PRISCILLA QUEEN OF THE DESERT (UK Tour) Review March 2013

Priscilla Queen Of The Desert is the film turned musical and story of three Australian drag queens who travel across the Australian Outback from Sydney to Alice Springs on a tour bus named Priscilla. Tick (or Mitzi), Bernadette and Adam (Felicia) enlist the help of mechanic Bob en route to help their battered bus survive the journey.

Australian actor Jason Donovan who originated the role of Tick/Mitzi in the West End production is only touring with the show in the earlier venues (with Hearsay's Noel Sullivan taking over later) but Donovan has pre-arranged days off from the production, two of which are in Birmingham. At this performance to the delight of the local crowd - Birmingham boy Wayne Fitzsimmons steps into his shoes... heels of course. First making headlines in the 2010/11 pantomime Dick Whittington at the Birmingham Hippodrome Fitzsimmons took over the role of Queen Rat from Hollywood actress Joan Collins when she was taken ill with flu.

With ease he wins over the crowd, mastering MacArthur Park which with four large green cupcake dancers is one of the highlights of the show. There is a sweet connection between Fitzsimmons and Coventry schoolboy Oscar Francisco who plays Tick's son Benji that warms the heart. Richard Grieve adds sophistication to proceedings as post-op transexual Bernadette. No stranger to the show Grieve played the role of Tick in the West End production and having seen him in both roles this is where he shines most brightly. The third of the trio is Graham Weaver (Save The Last Dance For Me) as Felicia. Understudy to Oliver Thornton in the London production Weaver is more than experienced in the role. The youngest and more carefree of the girls, Weaver has fun from start to finish, hotting things up with Venus and Hot Stuff - mincing around in hot pants and leathers his serious talent is shown in the Kylie medley bringing the house to rapturous applause with a powerful Confide In Me. 

Also worthy of such applause are the incredible divas. Emma Kingston, Ellie Leah and Laura Mansell descend from the sky (at least now they do, unlike Birmingham opening night) and belt the dance floor classics. Regan Shepherd hilariously goes full out as Farrah with monstrous eyelashes and is a convincing and most glamorous Young Bernadette. Alan Hunter wins early attention as Miss Understanding and Frances Mayli McCann works the crowd as mail order bride Cynthia in Pop Muzik popping ping-pong balls. 

A new addition for the tour was a ticker tape screen that was there throughout the show and told us where each scene was taking place, such as "BOB'S KITCHEN". Unnecessary I thought, it seemed a little like they were suggesting we couldn't work it out for ourselves.

The limitations of touring often work to the shows disadvantage and unfortunately the West End production of the show was always too ambitious for the road. The bus which was a star in it's own right of the London show is replaced by majority a framework with video screens for windows. It works, and for those who hadn't seen the London production it was probably rather exciting, but it's hard not to compare and this was a little underwhelming. Timing issues with sound effects and the various roadkill lost the impact of one of the shows funniest visual gags. The famous "shoe" was replaced with what looked like a life guards chair and again lost the impact that the London show had by which it came out on a platform above the audience. Follow-spot operators on makeshift platforms balancing on seats at the back of the circle were clunking around which was distracting, far worse than sweet wrapper crinkling. There were noisy set changes behind curtains that could clearly be heard over dialogue. The running of the show just isn't as slick as the near perfect London production. 

In no way though does any of this stop Priscilla Queen Of The Desert from being the flamboyant, fun and feel-good night out. The talented cast could no doubt pull off the show without any scenery and it still be a hit. Well worth a visit when the bus stays for a pit-stop in your town. Venues and tickets here.

CATS (UK Tour) Cats Make Up - Becoming Coricopat with Richard Astbury

Coricopat is the male of the twins in the musical Cats. He shares very similar make-up and costume to the female - Tantomile. Throughout the show as the psychic cats Coricopat and Tantomile are always the first to hear and react to everything and when they do they move in perfect sync. Not only do they have a difficult job on stage but their make up is one of the most complicated too...

