42ND STREET (UK Tour) October 2012

Two of the West End's finest and most popular stars Marti Webb and Dave Willetts bring the glitz and glamour of Broadway to Wolverhampton in this energetic touring production of the 1980's tap dancing musical comedy.

Peggy Sawyer from Allentown finds herself cast in her first professional job - a chorus girl in 'Pretty Lady', a new Broadway musical extravaganza in it's Off-Broadway tryouts staged at height of the Great Depression. After tripping over and breaking the ankle of the leading lady Dorothy Brock, Peggy is fired from the show. The cast convince the director that only Peggy herself is capable of taking over the role and she returns with only 48 hours to learn the part.

Marti Webb and Dave Willetts lead the cast and are both effortlessly perfect in the roles of Dorothy Brock and director Julian Marsh. Willetts captures the harshness of a stern Broadway director under pressure, and during the final moments of the show in particular his vocals secure the audience's firm attention. Webb never fails to look the glamorous diva, even with her ankle in plaster. Her character is however intended to be outshone by the younger Peggy Sawyer - the chorus girl turned overnight star played by Jessica Punch. Punch presents us with an over-excited and loveable lead, with a bubbly little character not too far removed from the likes of Bonnie Langford. In fact, the energy of the chorus girls when dancing together pretty much were twenty Bonnie Langford's all giving it the ol' razzle dazzle - the enthusiasm of the entire cast is second to none. 

The other principal roles include Bruce Montague as Abner Dillon who keeps to the most entertaining rich Texan accent. James O'Connell's expert skill and finish to every line shows he is more than capable of being the Pretty Lady's leading man as Billy Lawler. Carol Ball is a delight as Maggie Jones. Graeme Henderson is suited to the role of Andy Lee the choreographer as he himself choreographed this production. The choreography was exciting and complex. I took part in a masterclass with Graeme Henderson when I was a much younger tap dancer and I am all too aware of the difficulty of his fascinating tap routines. 

One routine that was particularly fascinating involved members of the male chorus putting on their tap shoes, beginning a routine and continuing to keep to the rhythms and syncopations whilst putting on suit jackets and doing up a bow tie. Stand out musical numbers include 'We're In the Money' which involved a very shiny-costumed gold routine with giant coins and the 'Lullaby Of Broadway'. 

As much as I love the flashy new musicals that are impressive in their use of technology, one of the reasons why I particularly adore 42nd Street is that it makes no attempt to be modern. The sets look just as dated as the charming choreography of the time, and although I am unable to reminisce about the 1930's it is wonderful to be transported back to such a time, just for the evening. 

It's not too often that the more traditional Broadway musicals tour the UK and so this is a real must see. 42nd Street plays at the Wolverhampton Grand theatre until Saturday 3rd November and you can book tickets here: http://grandtheatre.info/WhatsOn_focus.asp?ShowId=627&sC=page10

JACK AND THE BEANSTALK (Wolverhampton Grand Theatre) Interview with Ben James-Ellis

The Wolverhampton Grand Theatre today announced after much anticipation that the lead role of Jack in this years pantomime will be West End star Ben James-Ellis. Ben completes the all-star cast and joins Loose Women's Sherrie Hewson, Keith Harris with Orville and Cuddles, Coronation Street's Ken Morley, X Factor's Niki Evans and Pantomime legend Nigel Ellacott.

Ben as Link Larkin in the London cast of Hairspray

Ben rose to fame as a contestant on the BBC's Any Dream Will Do in a bid to win the role of Joseph in Andrew Lloyd Webber's revival production of Joseph And The Amazing Technicolor Dreamcoat. Finishing in the semi-final stage Ben soon became part of the original London cast of Hairspray at the Shaftesbury Theatre playing the role of teenage heart-throb Link Larkin. Since then, Ben has been in the West End cast and subsequent tour casts of Dreamboats and Petticoats and visited the Grand theatre with the show last year. "There's a really great pork sandwich shop by the theatre, I can't wait to go back there again!"

Ben is no stranger to the world of pantomime having played Prince Charming in Snow White and Peter in Peter Pan, but this is the first time he will be playing Jack. Ben has worked with Keith Harris and Orville in pantomime before and is looking forward to catching up with his little green friend. "Don't touch Orville though, he's expensive. You should see what he sleeps in, it's like a giant protective coffin!".

