Courtesy of Broadway Records.

Nicholas Hytner’s critically acclaimed immersive production of Guys & Dolls – a musical fable of Broadway, based on the story and characters of Damon Runyon is one of the greatest musicals of all time, with more hit songs, more laughs and more romance than any show ever written. Guys & Dolls has music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. The celebrated production features choreography by Arlene Phillips with James Cousins, musical supervision and arrangements by Tom Brady, set by Bunny Christie, costumes by Bunny Christie and Deborah Andrews, lighting by Paule Constable, sound by Paul Arditti, orchestrations by Charlie Rosen, associate direction by James Cousins, and casting by Charlotte Sutton.

The 2023 London cast recording stars Daniel Mays (Nathan Detroit), Cedric Neal (Nicely-Nicely Johnson), Andrew Richardson (Sky Masterson), Celinde Schoenmaker (Sarah Brown) and Marisha Wallace (Miss Adelaide). Also appearing are Jordan Castle (Harry the Horse), Cornelius Clarke (Lieutenant Brannigan), Cameron Johnson (Big Jule), Anthony O’Donnell (Arvide Abernathy), Mark Oxtoby (Benny Southstreet), Ryan Pidgen (Rusty Charlie) and Katy Secombe (General Cartwright). Completing the cast are Iroy Abesamis, Simon Anthony, Lydia Bannister, Kathryn Barnes, Callum Bell, Cindy Belliot, Petrelle Dias, Ike Fallon, Leslie Garcia Bowman, George Ioannides, Robbie McMillan, Perry O’Dea, James Revell, Charlotte Scott, Tinovimbanashe Sibanda, Isabel Snaas, Sasha Wareham and Dale White in the ensemble.

The 2023 London cast recording is produced by Michael J. Moritz Jr., Charlie Rosen and Tom Brady, and co-produced by Van Dean and Emily Loesser. The album is executive produced by Accidental Jacket, Matt Britten and Andrew Paradis.

The album features a bonus track of a new version of “Luck Be a Lady” sung by Marisha Wallace. The digital album also features several bonus tracks.

About Broadway Records

Broadway Records is the leading, Grammy® winning record label dedicated to releasing the most popular and current Broadway cast recordings, as well as preserving legacy musical theatre and theatre vocalists’ repertoire. Under the leadership of Broadway Records’ president and founder Van Dean, recent releases include the 2023 Broadway Revival of Camelot, New Off-Broadway Cast Recording of Assassins, the Grammy-nominated New Broadway Cast Recording of Caroline, Or Change,  If The Fates Allow: The Hadestown Holiday Album,  Grammy-nominated Burt Bacharach & Stephen Sater’s Some Lovers,  Grammy-nominated Stephen Schwartz’s Snapshots, The Lehman Trilogy, Grammy-nominated Randy Rainbow’s A Little Brains, A Little Talent, Legacy: Two Song Cycles by Ahrens and Flaherty, the Grammy and Tony Award-winning revival of The Color Purple, the Tony Award-winning and Grammy-nominated revival of Once On This Island, the Grammy-nominated Matilda The Musical, Fiddler on the Roof (2015 revival) and My Fair Lady (2018 revival), Anastasia, Bandstand, Groundhog Day, The Lightning Thief and NBC’s television events, “The Wiz Live!” and “Peter Pan Live!” as well as solo albums from Patti LuPone, Lea Salonga, Brian Stokes Mitchell, Jessica Vosk, Kyle Taylor Parker, and many more. The label’s critically-acclaimed “Live at Feinstein’s/54 Below” series features top Broadway stars including Aaron Tveit, Annaleigh Ashford, Norbert Leo Butz, Sierra Boggess, Laura Benanti, Robbie Rozelle, Adam Pascal & Anthony Rapp, Micky Dolenz, and many others. Broadway Records philanthropic endeavors also include the “Broadway For Orlando: What The World Needs Now is Love”, “We Are The World” by Broadway United and “Broadway Kids Against Bullying: I Have a Voice” music videos and From Broadway With Love benefit concerts for Sandy Hook, Orlando (Emmy Award for Sound) and Parkland. http://www.broadwayrecords.com  Follow on X/Twitter @bwayrecords

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• Emmy winner and multi-Olivier nominee Hannah Waddingham to host for the first time
• Tickets available exclusively for Mastercard cardholders from today (Tuesday 17 January) via priceless.com & officiallondontheatre.com/olivier-awards

LONDON—Public tickets for the Olivier Awards 2023 with Mastercard, which will take place on Sunday 2 April, go on sale exclusively to Mastercard cardholders today (Tuesday 17 January) via priceless.com.

The biggest night in theatre, the Olivier Awards celebrates the brightest and best of London’s world-leading theatre industry with a starry ceremony at the Royal Albert Hall.

Globally renowned stage and screen actor Hannah Waddingham, a three-time Olivier Award nominee herself and Primetime Emmy winner for her role in hit television series Ted Lasso, will host the ceremony, which will be broadcast on ITV and Magic Radio. 