The show goes up at 7:30pm each night and I joined Richard Astbury in his dressing room a whole three hours before the show to begin make up at 4:30pm!

Richard begins applying the first base, an Oriental paint stick, which looks rather like a dodgy fake tan. Sponging it everywhere but his mouth area which he then fills in white. Coricopat's wig is quite high and the costume neck quite low so Richard has the most to paint including his ears and down to the bottom of his neck. After each different section or colour, powder is applied and brushed in to keep the colours dry and stop them smudging. During the show this also helps the make-up in its battle against sweat. 

The first detailed part are the eyes and Richard begins with the black detail. It takes extreme concentration, particularly to match the left side with the right. In the very beginning Make Up Supervisor Maria Cave provided each member of the cast with the original designs, she would paint one half of their face and they would have to copy it on the other side. Each member of the cast has to do their own make up and some of them, including Richard are understudies for other cats and have to learn their make up too! Richard covers for Rum Tum Tugger, Macavity and Skimbleshanks. 

Once the black flecks above the eye are done, white and brown is then added in, flicking it upwards. Richard's eye design differs very slightly to the original design, the flecks are slightly bigger so that it matches Tantomile's (who has a smaller forehead) and the eye make up meets the wig which sits quite high. Even at this far into the process after half an hour, there is still no one else in make up. There's no else even around yet, apart from Barry... making a cup of tea. He's a swing, he covers the older male Cats and wasn't on that night. 

Next are whiskers, and luckily these aren't symmetrical. First they're painted on white and later black is added to accentuate them. The first black paint added to the mouth area is to create a nose, painting the underside around the nostrils, a black line down the the philtrum and then out across the lips. At this point it's important to put the powder on immediately to stop the black upper lip and white lower lip from merging and becoming grey when you close your mouth. 

Once the black detail around the whiskers has been finished it's time to head into the wig department. Richard's wig cap is fitted by the deputy wigs mistress Jess Bishop. All of the cast come here to get their wigs and to have them fitted but first Richard has to take his back to the dressing room for the next stage of the make-up. The colours in Coricopat's wig are the same as the make up, but have to line up on the face so the fusion between hair and paint isn't obvious from the stage. 

The neck is painted black, all down the sides, into the hairline and completely covers the back of the neck. Flecks of black extend from the back of the neck into the orange colour at the front. Other flecks of white and brown are added too. 

After 90 minutes it's time for physical and vocal warm up. For the cast who have all now begun their transformations there is still a lot to do afterwards. The wig room is very busy after warm up, microphones are fed through the wig caps and fixed into place at the top of the head. For Richard, once his wig is secured there are a final bits of make up to touch up on before costume. The amount of powder required dulls the colours of the make up and so this is the time to make it all stand out again by going over the bits that have faded. 

As Mister Mistoffelees would say - "PRESTO!" the make up is complete. It's now only 15 minutes until showtime, and Richard is ready for costume. Shoes, tails and accessories are kept together in individual boxes for each character, after collecting these and putting them together with the catsuit itself.... we have Coricopat!

You can watch a time-lapse of Richard's lengthy transformation in under 3 minutes... If only it really took that long!

Richard is one of a 28 strong cast for the UK/Europe Tour of Cats so his lengthy transformation is actually only a very small part of the overall daily preparation for the show. Here is a little glimpse at what else goes on behind the scenes at Cats! (As with all of the pictures, click on them to view them larger)

Joanna Ampil who plays Grizabella first appears on stage for the opening as a kitten, her make up looks like this until she later adds the tears and wrinkles required for the ex-Glamour Cat Grizabella. (Production photography by Alessandro Pinna). 

Cameron Ball plays Admetus at the beginning of the show (left) but transforms mid show into Macavity (right) which requires some alterations. 

Will Lucas begins his make up for Bill Bailey and James Darch uses a close up mirror to add the finishing touches to Alonzo. 