When asked about the two-show a day schedule of the pantomimes epic run Ben said a blow-up bed for the dressing room and a supply of Red Bull might be necessary. "The dressing rooms are great though, I like that fact that backstage it's really modern and yet the in auditorium keeps the authentic theatre style."

Ben posing for the local press outside the theatre.

In comparison to West End productions Ben likes the freedom that comes with pantomime. "West End shows such as Hairspray are really specific and should be done exactly the same way, night after night, whereas pantomime is a lot more relaxed and it's a nice bit of relief from the shows you do throughout the year. I love panto because you just have such a great time, it's so festive and you become part of a really close family."

If there's one person in theatre that any aspiring young performer would want to work for, it would surely be 'The Lord' himself - Andrew Lloyd Webber. Ben was only 18 when he was plunged into the live shows of Any Dream Will Do, a daunting thing for anyone. "Any Dream Will Do was great, and TV gets you seen, but it's not like it's all plain sailing from there. You have to work really hard to maintain the standard people expect of you." Ben's first job in Hairspray saw him take the stage beside musical theatre legend Michael Ball. "Michael was impressed with the talent on Any Dream Will Do but said to me very early on that this is where it all starts now, I had to prove myself." He sure did prove himself and we're very happy to have Ben in Wolverhampton this Christmas. It is the most excited he has been for pantomime.

Me and Ben with his mighty beanstalk-chopping axe.

This year's pantomime also has it's own website. You can visit www.grandtheatrepanto.co.uk for information and pictures of the cast. There is a virtual beanstalk with a countdown to opening night, a 'Teachers Zone' packed with educational resources and competitions. For education enquiries you can contact Education Officer -  Louise Bent (Email: louise@grandtheatre.co.uk).
The website is currently home to the 'Backstage Blog' which will launch very soon and continue to run long after the pantomime and feature next season's fantastic shows. You can also book tickets to the pantomime through the website.

THE LION KING (UK Tour) Birmingham Hippodrome Press Launch

After hosting Beauty And The Beast and Mary Poppins in previous years, Disney's The Lion King is finally coming to the Birmingham Hippodrome as part of a UK/Ireland tour with the London production still going strong after 13 years at the Lyceum Theatre.

The launch event was held at the Crescent Theatre in Birmingham and guests were treated to a canapé reception before the main presentation. I was very fortunate enough to be Disney's guest. The event provided a behind the scenes look on the creation of Disney's smash hit.

Disney Theatrical Productions director of Marketing and Creative, Steven Crocker, lead a fascinating presentation informing over 200 invited guests of how the story of The Lion King made it from screen to stage. The presentation began with a performance of "The Circle Of Life" lead by Gugwana Dlamini (UK/Ireland Tour Cast) as Rafiki accompanied by the Birmingham Gospel Choir. The music and lyrics of Elton John and Tim Rice are just perfect. The initial performance alone was enough to wet appetites but there was plenty more to come. There were also performances from Jonathan Andrew Hume and Ava Brennan -  the London cast's Simba and Nala.

Ava Brennan, Johnathan Andrew Hume and Gugwana Dlamini pose for the press photographers.

A great deal of the presentation was devoted to Julie Taymor. Not only did she design the costumes, but the masks too, co-designed the puppets, added additional lyrics to the show and to top it off - directed it. There were masks for Simba, Nala, Mufasa and Scar on display with the puppet of Zazu. The inspiration behind each mask has a specific relevance to the character. Stephen Crocker explained that the mask for Mufasa for example, has a circular mane and is very obviously circular in design because he is at the centre of the circle of life. The performers faces are never hidden and this is known as the 'Double Event'. The incredible performance given by the actor is most visible through their face and the mask shouldn't hide or restrict this. The mask sits on top of the actors head to ensure the lion element of the costume design is not lost. The costumes the actors wear are not "lion suits" and without the mask they do not distinctly represent a lion. They are most unlike the obvious animalistic costumes in the musical Cats. Instead the actors wear costumes that again represent the characteristics of their lion and feature traditional African print material and are decorated with beads.

Julie Taymor's costume design for the adult Simba.

The smaller characters in the show such as Timon the Meerkat and Zazu the Hornbill are represented using other methods. The Japanese style of Bunraku puppetry brings Timon to life with his puppeteer disguised as the grass. Zazu is also a puppet and sometimes flies on a wire and at times is hand-operated with his puppeteer disguised as the sky. The video below shows Crocker demonstrating how the puppet for Zazu operates.