As Jason Manford hands over the hosting baton to his good friend Hannah Waddingham, the Society of London Theatre would like to thank him for doing such a brilliant job over the last five years. We look forward to working with Jason again in the future.

Mastercard continues its partnership for the 13th year and will once again sponsor the Mastercard Best New Musical Award.

Claire Walker and Hannah Essex, co-CEOs of the Society of London Theatre, said:

‘The Olivier Awards are the highlight of the theatrical calendar – a time for the industry to come together with fans to celebrate the extraordinary talent both on our stages and behind the curtain. Already, in our first few months of this job, it is clear that we have joined a uniquely innovative, diverse and resilient sector. To be able to recognize these qualities on the stage of the Royal Albert Hall will be a real thrill. We are also hugely thankful for Mastercard’s continued support.’

OlivierAwards.com | Facebook | Twitter | Instagram 

#OlivierAwards

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LONDON—Due to the scheduling of the funeral of Her Majesty Queen Elizabeth II, and out of respect for all who are mourning, most shows in central London have now announced that they will be closing on 19 September, 2022.

Ticketholders will receive an email from their point of purchase with details regarding exchanges and refunds. Throughout the period of national mourning, performances will go ahead as planned but we would advise audiences coming into central London to allow more time for their journeys to and from the theatre from Wednesday when the Queen will be lying in State.

In regards to the national one-minute silence at 8pm on Sunday 18 September, shows that are playing on that evening will mark this prior to curtain up.

For further information please see Official London Theatre

Information for theatregoers throughout the period of national mourning

Last Updated 14 September 2022

Below is some useful information on theatre in London during the period of national mourning and in the run up to the funeral of Her Majesty The Queen Elizabeth II.

Information about theatre this week

Throughout the period of national mourning, performances will go ahead as planned but we would advise audiences coming into central London to allow more time for their journeys to and from the theatre.

From 5pm Wednesday 14 September the public will be able to pay their respects to Her Majesty The Queen lying-in-state in Westminster Hall. The Hall will be open to the public 24 hours a day until the early morning of Monday 19 September.

At 2.22pm on Wednesday 14 September, there will be a procession of the Her Majesty The Queen’s coffin from Buckingham Palace to Westminster Hall along The Mall and House Guards Parade. This area will be extremely busy from mid-morning, with public viewing area opening from 11am. Several central roads will be closed to cars, so Transport for London have advised that walking, tube and train will be the best modes of transport.

Around Westminster and Southbank will be incredibly busy this week, and we expect the West End will also be much busier than usual.

The government and TfL have advised that the following stations will be very busy: Charing Cross, Embankment, Hyde Park Corner, Piccadilly Circus, St James’s Park, Temple, Victoria, Waterloo & Westminster. They are asking that Green Park station only be used to provide a step-free route to those with accessibility needs, so customers visiting the West End should avoid this station. Due to road closures, some buses will also stop short of their destination or will be on diversion.

We recommend that you leave plenty of time to get to your performances and check transport advice – including the TfL website and the government website on the event – on the day.

Information about theatre on Monday 19 September

Due to the scheduling of the funeral of Her Majesty Queen Elizabeth II, and out of respect for all who are mourning, most theatres in central London have now announced that they will be closing on 19 September. If you’re unsure whether a show you have tickets for is going ahead, check directly with the theatre’s website.

Ticketholders will receive an email from their point of purchase with details regarding exchanges and refunds.

Regarding the national one-minute silence at 8pm on Sunday 18 September, shows that are playing on that evening will mark this prior to curtain up.

The below shows have confirmed that performances scheduled on Monday 19 September will no longer be going ahead. We will add to this list as they are announced.

& Juliet (Shaftesbury Theatre)

Antigone (Regent’s Park Open Air Theatre)

The Apology (Arcola Theatre)

Back To The Future: The Musical (Adelphi Theatre)

The Book Of Mormon (Prince Of Wales Theatre)

Cabaret (The Kit Kat Club at the Playhouse Theatre)

Come From Away (Phoenix Theatre)

The Crucible (National Theatre)

Dear Evan Hansen (Noël Coward Theatre)

The Doctors’ Orchestra (Cadogan Hall)

Eureka Day (The Old Vic)

Don Giovanni (The Royal Opera House)

Grease The Musical (Dominion Theatre)

Hamilton (Victoria Palace Theatre)

Handbagged (Kiln Theatre)

Jersey Boys (Trafalgar Theatre)

Life Of Pi (Wyndham’s Theatre)

Mamma Mia! (Novello Theatre)

Mary Poppins (Prince Edward Theatre)

Moulin Rouge! The Musical (Piccadilly Theatre)

The Mousetrap (St Martin’s Theatre)

Only Fools And Horses The Musical (Theatre Royal Haymarket)

The Phantom Of The Opera (Her Majesty’s Theatre)

To Kill A Mockingbird (Gielgud Theatre)

Shakespeare’s Globe will suspend all tours, events, activities and performances

The first preview of Blues For An Alabama Sky at the National Theatre on Tuesday 20 September has also been cancelled.