The wigs on one of the tables include Skimbleshanks, Old Deuteronomy, Munkustrap and Gus (left), Lily Frazer's Demeter wig and Dawn Williams' Jemima sit on the top shelf (right) and the costumes are all stored together and brought up to the dressing rooms to put them on. 

There are some extra backstage pictures taken during the get in for the show on the Wolverhampton Grand Theatre's blog which you can read here. 

Cats continues in Wolverhampton until Saturday 30th March and tours the UK and Europe for 14 months through into 2014 - more details of the tour can be found on the official website. 

Review | CATS (UK Tour) March 2013

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to the Heaviside Layer and be reborn into a whole new Jellicle life....

That's about it, as far as the story goes, but Cats is so much more than that. On entering the theatre you're entering a dump - a giant playground for cats. The atmosphere is set before a single note is sung, before a cat is even seen. An abandoned car, larger than life-size tyres, boxes of Shreddies, Ritz biscuits, paper plates, cans of Pepsi litter the auditorium and strings of fairy lights hang from the boxes and around the circles, it's magical, yet rubbish.

I think you're either a cat person, or a dog person... I have a dog (ssshhh!), a sausage dog, so he's cat sized but I've never really been a fan of actual cats. But from the moment the glorious orchestra boom out the overture these creatures are somewhat strangely welcoming. Inquisitive, cute and playful at first Jellicle Songs For Jellicle Cats is the purrrfect opening, captivating the audience in every way. It's hard to pinpoint a particular element for being greater than another. Vocals, choreography, costume and fiendishly difficult make-up combine to present the stories of these practical, dramatical, pragmatical, fanatical, oratorical, delphioracle cats. 

Ben Palmer (Munkustrap)

Munkustrap acts as the narrator of the story and played by Ben Palmer (42nd Street) we get a solid and strong grey tabby who impresses throughout, particularly in his telling of Old Deuteronomy. Also leading the males is Oliver Savile (Les Misérables) as The Rum Tum Tugger, a curious cat - milking it for all it's worth, this cat revels in strutting around and gaining everyone's attention which Savile certainly achieves, riffing his way powerfully through the final choruses of Mister Mistoffelees and impressive vocal range is evident. Mister Mistoffelees, the conjuring cat has perhaps the most beautiful costume - sparkling and shimmering as he dances around, Joseph Poulton's exciting facial expressions and strength in ballet ensures all eyes are on him. Cameron Ball makes a ferocious Macavity. Nicholas Pound is majestic and in fine voice as Old Deuteronomy. 

Joseph Poulton (Mister Misoffelees) and Oliver Savile (Rum Tum Tugger)

Melissa James attracts attention as Bombalurina - incredibly sassy and impresses with Lily Frazer as Demeter in Macavity. Two other impressive duos are Barnaby Thompson (Legally Blonde) and Katie Warsop as Mungojerrie and Rumpleteazer in their song, and in dance Richard Astbury and Lizzi Franklin as Coricopat and Tantomile. Ross Finnie is a delight as Skimbleshanks the railway cat, the scene in which the cats build the train from rubbish is genius. 

Cats is very much an ensemble show and as boring as it may be to list names, I cannot go without out mentioning an individual that make up this fantastic company which includes Alicia Beck, Jessica Buckby, Matthew Caputo, Collette Coleman, James Darch, Barry Haywood, Will Lucas, Paul F Monaghan, Joel Morris, Ian Parsons, Alice Redmond, Clare Rickard, Freya Rowley, Francesca Whiffin and Dawn Williams. 

Richard Astbury and Lizzi Franklin

Memory is perhaps one of the most famous songs in Musical Theatre history and comes with a lot of pressure for a singer to follow in the pawsteps of Elaine Paige. So how do you manage to succeed in wowing thousands of people each night? You cast Joanna Ampil as Grizabella. I don't think there has ever been a time in which I have seen anyone sing with as much emotion, and keeping in such beautiful voice. A true star, who deserves to be remembered in this iconic role as famously as Paige. Incredible. 