Not only are the costumes loyal to the shows African routes - the script is too, with a lot of traditional African chanting in Zulu, Swahili and Sotho to name a few. Lebo M is the mastermind behind the sound of the Pride Lands. Rafiki, the shaman Baboon has perhaps the hardest job as seen here :

The show has a cast of 50, with a further 100 people working backstage to make a team of 150 involved with the show at any one performance. The cast is made up of people from 17 different countries. The show is touring the UK and Ireland as well as other productions of it currently touring the US, on Broadway and in Tokyo, Hamburg, Sapporo and Madrid.

Simba and Nala: Can You Feel The Love Tonight

The Lion King at the Birmingham Hippodrome is the reason why you should visit Birmingham throughout the summer of 2013. With 200,000 tickets now on sale for the run that spans June, July, August and September, this is the theatrical event that is definitely not to be missed.

You can book tickets for The Lion King at the Birmingham Hippodrome in 2013 here.

BLOOD BROTHERS (UK Tour) October 2012

Blood Brothers, the first ever show I saw in the West End returns to Birmingham again on a seemingly never-ending tour cycle. The current West End version of the show is due to close in just a few weeks time in November. Ending its run after 24 years at the Phoenix Theatre it begs the question of whether Blood Brothers has had it's day. The audience at the Birmingham Hippodrome last night received the show rather willingly and the home audience for Niki Evans in the role of Mrs Johnstone were a welcoming delight.

Niki Evans from the 2007 series of the X Factor only entered the competition after finding the application forms intended for her in her late father's belongings. Her heartfelt, emotional audition saw her through the early stages and flying into the live shows, finishing in the semi-final. It is exactly the type of pure emotion she expressed in song during her time on the X Factor that makes Niki the perfect casting for the iconic role of Mrs Johnstone - a role she first played in 2009 in the London production.

A mother of seven children at only 25, Mrs. Johnstone learns that she is expecting twins. Already unable to cope and through fear of having to foster away some of her children she finds herself pressured into giving away one of the twins to Mrs. Lyons (Tracy Spencer), a rich housewife unable to have children of her own. A superstitious prophecy is born that if ever the boys discover the truth that they shall both die. The two leading ladies are impressive and played the more dramatic moments with conviction which can be incredibly cheesy and cliché.

Blood Brothers has seen a fair share of famous faces during it's run, especially pop stars. The Nolan sisters are no strangers to the role of Mrs Johnstone and Spice Girl Mel C played a brief stint in London. Member of boy band Blue Anthony Costa has played Mickey in the past but for this tour, Marti Pellow the lead singer of Wet Wet Wet has joined the cast as the Narrator. I have always thought of the Narrator's part as unnecessary - a tough role to master. The Narrator awkwardly lurks around the stage, watching the action and interrupts scenes when they begin to get meaty. He acts almost as a conscience and is always there to warn. Marti Pellow is a stern and commanding narrator and evidently does his best. I'm not all together convinced however that his vocal style fits comfortably in the role.

Sean Jones and Jorden Bird are the ill-fated brothers, Mickey and Eddie. It always takes great skill for the actors to convincingly portray the brothers at various ages in their life. Both manage their characters expertly and are both humorous as youngsters. They capture the different ages with clarity and ensure echoes of their childhood mannerisms are reflected in their later performance as men. When we meet the boys for the first time they are dolls wrapped in blankets but at age seven we see them meet each other, make friends and discover they have the same birthday - the story follows them through to adulthood with a dramatic climax, seeing Mrs Lyons' prophecy come true. 

In all, this production of Blood Brothers is well worth the night out. It's funny, full of energy and then dramatically tense the story becomes more despairing. I'm not sure it is a tear-jerking as perhaps it once was but what it is, is full of heart.

The current tour plays at the Birmingham Hippodrome until Saturday 3rd November and you can book tickets here: http://birminghamhippodrome.com/whatson_focus.asp?showid=1736

SOME LIKE IT HIP-HOP (UK Tour) Interview with Producer Georgina Harper

We arrived at The Lowry, Salford Quays for the first night of Some Like It Hip-Hop on tour and met with the show's producer Georgina Harper who has been with the company ZooNation for six years.
She explained that this is the first time that the company have toured, and it's a perfect way to celebrate their 10th Anniversary. After forming in 2002, ZooNation are excited to take their work from their native London and share it with audiences nationwide.