Her Majesty’s Theatre in London (above). Photo: Courtesy of Official London Theatre.

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Cast members from (L-R) ‘& Juliet,’ ‘Horrible Histories: Terrible Tudors,’ ‘Grease The Musical’ & The Tiger Who Came To Tea celebrating Kids Week. Photo: Photo: Luca Marino & TFL.

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Balthazar’s renowned steak frites—the dish that made them famous in NY. Photo: StageZine.

Balthazar London
4-6 Russell St.
London
WC2B 5HZ
United Kingdom
balthazarlondon.com
+44 20 3301 1155

Reservations: capricebookings.com

By Scott Harrah

LONDON—I’ve been a fan of Balthazar in New York for as long as it’s been open down in SoHo.  The classic French Brasserie in Manhattan used to be the “in” place in the city—it was nearly impossible to get a reservation when it first opened back in 1997 (and is still busy on weekends in 2022). StageZine has visited London annually since 2015 to review West End shows and great pre-theatre restaurants, but the pandemic forced us to stay home the past two years.  When we were booking our return to London, I was thrilled to learn about the London Balthazar and knew we had to give it a try.

Comparisons between the London Balthazar and the one in New York are inevitable, but I never thought it could live up to the one back home. I was wrong. Balthazar London has many similarities to New York’s but is actually better in most respects.  Located in Covent Garden near the Theatre Royal, Drury Lane and Royal Opera House, it is right in the heart of the touristy theatre district but that’s not a bad thing, especially if one is dining here before catching a show.  Balthazar London seems slightly bigger, roomier, not as cramped between tables and not as crazy as the one in New York, but has a better energy and vibe. Its scenic view of Covent Garden is marvelous, and it is great to see people having fun again outdoors.

London’s Balthazar is located in the Flower Cellars building next to the Covent Garden Piazza. We were here for a sumptuous dinner between shows and were seeing The Glass Menagerie with Amy Adams that night, so we did not have much time to marvel at the surroundings. The service was fast and courteous, and our waitress was simply lovely.

I started with a glass of merlot and the baby gem salad, with lettuce, tomato, avocado, asparagus, mixed herbs and champagne vinaigrette. The salad was fresh and summery, and the dressing was light and not overpowering. The avocados were sliced right on top of the salad beautifully. The wine was outstanding as well.

My dining partner opted for saumon fumé au chêne (oak-smoked salmon), served with capers, rocket, butter and granary toast. He said the salmon was fresh, firm, wonderfully smoked and unbelievably savory.

I chose my all-time favorite, steak frites, for the main course. This is what Balthazar is famous for, of course. It was eight ounces of tender beef cooked medium rare, just the way I like it, with a béarnaise sauce. One didn’t need to use much of the sauce because the steak was so good and hearty. The steak is entrecôte, which we simply call a “rib eye” in the USA, but it was as tender as any filet mignon.  The frites were crisp and perfectly browned, with just a bit of salt.

My partner enjoyed the grilled lobster with garlic butter and chips. He said it could not be fresher and was grilled to perfection.

To finish off the meal, I was really too stuffed for dessert but decided to enjoy a light raspberry sorbet served with a cookie. It went great with a cup of café Americano and was the perfect ending to a great pre-theatre meal. Balthazar London is truly a great sister restaurant to the New York institution and we cannot wait to return next year while in London.

Edited by Scott Harrah
Published July 22, 2022
Reviewed on June 15, 2022 in London

Grilled lobster with garlic butter & chips. Photo: StageZine.

Baby gem salad, with lettuce, tomato, avocado, asparagus, mixed herbs & champagne vinaigrette. Photo: StageZine.

Saumon fumé au chêne (oak-smoked salmon), served with capers, rocket, butter & granary toast. Photo: StageZine.

Raspberry sorbet & a cookie. Photo: StageZine.

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‘BACK TO THE FUTURE: THE MUSICAL’: Olly Dobson. Photo: Sean Ebsworth Barnes.

BACK TO THE FUTURE: THE MUSICAL
Book by Bob Gale
Music & lyrics by Alan Silvestri & Glen Ballard
Directed by John Rando
Adelphi Theatre
The Strand
London, United Kingdom
https://www.backtothefuturemusical.com/london/

By David NouNou

LONDON—Broadway, Lunt-Fontanne, Lyric, Marquis or St. James Theatres—be on the alert because one of you will be housing this giant pinball machine of a musical when it crosses the Atlantic.

You all know the plot, here’s a recap: Set in a small California town in the 1980s, 17-year-old Marty McFly (Will Haswell), in an experiment, travels through time in a modified DeLorean car created by his eccentric friend, Doc Brown (Roger Bart) where he ends up in the 1950s encountering young versions of his parents, before they were married. His mother Lorraine Baines (Katherine Pearson) has the hots for Marty when she first meets him and thinks his name is Calvin Klein because of the underwear he’s wearing. His father is a nerdy high-schooler George McFly (Hugh Coles) who is constantly being picked on and tormented by Biff Tannen (Aiden Cutler), the town bully. Marty has to make sure that George and Lorraine fall in love and kiss at a designated time, or he shall cease to exist. More daunting, Marty has to return to his own time and save the life of Doc Brown.