Joanna Ampil (Grizabella)

Cats plays at the Wolverhampton Grand Theatre, the first English venue of the current tour for two weeks until Saturday 30th March 2013. Completely unmissable, get tickets HERE NOW. 

Review | THE PHANTOM OF THE OPERA (UK Tour) March 2013

A year after opening in Plymouth, Cameron Mackintosh's new touring production of The Phantom Of The Opera has finally opened in Birmingham. Press Night was a most memorably celebrated event as the last venue of the tour and that Cameron Mackintosh appeared at a gala evening hosted by the theatre. The celebrations in Birmingham ran simultaneously with the 11,000th performance of the show at Her Majesty's Theatre in London.

I'm not unfamiliar with The Phantom Of The Opera but last night was the first time I had actually seen the show on stage and perhaps this worked in my favour as regular 'phans' were quick to compare with "the brilliant original". This is a complete re-staging of the London production and with some members of the original creative team sadly no longer with us, fresh eyes have re-imagined Andrew Lloyd Webber's masterpiece.

Sitting directly underneath lot 666, the chandelier of the Paris Opera House as it illuminates during the chilling overture is just one of those theatrical moments you don't forget. The staging and Paul Brown's set is of magnificent proportions. From the beautifully detailed backcloths and opulence of a gold proscenium the set revolves to reveal dark and dirty backstage corridors and a crumbling fly-floor. There are floating candles above a stairway of planks down to the Phantom's lair seeming to appear magically out of the wall as he and Christine descend.

The scene that I've heard does suffer from the confines of touring (and this production does well to eradicate any touring limits) is the Masquerade ballroom. Grand in its use of gold statues and mirrors, there is no staircase as in Maria Björnson's original and for the Phantom's interruption a plainer alternative to the skull mask. But not having seen the original I could fully appreciate it's beauty. The effects are second to none, not only does the Phantom's ability to produce fireballs from the floor heat things up but the spectacular finale to Act I sees the fate of the chandelier explode in spectacular fashion. The grandeur of the design combined with Paule Constable's lighting and Mick Potter's beautiful yet haunting sound ensures that you don't get better touring productions than this - it's far superior.

Angela M Caeser is impeccably trained and impresses as Carlotta - also providing the comedic moments which is welcome relief from the warnings of Buquet (Lee Ormsby) and the cold, draconian Madame Giry (Elizabeth Marsh). Simon Bailey is Raoul and presents a solid character, mastering the vocals and providing Christine with a desirable lover. Katie Hall is the beautiful soprano and her Christine is reminiscent of Sierra Boggess at the world-renowned 25th Anniversary performance. At her most passionate and endearing in 'Wishing You Were Somehow Here Again'. Hall's duets with Bailey emanate a beautiful romance but with the Phantom vocals are tested chillingly to the extreme. Earl Carpenter first took over the role of the Phantom full time in the London production in 2005 - giving over 1000 performances. This experience is most evident in his expert portrayal. Caring and passionate, frightening and desperate - every phase of this Phantom's struggle leaves your heart aching.

Cameron Mackintosh

The Birmingham Hippodrome is the final venue of the UK Tour before plans of moving to America. This new production of the Phantom Of The Opera can only be seen until 4th May 2013. Book tickets here. 

Promotional Tour Trailer:

THE CHUCKLE BROTHERS MEET THE PHANTOM (UK Tour) Interview with JimmyPatton

Paul and Barry, the Chuckle Brothers are everyone's favourite slapstick duo who have been entertaining (and creating all sorts of mischief) for decades. Every year they tour a brand new production all over the UK from February right through until the end of the summer. Always joining them on the road are their elder brothers The Patton Brothers - Jimmy and Brian.

Jimmy, "No Slacking...!"

Jimmy, or,  Mr "No Slacking" took some time out of rehearsals to explain this year's mad-cap plot.

We've got a run-down theatre which the bailiffs are trying to close down and make into a huge car park. I play the theatre manager who wants to put on a big show to attract the audiences back. It is revealed that the theatre is haunted and there is a phantom helping the council to close it down. I advertise for help in the local paper and the fun begins when Paul and Barry apply for the job. 