Artistic Director and founder of ZooNation Kate Prince was totally inspired by the story and structure of Some Like It Hot - one of her favourite films. If you are familiar with the film you will be able to see that there are a lot of structural similarities and themes but it is not a straight adaptation. ZooNation's work is unique and Some Like It Hip-Hop is an original story with elements inspired by Some Like It Hot and Shakespeare's Twelfth Night. The American TV series Mad Men was of great influence on the style of the show.

Kate Prince, who was lead choreographer for the Beijing Olympic and Paralympic Handover ceremonies has choreographed for two seasons of So You Think You Can Dance and for the film Streetdance 3D. Working to bring backing singers and dancers to the forefront and be the stars in an entirely new show, in 2011 Kate turned to writing, directing and co-choreographing Some Like It Hip-Hop. The show premiered at Sadler's Wells in London 2011, before reviving there this autumn and then embarking on a UK tour.

As producer, Georgina Harper was able to comment on the varying age and backgrounds that make up the show's audiences that she gets to see entering the theatre every night. "Of course there are a lot of young, trendy hip-hoppers out there that are always present at our shows, but it's been great to see large family groups coming through the doors. We've had families of grandparents, their children and their children, three generations coming to see us - there's something for everyone." The show has a strong and positive female message and that is also reflective in the female creative team. Director Kate is strongly against misogynistic lyrics, homophobia, violence and materialism and focusses on the importance of education and the values of family and community - and that is right at the heart of the show. Some Like It Hip-Hop has the production value of any West End show and has managed that on a much tighter budget.

Manchester is a lucky city to host many of the leading UK tours either first or very early into the run, and The Lowry was a perfect venue to kick off the tour. The atmosphere was electric and by the time the finale had begun everyone was on their feet bopping along with cast.
The tour is relatively short, and doesn't stay at venues for more than three days so if you're lucky enough to have this show in your local city it really is a must-see. If every last seat isn't sold, it would be a crying shame. Some Like It Hip-Hop deserves to be seen by everyone - a show with so much talent, wit, stamina and fun.

View the trailer for Some Like It Hip-Hop: 

You can find out more about the tour here: http://slihh.zoonation.co.uk/page/tour-info

HAUNTING JULIA (UK Tour) October 2012

This is the first UK tour of Alan Ayckbourn's 1994 supernatural thriller - Haunting Julia. The Grand Theatre, Wolverhampton is known to have it's fair share of ghosts and although usually a warm and welcoming theatre, on this particular occasion it was somewhat chilly and tense.

Julia Lukin was a musical prodigy, who at the age of 19 took her own life and was found dead in her bedroom. The action begins twelve years later when her father purchases the house next door, knocks through the walls and makes a museum, a "Julia Lukin Centre". John Brooking's incredibly detailed set includes Julia's Bedroom with a gallery style walkway separated off by barrier ropes. Although seemingly spacious, when filled with three men and a presence it soon becomes all too claustrophobic.

Desperately searching for an answer to her death, Julia's father Joe (Duncan Preston) discovers Julia's laugh on some of the informative audio tapes that describe her life. He invites a psychic Ken Chase (Richard O'Callaghan) and Julia's unwilling former boyfriend Andy (Joe McFadden) to investigate.

I think the play is a deliberate slow-burner, nothing much happens to begin with but my mind was working overtime. I think what is scarier than "scary things" happening on stage are the eerie silences and fear of the unknown - this play is crammed with that. Although maybe cliché, there are plenty of unnerving rumblings and wind rustles too - I was petrified the whole way through.

Unease gathers in the auditorium and although this production has an interval (unlike the original which ran for 110 minutes straight-through) the tension remains, I was genuinely worried about what we were going to see in Act II. Richard O'Callaghan's creepy psychic has the audience gripped. His strange storytelling adds to the tension and has the audience in nervous laughter more than once. Duncan Preston expertly captures the strained and desperate father - who'll do anything for an answer. Joe McFadden keeps Andy quite secretive and defensive until he later reveals something key to Julia's story, he and his story become as captivating as the psychic.