The plot is simple and the cast is minimal. It follows the premise of the movie, but all the charm and innocence of the piece have been sucked out of it. As you enter the enormous Adelphi lobby, you will be assaulted by every sort of Universal Studio merchandizing and display stands. Once you get inside the theatre, you are in a maze of red and green neon tubings resembling the maze in the 1982 Disney movie, Tron. Don’t get excited; it’s more for effect than substance.

The score at best is mediocre and unmemorable. What amazes me about British musicals is when creating material that is English in nature, Six or & Juliet, they can be brilliant, but when they try to create American-themed musicals, they totally miss the mark. The mugging and carrying-on by the cast and their idea of how Americans behave is a stereotype that would insult The Simpsons. Where is John Rando, a prominent musical director, when all this tomfoolery is going on? Also, why is the guy playing Marty McFly as a 17-year-old so old?

The worst is yet to come. Roger Bart, a prominent Tony-winning American actor for the 1999 revival of You’re a Good Man, Charlie Brown as Doc Brown gives what might be considered one of the worst manic, unhinged performances in modern times. Doc Brown is a brilliant but eccentric scientist, but Mr. Bart portrays him as a crazy lunatic. We attended a Thursday matinee that was subsidized by about 300 9-to 12-year-old boy students. The more outrageous Mr. Bart became, the more gregarious the boys became. By the end they were both out of control. By the time the special effects come in at the end— I’ll leave that as a surprise for you—all hell broke loose.

Whichever of the five theatres I’ve mentioned earlier that will house Back to the Future: The Musical, set designer Tim Hatley and sound designer Gareth Owen will have a grand old time making it over. TILT.

Edited by Scott Harrah
Published July 17, 2022
Reviewed in London on June 16, 2022.

‘BACK TO THE FUTURE: THE MUSICAL’: Roger Bart. Photo: Sean Ebsworth Barnes.

‘BACK TO THE FUTURE: THE MUSICAL’: Marquee at the Adelphi Theatre in London. Photo: StageZine.

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‘LIFE OF PI’: Tom Larkin (Tiger Head) & Hiran Abeysekera Photo: Johan Persson.

LIFE OF PI
Based on the novel by Yann Martel
Adapted by Lolita Chakrabarti
Directed by Max Webster
Wyndham’s Theatre
Charing Cross Road
London, United Kingdom
(0844 482 5138), www.lifeofpionstage.com

By David NouNou

Life of Pi is an enigma. Like War Horse, it is epic in every sense of the word. Whereas War Horse was always engrossing in a straightforward narrative, the narrative in Life of Pi is continually shifting between past and present. This type of storytelling can be riveting in movies as demonstrated in the 2012 Ang Lee film of the same name. In movies, the director and editor can develop a seamless scenario. In the theatre, those same scenes don’t come off as effectively because the narrative is constantly being interrupted by past/present scene changes and that can sometimes break the flow of the storyline.

Starting with Pi (Nuwan Hugh Perera) under his bed in an antiseptic hospital room in Mexico, he’s being questioned by Lulu Chen (Kirsten Foster), a Canadian government figure and Mr. Okamoto (David K.S. Tse), a Japanese insurance man. They want to know how this 17-year-old boy survived for 227 days and was washed up on the Mexican shore after being shipwrecked from a Japanese freighter bound for Canada. Pi has struggled with grief, loss, loneliness, physical pain and still survived.

He is reticent to talk to them at first and finally does open up to explain his childhood in India, his parents, sister, his relatives, and the zoo that his father owned. The zoo was a magical place for Pi; it housed a gorilla, a giraffe, a zebra, among other animals and Richard Parker, the Bengal tiger supreme.

Pi’s father (Nicholas Khan) and mother, also overseer and protector during his ordeal (Mina Anwar) and family are forced to leave India due to the increasingly repressive government.

As the journey begins, so does the magic created by set and costume designer Tim Hatley. Turning the hospital room and bed into an ocean and a boat is nothing short of extraordinary and a visual extravaganza. As Pi jumps ship after being sunk in a storm, his companions consist of a giraffe, zebra, and gorilla and Richard Parker. I don’t have to go into detail about the giraffe, zebra and gorilla. Suffice it to say the battle is between Pi and Richard Parker and their mutual understanding of each other. What I do have to mention is the remarkable work done by puppet designers Nick Barnes and Finn Caldwell as well as the puppet movement by director Finn Caldwell. They make you forget that Richard Parker is a puppet and not a real tiger.

