use of colors and props is done superbly, and I think it's a show where your imagination is one of the most powerful tools, and you're encouraged to use it throughout. The costumes are iconic - and definitely memorable (I'm looking at you, Agent Fifi!).

Whether you're taking a child, or going as an adult, it's hard not to leave this production feeling proud to be a woman, and marvel at how far women have come due to the work of these "fantastically great women". And even better, you leave feeling like you have the power to become one of those women; no matter how big or small your mark on the world is.

If you're looking for a production full of brightness, fun and a true celebration of women - this is the show for you. It's a show I wish had been around when I was a young girl; it truly is that powerful. The show is currently touring the UK, before making it's last stop in London from June.

You can buy tickets to Fantastically Great Women Who Changed the World, currently touring the UK, here.

Bonnie & Clyde the Musical
Rating: ★★★★★
Venue: Arts Theatre, London
Cast: Jordan Luke Gage, Frances Mayli McCann, Natalie McQueen and George Maguire

Two small-town kids from the middle of nowhere became the biggest folk heroes in all America.They craved adventure—and each other. Their names were Bonnie and Clyde.

Frances Mayli McCann and Jordan Luke Gage star in the West End premiere of the cult-sensation BONNIE AND CLYDE THE MUSICAL. Featuring music by Tony® nominee Frank Wildhorn (Jekyll & Hyde), lyrics by Tony® and Oscar® winner Don Black (Sunset Boulevard), a book by Emmy® Award nominee Ivan Menchell, and directed by Nick Winston.

It's the moment that UK fans have been eagerly anticipating for years - a West End run of the now cult-classic Bonnie & Clyde. After the staged concert sold out in just a few minutes and took place earlier this year, it was clear the demand was there for a West End run. After listening to the soundtrack on repeat for years, it was finally time to see Bonnie & Clyde in London. 

It's worth mentioning that I also attended the first preview of Bonnie & Clyde (I did say I'd been waiting years for this!). So I was interested to see what changes had been made, and how the show differed from the week of previews.

The story follows the infamous Bonnie & Clyde, and shows us their explosive journey into a life of love, adventure, and most importantly, crime. It's set in the early 1930's during The Great Depression, which isn't an era that I was very familiar with. After watching the show and realising the lives that both Bonnie and Clyde lived; it made me empathise more with the characters. That's not to say the audience condones what they did, rather that they understand the circumstances that led them to where they ended up.

If you've been following this blog for a while, you'll know that I'm a huge fan of Jordan Luke Gage. Having seen Jordan as Romeo (& Juliet), I was apprehensive as to how he would handle the role of Clyde - he's a hugely demanding role. But Jordan's Clyde is simply phenomenal. His version of Raise a Little Hell was hauntingly brilliant. It's the moment within the show where something changes within him, and Jordan captures that journey perfectly. 

Frances Mayli McCann playing Bonnie is nothing short of sensational. It's truly as though the role was written for her. She completely embodies the role of Bonnie and Dyin' Ain't So Bad might just be the most heartbreakingly beautiful piece of theatre I've ever witnessed. Her voice is captivating and you can't help but be drawn to her whenever she's on stage. Ravishing redhead, indeed.

Natalie McQueen and George Maguire's (Blanche and Buck Barrow) chemistry is electric and the love they feel for each other radiates from them whenever they're on stage. Natalie plays the unashamedly loyal wife so well, which makes Love Who You Love all the more soul destroying.

There isn't a weak link within this cast. From Ross Dawes (Frank Hamer) to Ako Mitchell (Preacher) to Bea Ward (Young Bonnie), every single member is talented; as well as being a really diverse cast. Cleve September as Ted Hinton has the most incredible smooth voice and the addition of Here In Our Hearts (a new duet sang by Ted and Bonnie) highlights the relationship that Bonnie and Ted shared, in a way that hadn't been clear to me before.