The show leads to a dramatic climax, which has been building up throughout. Great timing, with Halloween just around the corner, this is the perfect night for those who like a mystery or enjoy a ghostly tale. I think this one really depends on your 'scare threshold' (mine is awfully low) - it's not so much visually scary as it is psychological.

The show runs at the Wolverhampton Grand Theatre until Saturday 20th October 2012. You can book tickets here: http://www.grandtheatre.info/WhatsOn_focus.asp?ShowId=631&sC=page10

SISTER ACT (UK Tour) October 2012

I first saw Sister Act on tour at the Wolverhampton Grand Theatre in February this year before I started my blog. Tonight, after seeing it at the Birmingham Hippodrome I really wanted to include it before the end of the tour - and this is it's last venue!

Whoopi Goldberg's uplifting stage musical has different songs to those in the film but keeps to the story and follows Deloris Van Cartier into hiding at a convent. Whilst there her passion for music turns the choir of nuns from awful singers into a fabulous, famous show-choir.

This is a new production of the West End show that opened at the London Palladium in 2009. This version features the adaptions made for the Broadway production when it transferred in 2011. I didn't see the London production but it seems anything that was wrong there has definitely been ironed out for the tour - it's hard to find a fault. 

After the open auditions to find a new Deloris last year Cynthia Erivo rose from the masses and became the new diva. She is fabulous in every way and captures the humour that Whoopi Goldberg brought to the film version in her own take on "Sister Mary Clarence". Denise Black is impressive as the unimpressed, witty Mother Superior - tonight however we were treated to Shirley Jameson understudying the role and she matched Black's efforts and delivered her own perfect character. Michael Starke is a fun addition to the cast as Monsignor O'Hara. 

Julie Atherton is the perfect casting for the small and meek Sister Mary Robert, who when taught how to sing properly can truly raise the roof. Laurie Scarth is incredibly funny in the role of Sister Mary Patrick, as is Jacqueline Clarke as the hip-hop rapping Sister Mary Lazarus. There are smiles all-round from Hannah Levane who shines in the ensemble and as Michelle. Gavin Cornwall, Daniel Stockton, Gavin Alex and Tyrone Huntley expertly take on the male leads.

It takes a lot to make me laugh out loud and during Sister Act I'm doing that quite often. Anything where Whoopi Goldberg is involved creatively is sure to be a hit - and this definitely is. The costumes and set are impressive and far from standard. We have giant stained glass windows, a towering glittering statue of the Virgin Mary and equally sparkly habits.

You are bound to get into the habit of singing the songs for a long while after, and this has definitely the touring show to beat all others. The atmosphere was like that of a concert - Birmingham audiences know how to applaud! Sister Act is now in it's final two weeks and plays only at the Birmingham Hippodrome. If you're not local MAKE THE JOURNEY to Birmingham and it'll be worth every effort.

You can book tickets for Sister Act at the Birmingham Hippodrome here: http://www.birminghamhippodrome.com/mediacentre.asp?videoID=306&showid=1735

JESUS CHRIST SUPERSTAR (UK Arena Tour) October 2012

Having read Lyn Gardner's one star review in The Guardian for this new arena tour of Andrew Lloyd Webber's rock musical I was a little worried that the performance of show would suffer with the ambitious new staging. I can honestly say I disagree entirely and Jesus Christ Superstar is a true phenomenon. I'm happy to defend the show entirely.

In this new adaptation, last years riots form the setting of the story. Just as rioting plans spread through social media, Jesus uses a similar tactic to spread his word.

ITV Superstar winner Ben Forster stars as Jesus, and proving every doubter wrong that indeed someone on the show was more than capable of being Jesus. I actually think that Superstar matched and exceeded a lot of the talent on any TV talent search before. Ben's Jesus is powerful and expertly sung. Gethsemane was most definitely a highlight of the show, with the stage action pausing immediately after to allow for a very lengthy applause. Tim Minchin is superb in the role of Judas Iscariot. Melanie C is a far cry from a Spice Girl here and is an impressive Mary Magdalene. Other stand-out performances come from musical theatre veteran Alexander Hanson as Pontius Pilate and Giovanni Spano as Simon is perfection in his rendition of 'Simon Zealotes'. Pete Gallagher as Caiaphas is a mighty bass. The ensemble, led by dance captain Russell Smith are energetic and exciting. Chris Moyles has a relatively easy job in comparison with his cameo as Herod which injects some fun and musical campness to the proceedings. 