Unlike the movie, which relied mostly on special effects to engage the mass audiences, here religion and metaphysics play a big part in Pi’s survival and it is manifested in the scenes between the hospital and the ocean. At our performance, the part of Pi was played by the understudy, Nuwan Hugh Perera. He marvelously captures Pi’s innocence in the beginning as well as his struggles and ordeals with life, religion, and survival.

Mina Anwar gives a very touching performance as Pi’s mother and overseer. Special kudos have to go to the handlers of Richard Parker: his head, his hind, and his heart, and his masterful voice, (Habib Nasib Nader).

Despite all the shifting and interruptions of scenes, the West End stage adaptation of Life of Pi is still a journey of mystical belief and an unforgettable visual treat and experience—one you will remember long after leaving the theatre.

Edited by Scott Harrah
Published July 13, 2022
Reviewed in London on June 13, 2022.

‘LIFE OF PI’: Marquee at Wyndham’s Theatre in London. Photo: StageZine.

‘LIFE OF PI’: Hiran Abeysekera. Photo: Johan Persson.

‘LIFE OF PI’: Hiran Abeysekera, Tom Larkin (Tiger Head) & Nicholas Khan. Photo: Johan Persson.

‘LIFE OF PI’: Hiran Abeysekera & cast. Photo: Johan Persson.

‘LIFE OF PI’: Hiran Abeysekera & cast. Photo: Johan Persson.

‘LIFE OF PI’: Romina Hytten (Goat) & Tom Larkin (Tiger Head) Photo: Johan Persson.

‘LIFE OF PI’: The cast. Photo: Johan Persson.

The post ‘Life of Pi’: Spectacular UK stage adaptation appeared first on StageZine.

‘& JULIET’: Miriam Teak-Lee & cast. Photo: Johann Persson.

& JULIET
Book by David West Read
Music & lyrics by Max Martin & friends
Directed by Luke Sheppard
Shaftesbury Theatre
Shaftesbury Avenue

London, United Kingdom
(020 7379 5399), https://www.andjulietthemusical.co.uk/

By David NouNou

LONDON—Every year when StageZine goes to London for the summer theatre season, there is often one show we hope comes to Broadway. In 2019, the last time we were there, it was Six. This year our pick is & Juliet.

There is an infectious vitality to this musical that is off the charts. It has a great and actually funny irreverent book by David West Read and a catchy score from start to finish by Max Martin and friends. No spoiler alert here, but the score does include Britney Spears’ “Baby One More Time” and “Oops…I Did It Again,” Katy Perry’s “I Kissed a Girl”  and “Roar” and more surprises. It is reminiscent of the 2015 musical Something Rotten by the Kirkpatrick Brothers.

I’m not saying that this is a perfect musical; it will need some tighter writing and directing before coming to New York. What is glorious about it is its exuberant young vitality and, with the proper changes, it should be a contender for next year’s “Best Musical” during awards season.

As Shakespeare wrote it, Romeo takes his poison and dies. Juliet awakens from her drugged coma and learns from Friar Laurence of what happened, then stabs herself to death. The end. Well, not in this version. Juliet (Miriam-Teak Lee) wakes up and figures things out for herself. Why should she kill herself? And it was selfish of Romeo to kill himself and not wait for her. She intends to live her life. Thus, the merriment unfolds.

Besides Juliet, there are the three other principal protagonists: William Shakespeare (Alex Tranter) and Anne Hathaway, not the actress but actually Shakespeare’s wife (Cassidy Janson). They manipulate how the story should continue now that Juliet is alive. Anne looks at things from the feminist point of view and wants Juliet to experience all the alternatives at her disposal, while William wants to keep the traditional manner in which he conceived it. The third principal is the ever-lovable Keala Settle as the Nurse. By the way, she will be leaving soon to play with Queen of British Soul Beverley Knight in a revival of the musical Sister Act. So, catch her before she leaves.

As the play progresses, different characters are introduced that alter Juliet’s life and if she should even remarry. Even Romeo (Tom Francis) resurfaces and makes another plea for Juliet’s hand in marriage. Decisions, decisions.

As I mentioned the premise is great, the score delightful, and the performances in most cases are very good, except for the over hamming by the few. Miriam Teak-Lee is lovely and a delight as Juliet. Alex Trantor is charming and gorgeous as Shakespeare; if only he really did look like Mr. Tranter. Ms. Janson as Anne is cloying at times. Ms. Settle is a delight.

This musical is further enhanced by its creative team. Set designer Soutra Gilmour has created an original, unorthodox, seamless cluttered but easy-on-the-eyes sets. The costumes by Paloma Young are deliciously colorful. Lighting Designer Howard Hudson captures every mood, night or day. Choreographer Jennifer Weber has injected so much energy and originality in her dances, it’s a shame that director Luke Sheppard doesn’t keep up with her. He needs help in editing the proceedings, but hopefully this will be worked out before any Broadway transfer.

There are so many surprises here and so much fun to be had. It is a must-see. Should it come to New York, here is my list for the perfect cast: Ariana DeBose as Juliet, Christian Borle as Shakespeare, Cassie Levy as Anne, Jeremy Jordan as Romeo and, of course, Keala Settle as The Nurse.