The music in this production is so diverse; there's something for everyone. From rock, to country, to gospel, to ballads. When I Drive, Dyin' Ain't So Bad, Raise a Little Hell and Too Late to Turn Back Now are the most memorable numbers from the show; but the entirety of the soundtrack is simply magical.

With the Arts theatre housing a small stage, I wondered if the sets would be somewhat disappointing, but from the iconic car, to the jail scenes - even the hairdressing salon, the sets had it all. As well as being complete with authentic looking props and time appropriate costumes (which are absolutely gorgeous, may I add).

The show was more emotional than I had anticipated. I knew it would invoke feelings, but the show is so well written, and so well cast, that you really care for these characters. You're aware that what they're doing is wrong, but you understand how they've ended up on the paths they're on.

If you're looking for a production that'll transport you back in time (from the very second you enter the auditorium), take you on a journey through the Great Depression, along with incredible music, an insanely talented cast and a tragic love story - then Bonnie & Clyde is the show for you. I would highly recommend checking out this production before it's limited season ends on July 10th.

You can buy tickets to Bonnie & Clyde at The Arts Theatre, London, here.

The next interview in our stagey chat series, is with the wonderful Christopher Styles, from Parabolic Theatre. Parabolic Theatre have been creating immersive and interactive theatre experiences since 2016. Today, we're talking about their upcoming production of Illicit Signals Bletchley, which opens 2nd May at Crypt. 

Get yourself comfy and join Christopher and I for a chat about all things stagey!

Hi, thanks so much for chatting to Stage to Page today! How are you? And would you mind giving us an introduction to yourselves?
Hi, thank you very much for having me! My name is Christopher Styles and I am the writer and director of Illicit Signals Bletchley.

Can you tell us about the upcoming immersive production of Illicit Signals Bletchley?
So the show is all about the codebreakers who worked at Bletchley Park during the second world war. All the codebreakers in the show are based on the real men and women who worked at Bletchley and a lot of the events that take place in the show are based on their real life stories. So there will be characters you might have heard of like Alan Turing and Joan Clarke, but there's also Mavis Lever and Keith Batey who you may not know but also had fascinating lives.

But as you mentioned this is an immersive production so as well as these stories there will also be opportunities for our audience to decipher Enigma, and some other codes and ciphers, and help score some victories for Bletchley Park!

Immersive theatre is becoming increasingly popular. Why do you think audiences are loving immersive experiences so much at the moment?
I would say the simple answer is because people like to play. We all love stories but immersive theatre allows you to play a part in the story and explore a new world that we can interact with and impact. I guess part of it is escapism, which is something we’ve desperately needed over the past couple of years, but I think a big part of it is being able to empathise with a narrative by being immersed in the story.

The show is running at the newly launched venue, the CRYPT. What do you think this incredible venue will bring to the production?
Crypt is an amazing venue steeped in history! Just going down the steps you are transported from our modern world back into the mid 20th century and it’s incredibly exciting to fill the space with stories from that period!

Who's your target audience? Is there a specific age range that this immersive experience is best for?
I would say the show is pitched at anyone over the age of 16. We want our show to be enjoyable for anyone who's looking for something a little different or who loves immersive theatre, but Illicit Signals Bletchley would also be great for anyone interested in history or likes a challenge cracking ciphers!

How are you feeling about bringing the production to life? And showcasing it to audiences?
It's so exciting! Every time we’ve put on this production we've always been amazed at the different ways each audience will interact with our actors and the different atmospheres they will bring to each performance. But at the end of the day this show is all about paying tribute to all the men and women who worked at Bletchley Park and we can’t wait to pay tribute to them with our audiences.