Mark Fisher's set as first appears to be a simple set of stairs, but they soon transform, with a variety of functions. The cross is impressive, and bright enough to light the arena alone, it must be very hot for Jesus up there beside those bulbs! The show works well in an arena, and the sound fills the space easily. My only problem is that being sat at the back of the arena it was difficult at times to make out who was who. There was a large screen at the back of the stage that didn't always show the action, but instead a building or 'backdrop' to suggest a location. The intimacy you would get in a theatre is completely lost and the stage was just too far away. You could only truly focus on what the screens decided to show you, rather than what you wanted to see. 

Overall, the evening was enjoyable and the show holds it's own as a theatrical spectacle. JCS no doubt has paved the way for other theatre-based musicals making the transition to the arena, with the Ben Elton and Queen hit We Will Rock You embarking on a world arena tour in 2013. If there are tickets left for your hometown JCS is worth it for the experience alone. 

You can buy the DVD and BluRay of the arena tour here:

DVD: http://www.amazon.co.uk/Jesus-Christ-Superstar-Live-Arena/dp/B009DHOP4S/ref=sr_1_3?ie=UTF8&qid=1349432093&sr=8-3

BluRay: http://www.amazon.co.uk/Jesus-Christ-Superstar-Blu-ray-Region/dp/B009DHOZ5M/ref=sr_1_5?ie=UTF8&qid=1349432093&sr=8-5

Book tickets here:

http://www.jesuschristsuperstar.com/2012/05/16/jesus-christ-superstar-arena-tour-2/

BOUNCERS (UK Tour) October 2012

The Bouncers have finally arrived in Wolverhampton and are ready to face our nightlife. I saw the show in Bradford a little earlier in the tour and I'm going back for another session of hilarious antics with the boys... and girls.

Just as last week's The Rise And Fall Of Little Voice was directed by it's playwright Jim Cartwright, this current production of Bouncers is also directed by it's playwright - John Godber. Bouncers tells the story of three groups - four boys, four girls and four bouncers at the Asylum club. The cast of four, Don Gilet, Ace Bhatti, William Ilkley and Ian Reddington play all the parts. This is a new 'remixed' version of the original that brings the club right up to date with a mix of Cheryl Cole, Rhianna, The Wanted, David Guetta, Stooshe and Nicki Minaj.

The play begins rather dialogue heavy but the characters soon emerge from the text and their comic charisma takes over. Eastender's villain Ace Bhatti in particular makes a very convincing female! The stereotypical characters that everyone recognises are all there and we follow them from the salon that afternoon to the back alleys full of pitta bread and condoms in the early hours of the next morning.

Of course the play isn't all giggles - Ian Reddington as Lucky Eric provides a series of monologues played out throughout the night that strip away that "tough-guy" persona that bouncers have. There isn't much he hasn't seen in his years on the door and Ian Reddington is perfect in switching to a more subtle and reminiscent tone to reveal his fear for the safety of the young girls. All four of the lads are skilled in switching from one character to another and with only minimal use of props and no costume changes it is quite obvious who's on stage.

This is the first time that Bouncers has been performed on such a large scale. The play, written for smaller, intimate venues is more than capable of filling our bigger theatres. The set by Pip Leckenby is very spacious and simple and sits along the perimeter of the stage allowing the actors to fill the empty bit in the middle. Even though there are only four of them, at times the feeling that the space is crammed with other raving teenagers is quite evident. 

Even though this new remix has plenty of modern day references some of the script remains in the 70's and the lack of consistency is at times a little questionable. There's a laugh every 30 seconds (depending on your humour) timed on John Godber's watch. Honestly, I think that at times the humour is a little forced but when it's naturally funny it's hilarious and Bouncers does make an entertaining, enjoyable night out at the theatre. 

You can also read my blog post from when I met up with the Bouncers boys the Alhambra Theatre in Bradford here: http://scottbirdonline.blogspot.co.uk/2012/09/bouncers-uk-tour-banter-with-boys.html 

You can see the show at the Wolverhampton Grand Theatre until Saturday 6th October and tickets can be booked here: http://grandtheatre.info/WhatsOn_focus.asp?ShowId=626&sC=page10

£5 Standby offer for 16 - 25 year olds is available at the box office, 15 minutes prior to each performance depending on availability.