Edited by Scott Harrah
Published July 10, 2022
Reviewed in London on June 14, 2022.

‘& JULIET’ at the Shaftesbury Theatre in London. Photo: StageZine.

‘& JULIET’: Tom Francis & cast. Photo: Johan Persson.

‘& JULIET’: (Center) Cassidy Janson, Miriam-Teak Lee, Keala Settle & cast. Photo: Johan Persson

‘& JULIET’: Oliver Tompsett, Miriam-Teak Lee & Keala Settle & cast. Photo: Johan Persson.

‘& JULIET’: Alex Thomas, Julius D’Silva, Tim Mahendran & Oliver Tompsett & cast. Photo: Johan Persson.

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‘THE DRIFTERS GIRL’: Adam J. Bernard, Tarinn Callender, Matt Henry & Tosh Wanogho-Maud. Photo: Johan Persson.

THE DRIFTERS GIRL
Book by Ed Curtis
Based on an idea by Tina Treadwell
Co-created by Adam J. Bernard, Tarinn Callender, Matt Henry, Beverley Knight & Tosh Wanogho-Maud
Directed by Jonathan Church
Garrick Theatre
Charing Cross Road
London, United Kingdom
(0330 333 4811), www.thedriftersgirl.com

By David NouNou

LONDON—There are two parallel stories taking place here, woven together to form a cohesive musical. This is more than just another jukebox musical. In this case, the main attractions here are The Drifters’ songbook; and the real story is a tribute by Tina Treadwell to her mother, Faye Treadwell.

Nowadays there is little known about Faye Treadwell (Beverley Knight). She was a pioneer in the American music industry. She was a black woman in the 1950s and being a secretary was not a profession she chose to be in. There was a lot of discrimination in the music business, but being a woman in a man’s arena was unheard of.

In her 30s, she met George Treadwell (Adam J. Bernard) who was in artist management. He took her in not as a secretary but as an associate. She was smart, had a business sense, taste in music, and recognized talent. When he died suddenly, she took control of the company and became a tough deal maker and an incredible businesswoman. This is the business track of the story.

The other track is The Drifters themselves. Over the years there have been over 60 members in the group known as The Drifters. Among them were Clyde McPhatter, Lover Patterson and others (Matt Henry), Ben E. King, Rudy Lewis and others (Tosh Wanogho-Maud). At our performance, it was Ashford Campbell substituting for Mr. Wanogho-Maud. Johnny Moore, Gerhart Thrasher and others (Tarinn Callender). Over the years the members of the group had changed, but their sound was indelible, and the songs immortal: “Under the Boardwalk”, “Stand by Me,” “Save The Last Dance for Me,” “This Magic Moment,” “Unforgettable,” “Sweets for My Sweet,” and many more.

The intersection of the narrative is in the fact that members of the group were either inducted for military service, left on their own will to go solo, or were dropped due to their addictions. Faye Treadwell comes in to form the group as a brand rather than being dependent on any individual performer. She coined the philosophy “Everyone supports the Yankees but the players change all the time, so why couldn’t this principle be applied to a band?” and she succeeded by this motto.

Here is the interesting concept for this musical; it was created and is acted by the five principals of the show. There is a sixth character, and that is Faye’s daughter known as Girl (Shanyia Tsoto) who is sensitive and touching. Other than Beverley Knight portraying Faye, all four male characters play multiple roles and at times you really believe there are about 20 characters in this musical. Mr. Bernard, Mr. Campbell, Mr. Callender, and Mr. Henry are sheer perfection. Their vocalizing is superb, and it feels like you are at a Drifters concert.

Beverley Knight is considered the Queen of British Soul but is unknown to American audiences. She has a voice of a nightingale and holds the audience in the palm of her hand. The one misgiving in Ms. Knight’s performance is her mega-sized Southern accent; to an American ear it sounds forced. I’m sure it’s perfectly acceptable to the English audience.

Director Jonathan Church keeps the proceedings on the move, thanks in large part to Anthony Ward’s uncluttered sets which are constantly moving to represent different locations. For Drifters fans and audiences who are not familiar with the “golden oldies,” this is a joyous evening of harmonizing and a beautiful songbook of immortal songs.

Editor’s note: Felicia Boswell recently replaced Beverley Knight in the lead role of Faye Treadwell.

Edited by Scott Harrah
Published July 8, 2022
Reviewed in London on June 15, 2022.

‘THE DRIFTERS GIRL’: Marquee & entrance to the Garrick Theatre in London. Photo: StageZine.

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LONDON—The announcement of this year’s Olivier Awards 2020 winners will be broadcast on ITV this Sunday, the 25th October at 10.20pm. In lieu of a live ceremony the programme, mostly pre-filmed at The London Palladium, will celebrate the winners and nominees as well as honouring some very special figures who have made significant contributions to the industry over the past 18 months.