How does the creative process differ for immersive theatre, as opposed to traditional theatre?
The biggest difference is the way we script these shows. With immersive theatre we want our audience to feel as much part of the story as our actors and we want them to interact as much as they like, as a result all the dialogue is improvised and reactive to our audience. There is still a script or sorts however, but rather than focusing on the dialogue it focuses on each scene's structure, the beats of the show and where different characters need to be in each scene. And that brings me on quite nicely to the second difference which is all about timing. Writing a show like this is kinda like having a sliding game where you’re moving your characters around between the different rooms in the set, you’re constantly thinking about how long each scene needs to last in order to make sure your characters enters or exits each room at the right time. When it comes together it's a beautiful well oiled machine with many moving parts but getting it to that stage can be difficult.

Can you tell us any other upcoming projects you have, alongside Illicit Signals Bletchley?
All the projects happening in Crypt at the moment are all immersive shows set within the Second World War as part of the ‘Make do and Mend’ series.  Before Illicit Signals Bletchley comes in there is ‘The Resistance Museum’, running till the 13th of April, which looks at alternate history and what Britain would have looked like if it was invaded and occupied during WW2. After Illicit Signals Bletchley come ‘Line of Fire’, running from the 1st of June to the 5th, which is a WW2 murder mystery show. And finally we have ‘Hidden Figures WW2’, running from 1st of July till the 30th of September, a show which uncovers the lives of the unsung wartime heroes.

My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
Wow, that is a fantastic question! If you’ll allow me to adapt a comic book then I’d go for The League of Extraordinary Gentlemen, I just love the concept of bringing Victorian literary heroes together into a steampunk world, and I’d love to tackle the challenge bringing to life characters like the invisible man and Dr Jackle and Mr Hyde! If I had to choose a more conventional book then it would be PJ Wodehouse’s Jeeves and Wooster. I love a good farce and think they can translate really well to immersive theatre.

And finally, why should people book tickets to Illicit Signals Bletchley?
Illicit Signals Bletchley, with all the different characters and narratives, has a little bit of everything in there. There's history and puzzles, romance and heartbreak, comedy and tragedy, lgbt and femenist icons. Everyone who worked at Bletchley Park had a different story to tell, some of them very happy and others less so, and I hope that whoever you are there will be a story or character in Illicit Signals Bletchley that you will be able to relate to.

The next interview in our stagey chat series, is with the incredible Kenny Emson. Kenny's thought-provoking show, The Sh*t is set to open next week at Bush Theatre. Kenny is a multi award winning writer for stage and screen. His most theatre writing credits include: Rust (Bush Theatre), Plastic (Old Red Lion/Mercury Theatre) and Terrorism (Bush Theatre).

Get yourself comfy and join Kenny and I for a chat about all things stagey!

The Sh*t is a new unflinching play written by yourself. Can you tell us about the story?
It’s the story of a youth worker and one of the young people he is looking after. We meet them at their first session and follow their relationship through it’s ups and downs till their final meeting. For me, it’s an unconventional love story. It’s about two men who see each other in a world that doesn’t care about them. A world that’s chosen to ignore them. And the production and actors are just wonderful. They break my heart every time I see it. So come! 

What inspired you to take on such an important story, and bring it to the stage?
We are all so quick to be outraged by the rise in knife crime and violence in young people. But we have a government that keeps shredding the funding for youth services. I think it’s incredibly important to shine a light on this area of society. To not just turn away from young people who might have made a mistake and say ‘well that’s it, your life’s fucked now’. 

The show has been workshopped at The Leeds Playhouse and The Old Vic Workrooms. Is there anything you've changed for the run at the Bush Theatre?
Yeah the play is always changing and growing. Every time we put it in front of an audience we learn more about it. Without an audience theatre is nothing. 

How does The Sh*t compare to other writing projects you've worked on previously?
It’s been a really cool process. The Working Party were brilliant in making contact with lots of youth workers and young people, interviewing them and bringing them in to give feedback on early drafts of the play. To test it’s authenticity and it’s truth. This helped to make sure that I was representing the people who go through this in real life rather than completely fictionalising something just for stories sake. 

What do you hope audiences take away after watching The Sh*t?
I hope they laugh with the characters, they cry with them, they see them. Really see them. 

After the run at the Bush, they'll be a non-public community tour at Youth Clubs and community centres. Is this something you knew you wanted to do when writing the play?
We always wanted to take the play to audiences that perhaps wouldn’t come to a theatre. People who think theatre isn’t for them. I grew up in a town in Essex where going to the theatre wasn’t something that’s done. So creating those pathways for people is incredibly important to me. 

What does your writing process look like? Is there a certain way you plan your writing?
For every job it’s different. This one involved lots of research at the start before writing. Getting a handle on Youth Work. Listening to lots of interviews and testimonies. But then it was about forgetting (or allowing it to unconsciously percolate) that and just building two really truthful characters. Two characters who have wit and charm and humour. Two complicated individuals. Men who have made mistakes but deep down understand goodness. And even though society seems not to give a fuck about them, strive to try and bring that goodness into the world.  

My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
Fight Club. I love it. And in a way it’s kind of talking on similar themes to The Sh*t – lost men struggling to deal with what masculinity means now.   

And finally, why should people book tickets to The Sh*t?
It’ll make you laugh. It’ll make you cry. It’ll make you think. And it’s only 70 minutes and the Bush bar is lovely. So come. And find me afterwards and let’s have a chat. 

Thank you so much for chatting to us Kenny. You can catch The Sh*t at Bush Theatre from April 19, here.

You heard it right - Charlie and Chocolate Factory the Musical is BACK and embarking on a UK and Ireland tour in 2023.

I'm a huge fan of this musical, so I'm excited to share that the tour will kick off in Milton Keynes on 9th February 2023, before visting many other theatres around the UK and Ireland. The casting will be announced soon, as will further venues. 

Roald Dahl’s Charlie and the Chocolate Factory – The Musical tells the devilishly delicious tale of young golden ticket winner Charlie Bucket and the mysterious confectionary wizard Willy Wonka.

When Charlie wins a golden ticket to the weird and wonderful Wonka Chocolate Factory, it’s a chance of a lifetime to feast on the sweets they’ve always dreamed of. But beyond the gates astonishment awaits, as down the sugary corridors and amongst the incredible and edible delights, the five lucky winners discover not everything is as sweet as it seems.

Featuring memorable songs from the iconic 1970s film as well as a host of new numbers, this sensational musical is choc-full of fantastical treats to dazzle your senses taking you to a world of pure imagination.

Based on the novel by Roald Dahl and the Warner Bros. film, Charlie and Chocolate Factory - The Musical has a book by David Greig, music by Marc Shaiman and lyrics by Mark Shaiman and Scott Wittman. It is directed by James Brining and designed by Simon Higlett. 

You can find out the current planned venues, dates and how to secure tickets here:

ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY – THE MUSICAL

UK AND IRELAND TOUR

www.charlieandthechocolatefactory.co.uk

 

THURSDAY 9 FEBRUARY - SUNDAY 5 MARCH 2023

MILTON KEYNES THEATRE  

www.atgtickets.com/miltonkeynes

ON SALE 22 APRIL 2022

 

WEDNESDAY 15 - SATURDAY 26 MARCH 2023

HIS MAJESTY’S THEATRE, ABERDEEN

www.aberdeenperformingarts.com

ON SALE 22 APRIL 2022 

 

WEDNESDAY 29 MARCH – SATURDAY 15 APRIL 2023

EDINBURGH PLAYHOUSE

www.atgtickets.com/edinburghplayhouse 

ON SALE FRIDAY 22 APRIL

 

WEDNESDAY 19 – SATURDAY 29 APRIL 2023

NORWICH THEATRE ROYAL

www.norwichtheatre.org

ON SALE 29 APRIL 2022

 

WEDNESDAY 3 - SATURDAY 20 MAY 2023

WALES MILLENNIUM CENTRE, CARDIFF

www.wmc.org.uk

ON SALE 6 MAY 2022

 

WEDNESDAY 24 MAY – SATURDAY 3 JUNE 2023

MARLOWE THEATRE, CANTERBURY

www.marlowetheatre.com
ON SALE 25 APRIL 2022 

Will you be booking tickets to see the show? I know I will! 