Sunday evening is hosted by Jason Manford and viewers can tune into the Official London Theatre YouTube from 9.30pm for the start of the evening’s proceedings and then move to ITV at 10.20pm. Viewers outside of the UK will be able to watch the entire programme on the Official London YouTube channel.

Listeners will be able to also enjoy a highlights show on Magic Radio from 8pm until 10pm on Monday 26th October, with extended coverage across the week on digital radio station Magic at the Musicals.

Sharon D. Clarke will be performing and paying tribute to Don Black as he receives The Olivier Special Award for contribution to theatre. In a career spanning six decades, Black has written lyrics for theatre productions including Andrew Lloyd Webber’s Aspects of Love and Whistle Down the Wind, and for music artists including Quincy Jones, Lulu, Meat Loaf and Michel Legrand.

Don Black will be presented his award by Lord Lloyd Webber and HRH The Duchess of Cornwall. The Duchess will be making a poignant speech about the importance of live theatre.

Ian McKellen will be honoured in his 80th year for his Ian McKellen On Stage tour which visited over 80 theatres, with profits going towards different causes at each theatre, from repairs to outreach programmes and talent development.

The show will also feature performances from nominees Sam Tutty, star of Dear Evan Hansen, and Miriam-Teak Lee, star of & Juliet.

Julian Bird said, “This is not how we had originally planned to celebrate this year’s outstanding Olivier nominees, but like so many others we have adapted to these challenging times. I am thrilled that we have been able to safely pull together this programme that will hopefully engage and inspire audiences at home whilst reminding them of the talent and vibrancy within our theatre industry.

In response to the pandemic, we have set up the Theatre Artists Fund spearheaded by Sam Mendes to help the many talented freelancers in our industry who are in financial hardship. As part of the broadcasts there will be a special feature with Sam and some of the recipients of the grant.”

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Established in 1976, the Olivier Awards celebrate the world-class status of London theatre and are Britain’s most prestigious stage honours.

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Full list of Olivier Awards 2020 nominations:

Best Actor in a Supporting Role in a Musical

• David Bedella for & Juliet at Shaftesbury Theatre
• Stewart Clarke for Fiddler On The Roof at Playhouse Theatre
• Jack Loxton for Dear Evan Hansen at Noel Coward Theatre
• Rupert Young for Dear Evan Hansen at Noel Coward Theatre

Best Actress in a Supporting Role in a Musical

• Lucy Anderson for Dear Evan Hansen at Noel Coward Theatre
• Petula Clark for Mary Poppins at Prince Edward Theatre
• Cassidy Janson for & Juliet at Shaftesbury Theatre
• Lauren Ward for Dear Evan Hansen at Noel Coward Theatre

Best Original Score or New Orchestrations

• & Juliet – New Orchestrations by Bill Sherman and Dominic Fallacaro at Shaftesbury Theatre
• Amélie The Musical – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace
• Dear Evan Hansen – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire at Noel Coward Theatre
• Fiddler On The Roof – New Orchestrations by Jason Carr at Playhouse Theatre
• Waitress – Music and Lyrics by Sara Bareilles at Adelphi Theatre

Best New Dance Production

• La Fiesta by Israel Galvan at Sadler’s Wells
• Ingoma by Mthuthuzeli November for Ballet Black at Royal Opera House – Linbury Theatre
• MÁM by Michael Keegan-Dolan for Tea? Da?sa at Sadler’s Wells
• Vessel by Damien Jalet & Kohei Nawa at Sadler’s Wells

Outstanding Achievement in Dance

• Sara Baras for her choreography and performance in Ballet Flamenco – Sombras at Sadler’s Wells
• Anne Teresa De Keersmaeker for her performance in Mitten Wir Im Leben Sind/Bach6Cellosuiten at Sadler’s Wells
• Gisèle Vienne for her choreography of Crowd, presented by Dance Umbrella at Sadler’s Wells

Noel Coward Award for Best Entertainment or Comedy Play

• Emilia at Vaudeville Theatre
• Fleabag at Wyndham’s Theatre
• Magic Goes Wrong at Vaudeville Theatre
• The Upstart Crow at Gielgud Theatre

Best Theatre Choreographer

• Fabian Aloise for Evita at Regent’s Park Open Air Theatre
• Matthew Bourne and Stephen Mear for Mary Poppins at Prince Edward Theatre
• Jerome Robbins and Matt Cole for Fiddler On The Roof at Playhouse Theatre
• Jennifer Weber for & Juliet at Shaftesbury Theatre

Magic Radio Best Musical Revival

• Evita at Regent’s Park Open Air Theatre
• Fiddler On The Roof at Playhouse Theatre
• Joseph And The Amazing Technicolor Dreamcoat at The London Palladium
• Mary Poppins at Prince Edward Theatre

Best Actor in a Musical

• Andy Nyman for Fiddler On The Roof at Playhouse Theatre
• Charlie Stemp for Mary Poppins at Prince Edward Theatre
• Sam Tutty for Dear Evan Hansen at Noel Coward Theatre
• Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat at The London Palladium