Anyone Can Whistle
Rating: ★★★
Venue: Southwark Playhouse
Cast: Kathryn Akin, Jordan Broatch, Samuel Clifford, Shane Convery, Teddy Hinde, Hana Ichijo, Danny Lane, Marisha Morgan, Chrystine Symone, Nathan Taylor, Renan Teodoro, Jensen Tudtud and Alex Young 

Stephen Sondheim and Arthur Laurents’ 1964 musical is a political satire about conformity and the ostracisation of those considered ‘other’ in society. Set in a fictional town where the government controls everything, even the miracles, this fast paced and off-the-wall musical is as hilarious as it is subversive.

Anyone Can Whistle is most famous for completing just nine performances on Broadway before ending it's very short-lived run. It first opened on Broadway in 1964 with legend, Angela Lansbury among the cast. It's also the first revival of a Stephen Sondheim musical since his death, earlier this year; so it was always going to be special. 

I think it's important to go into this production with an open mind. It's renowned for being utterly bonkers and completely whimsical...and for being a show you either love, or you hate. My three star review reflects that, because I'm still undecided as to which side I'm on.

It's both witty and comical, and Alex Young shines in the role of Cora Hoover Hopper; providing many laugh out loud moments. However, this show requires someone with a certain kind of humour. And several audience members had left at the interval, as it really is that divisive. 

The show "tells the story of a corrupt mayoress who fakes a miracle to revitalize her bankrupt town… and the ill-fated romance between the rational nurse out to expose the fraud and the easy-going doctor determined to enjoy the chaos it brings". 

There is no doubt that the cast are ridiculously talented; but what is most captivating about the production is the music. Stephen Sondheim constantly reminds us why he's so well-loved. "There Won't Be Trumpets" and "Everybody Says Don't" are the stand out tracks from the show, in my opinion. 

The set is simplistic, but the costumes are bright, colourful - and make you feel as though you're watching a children's TV show; which completely matches the bonkers nature of the show.

It's worth noting that if you aren't a fan of audience interaction, it may be best to avoid the front row of this production. I don't want to spoil too much, but you'll be in for a treat if audience interaction is something you enjoy.

The cast is incredibly inclusive, which is one of the selling points of the show for me. There are several trans and non-binary actors and characters within the production, which is the direction theatre casting should be taking, finally.

I think the show is definitely worth a watch, if only to witness a show that may not appear in London again for a while. The production is a lot of fun, and one of Sondheim's hidden treasures that I hope we see more of in the future.

You can buy tickets to Anyone Can Whistle at Southwark Playhouse, London, here: ANYONE CAN WHISTLE TICKETS

Hi Ross, thanks so much for chatting to Stage to Page today! How are you? And would you mind introducing yourself and telling us how you first got into acting?
Hi Zoe, yes I’m well thanks, although things have been very busy recently – learning the roles and I’m also resident director on Bonnie and Clyde. However it’s all going brilliantly! I’m Ross Dawes and I’ve been acting for about thirty-five years now. I started when I was really young; I did the usual thing of going to local dance schools and was then fortunate enough to get a place at stage school which meant I did a lot of television and theatre acting when I was young. I went to Arts Ed when I was twelve, where there was a strong emphasis on ballet training, as we worked with English National Ballet, and then went on to do the Musical Theatre course at Arts Ed.    

Did you always know that you wanted to be on stage growing up?
It’s all I’ve ever really wanted to do. I have a real love for it and because I’ve always just been in and around theatre I’d say the answer is yes. I’ve always been working towards performing professionally, however it’s never really felt like work and I’ve been very fortunate to have been doing it for so long.   