Best Actress in a Musical

• Audrey Brisson for Amé lie The Musical at The Other Palace
• Judy Kuhn for Fiddler On The Roof at Playhouse Theatre
• Miriam-Teak Lee for & Juliet at Shaftesbury Theatre
• Zizi Strallen for Mary Poppins at Prince Edward Theatre

Cunard Best Revival

• Cyrano De Bergerac at Playhouse Theatre
• Death Of A Salesman at Young Vic and Piccadilly Theatre
• Present Laughter at The Old Vic
• Rosmersholm at Duke of York’s Theatre

Best Family Show

• Mr Gum And The Dancing Bear – The Musical! at National Theatre – Dorfman
• Oi Frog & Friends! at Lyric Theatre
• To The Moon And Back at Barbican Theatre
• The Worst Witch at Vaudeville Theatre

Outstanding Achievement in an Affiliate Theatre

• Baby Reindeer at Bush Theatre
• Blues In The Night at Kiln Theatre
• Our Lady Of Kibeho at Theatre Royal Stratford East
• Seven Methods Of Killing Kylie Jenner at Jerwood Theatre Upstairs at the Royal Court Theatre
• Warheads at Park Theatre

White Light Award for Best Lighting Design

• Neil Austin for Rosmersholm at Duke of York’s Theatre
• Paule Constable for The Ocean At The End Of The Lane at National Theatre – Dorfman
• Howard Hudson for & Juliet at Shaftesbury Theatre
• Bruno Poet for Uncle Vanya at Harold Pinter Theatre

Royal Albert Hall Award for Best Sound Design

• Gregory Clarke for Rosmersholm at Duke of York’s Theatre
• Emma Laxton for Emilia at Vaudeville Theatre
• Ben and Max Ringham for ANNA at National Theatre – Dorfman
• Ben and Max Ringham for Cyrano De Bergerac at Playhouse Theatre

Best Costume Design

• Hugh Durrant for Goldilocks And The Three Bears at The London Palladium
• Jonathan Lipman for Fiddler On The Roof at Playhouse Theatre
• Joanna Scotcher for Emilia at Vaudeville Theatre
• Paloma Young for & Juliet at Shaftesbury Theatre

Blue-I Theatre Technology Award for Best Set Design

• Bob Crowley for Mary Poppins at Prince Edward Theatre
• Soutra Gilmour for & Juliet at Shaftesbury Theatre
• Rae Smith for Rosmersholm at Duke of York’s Theatre
• Rae Smith for Uncle Vanya at Harold Pinter Theatre

Best Actor in a Supporting Role

• Arinzé Kene for Death Of A Salesman at Young Vic
• Colin Morgan for All My Sons at The Old Vic
• Adrian Scarborough for Leopoldstadt at Wyndham’s Theatre
• Reece Shearsmith for A Very Expensive Poison at The Old Vic

Best Actress in a Supporting Role

• Michele Austin for Cyrano De Bergerac at Playhouse Theatre
• Sophie Thompson for Present Laughter at The Old Vic
• Indira Varma for Present Laughter at The Old Vic
• Josie Walker for The Ocean At The End Of The Lane at National Theatre – Dorfman

Best New Opera Production

• Berenice at Royal Opera House – Linbury Theatre
• Billy Budd at Royal Opera House
• Hansel And Gretel at Regent’s Park Open Air Theatre
• Noye’s Fludde at Theatre Royal Stratford East

Outstanding Achievement in Opera

• Jette Parker Young Artists for their performances in Berenice, Death In Venice and Phaedra at Royal Opera House
• The Children’s Ensemble for their performance in Noye’s Fludde at Theatre Royal Stratford East
• Martyn Brabbins and James Henshaw for their conducting of The Mask Of Orpheus for English National Opera at London Coliseum

Best Actor

• Toby Jones for Uncle Vanya at Harold Pinter Theatre
• James McAvoy for Cyrano De Bergerac at Playhouse Theatre
• Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre
• Andrew Scott for Present Laughter at The Old Vic

Best Actress

• Hayley Atwell for Rosmersholm at Duke of York’s Theatre
• Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre
• Juliet Stevenson for The Doctor at Almeida Theatre
• Phoebe Waller-Bridge for Fleabag at Wyndham’s Theatre

Sir Peter Hall Award for Best Director

• Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre
• Jamie Lloyd for Cyrano De Bergerac at Playhouse Theatre
• Trevor Nunn for Fiddler On The Roof at Playhouse Theatre
• Ian Rickson for Uncle Vanya at Harold Pinter Theatre

American Airlines Best New Play

• A Very Expensive Poison at The Old Vic
• The Doctor at Almeida Theatre
• Leopoldstadt at Wyndham’s Theatre
• The Ocean At The End Of The Lane at National Theatre – Dorfman

Mastercard Best New Musical

• & Juliet at Shaftesbury Theatre
• Amélie The Musical at The Other Palace
• Dear Evan Hansen at Noel Coward Theatre
• Waitress at Adelphi Theatre

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