Over the past few years, covid has had a devastating blow on the industry. How does it feel to finally be back in theatres after such a long time away?
Covid was really devastating for our industry; actors were the first people to be out of a job when the pandemic hit and then the last people to return to work; it was definitely a difficult two years. I think theatres closing was difficult for everyone, not just actors, because theatre is culturally enrichening for actors and audiences alike, so it was wonderful when the theatres opened again. I went on the Rock of Ages tour prior to this which was a lot of fun. We had lots of very lively audiences and it was just amazing to get that kind of response and to be performing in a live setting once again. I’m now very excited to be back in town with Bonnie and Clyde.  

You've just started rehearsals for Bonnie and Clyde. How are rehearsals going? Can you give us any insight into the production? I can't wait to see the show.
Rehearsals are going brilliantly so far thank you. The cast and creative team are really superb, the book is wonderful, and the score is fantastic. It’s a brilliant piece based on a great true story, one which has been told many times before. So, for that very reason, we have tried not to romanticise the characters or the period, but rather, depict them as they were. After all, the show is set during a time when 25% of the population in America was unemployed; people were living in tents and life was tough. So the public actually seemed to be on Bonnie and Clyde’s side at times, I suppose because they could identify with their struggles. Bonnie and Clyde lived day to day travelling about, stealing cars, participating in shoot-outs and sustaining injuries, so whilst theirs was a love story, it was really a tragic love story and it’s important that we convey that accurately within the context of the time in which they were living. I think audiences of all ages are in for a real treat. We’re at the end of week three now, so have just started doing run throughs, and I think it’s coming together really nicely so far. 

Bonnie & Clyde: in rehearsals

How are you preparing for the role of Captain Frank Hamer? No spoilers, but he is quite a pivotal person within the show...
As with any show, I’ve done a fair bit of research into the real-life Captain Frank Hamer and the world in which the show inhabits. Captain Frank Hamer was a rather outstanding individual who was about fifty when Bonnie and Clyde were eventually caught. Interestingly, there are parallels to be drawn between him and Clyde and he could have easily gone down a similar path, as he was almost involved in a robbery which ended up being thwarted. He’s a really interesting character who I believe made a decision to live on right side of things and catch the bad guys, rather than struggle along on the wrong side. He was a Texas ranger with great expertise in tracking animals and horse riding. He wasn’t one to start a fight, but could easily defend himself in the event of a fight breaking out. He also had a strong sense of morality and was set on doing the right thing; I can really connect to that aspect of the character. Of note, he opposed the Klu Klux Klax and stopped lots of lynchings.  

Regardless of gender and age, which stage role would you choose to play and why?
Oh this is a difficult question. I did actually get the chance to play one of my dream roles when I went on for Willy Wonka in Charlie and the Chocolate Factory many times during the three years that I was involved in the show. Other than that, I would just say you can always find the truth in any role and it can always be fun. I suppose you get out what you put in. 

If you could give one piece of advice to any aspiring theatre actors out there, what would it be?
Honestly, I would just say work hard and be nice, because the people who work the hardest and are the nicest work the most in our industry. It’s great to have ambition, but it’s also important to be a good energy in the room. 

What are you most excited about for starting the run of Bonnie and Clyde at the Arts Theatre?
To be honest, I’m just really excited to tell this story; I think it’s a brilliant piece and you can tell that every creative involved in the project is totally invested in it, and that makes a real difference. The Arts Theatre is also a smaller, more intimate space which I think really lends itself well to this piece, so I’m really looking forward to seeing the audience’s reaction. 

Do you have a go-to musical theatre audition song?
I don’t really if I’m honest, however I do love some Gershwin and some Sondheim. I used to sing Somebody Loves You from the Gershwin songbook quite a lot. But generally I just try and find a song that’s appropriate for the show in question. 

My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
I have actually just finished reading a brilliant book called The Vanishing Half by Brit Bennett which I think would lend itself very well to the stage, as either a play or a musical. I won’t give away the plot, but I would really recommend it to anyone looking for a good book.  

Thank you so much for chatting to us Ross. You can catch Ross in Bonnie & Clyde at the Arts Theatre, here.

Mary Poppins the Musical
Rating:  ★★★★★
Venue: Prince Edward Theatre, London
Cast: Zizi Strallen, Charlie Stemp, Charlie Anson and Amy Griffiths

The stage production of Mary Poppins is brilliantly adapted from the wonderful stories by PL Travers and the original film.  It is co-created by Cameron Mackintosh and has a book by Oscar-winning screenwriter and Downton Abbey creator, Julian Fellowes. With a timeless score by Richard M Sherman and Robert B Sherman including the classic songs; Jolly Holiday, Step in Time, Supercalifragilisticexpialidocious and Feed the Birds with new songs and additional music and lyrics, including Practically Perfect, by the Olivier award-winning British team of George Stiles and Anthony Drewe.

After seeing Mary Poppins on Broadway over a decade ago and being decidedly underwhelmed, I was apprehensive to see this new adaptation of Mary Poppins in the West End. However, when £20 tickets became available, it was impossible to resist (thank you Today Tix!). 

We all know the wonderful story of Mary Poppins. Jane and Michael Banks are a terrible twosome and the Banks family go through nannies like they're going out of fashion. Their parents, George (Anson) and Winifred (Griffiths) are at a loss at what to do with the pair. Enter: Mary Poppins (Strallen). After the children dream up their perfect nanny in an advertisement, Mary Poppins appears - and the Banks children are taken on adventures that go beyond their wildest dreams.

Zizi Strallen completely embodies Mary Poppins, and it goes without saying that she was quite simply practically perfect in every way (I couldn't resist!). From the way she moved, to the way she sang - she was completely hypnotising. It was almost like she was...magical. This version of Mary Poppins is more whimsical and performative than any version I've seen before, which isn't entirely unsurprising considering Matthew Bourne is partly responsible for the choreography. 

Charlie Stemp's "cheeky chappy" version of Bert is full of fun and cheer. In fact, the word I'd use to describe his portrayal of Bert is loveable. His boyish charm and playful personality shines through and he truly captures the essence of the chimney sweep we've all grown to know and love over the years (including the cockney accent!). 

The stage at the Prince Edward Theatre is one of the biggest I've seen, and I was concerned that the sets would feel bare. But I have to say, the set and staging at Mary Poppins was truly phenomenal. I would go as far to say that it was the best I've ever seen. From the use of lighting, to the intricate sets - not a stone was left unturned when it came to transporting us back to the early 1900's in London and inside the magical mind of Mary Poppins. Giant umbrellas, to towering toys - the set leaves nothing to the imagination, and it's quite frankly, a feast for the senses.

There were many stand-out moments for me. From Mary Poppins flying, to Bert walking on the ceiling; this adaptation sticks to the moments we know and love, as well as adding new ones that will stay with me forever.

There were moments within the show where I just felt so overwhelmed with emotion and felt incredibly lucky to be there. Those moments were Practically Perfect, Supercalifragilisticexpialidocious, Step in Time and Anything Can Happen. The magic of the show lies in those performances, in my opinion. 

A mention must be given to Jane and Michael Banks, who after Mary Poppins, have the most dialogue in the show. For actors so young to be as talented as the adult cast members they're working with; I think it's simply sensational. Their comedic timing was brilliant, and my cheeks were hurting from smiling so much once the performance had finished.

As a theatre lover that has never really been a Mary Poppins fan, I can well and truly say I've been converted. No review can give this show the justice it deserves. You simply have to see to believe. I think this adaption of Mary Poppins is here to stay. 

You can buy tickets to Mary Poppins at Prince Edward Theatre, London, here: MARY POPPINS TICKETS