Jimmy's stage career has seen him perform with some of the biggest stars and at some of the biggest theatres. The highlight of my career was doing a 19-week season at the London Palladium with my brother Brian. That was in Cinderella which starred Ronnie Corbett, Clodagh Rogers, Terry Scott, Malcolm Roberts, David Kossoff, Julian Orchards and us - The Patton Brothers. Another highlight was a 12-week season at the Victoria Palace Theatre in London, where Billy Elliot is now. We did Mother Goose at the Victoria Palace and that stared John Inman, Arthur Lowe, Ian Lavender, Susan Maughan and Dawson Chance. 

Mother Goose 1981 - London Palladium

In 1961/2 Brian and I were doing Aladdin for Derek Salberg at the Alexandra Theatre in Birmingham. We were playing the Chinese Policemen in the pantomime that starred Edmund Hockridge, Mikki & Griff and Joe Church. We got a phone-call from the TV Producer Francis Essex asking if we would appear on Sunday Night at the Palladium, live on TV! What an experience that was - top of the bill was Tommy Steele!

The success of the Aladdin pantomime in Birmingham saw it transfer to the Wolverhampton Grand Theatre the year after.

Aladdin - Wolverhampton Grand Theatre

We always play the Wolverhampton Grand Theatre every year on tour, and it really is a lovely theatre to work. They are such a great audience to play to! The show is always a real family show and there are plenty of gags thrown in for the grown-ups as well as the kids - so bring the family!

You can book tickets to The Chuckle Brothers Meet The Phantom At The Theatre at the Wolverhampton Grand Theatre (what a mouthful!) for Monday 8th April 2013 here.

PERFORM / MOVE IT SHOW (Olympia London) March 2013

Perform and Move It are the ultimate performing arts events packed with performances, workshops, seminars, interviews and stalls for the biggest names in dance, drama and theatre. Over three days the event welcomes over 20,000 visitors from the world of creative and performing arts. 

One of Move It's hotspots is the Dance Register Interview Sofa with host Annaliese Dayes (America's Next Top Model). Tommy Franzén (So You Think You Can Dance) spoke to Inside Dance TV about his career, time in the Rodin Project and his past and future involvement in ZooNation's Some Like It Hip Hop. Also the D.inc. Wear campaign models (Aaron Renfree, Erin Dusek, Danielle Peazer, Dominique Tipper and Anthony Kaye) showcased the hottest dance-wear from Mrs Jones. 

The Showcase Theatre, hosted by Dean McCullough was alive with performances from the leading dance schools, colleges and academies - a great place to meet the principles, current students and if you're about to audition it's a great opportunity to watch and choose the school that's right for you. 

The Main Stage, hosted by Matt Flint was the centre of attention quite regularly throughout the day. Kimberly Wyatt premiered Tea For Two (starring Adam Garcia) and performed her latest single Derriere. Jonathan Wilkes sang Mr. Bojangles promoting his new school Wilkes Academy in Swindon. There were also performances from Twist & Pulse and recent Got To Dance contemporary-jazz sensation G-Nome. 

The Main Stage was also the place for dance colleges to showcase their work to thousands of dancers, choreographers, directors and enthusiasts. Highlights included Let There Be Love by Urdang Academy, Masters Performing Arts College's Commercial routine Until They Kick Us Out and Performers College Luck Be A Lady.

URDANG ACADEMY

MASTERS PERFORMING ARTS COLLEGE

Over in the Perform hall (which was a lot quieter) an interview with actor/writer/director Steven Berkoff was most interesting. Berkoff who has most recently been working on Actors Lament began with how he as an out-of-work actor began writing to rid his lack of self-worth.
"I wrote for my own entertainment in the frustration of not working and to earn some self-regard. When you're a dancer, even if you're unemployed you can still be 'working' by taking dance classes every day to perfect your craft - you're not just sat around... it's different for actors, you can't always do that. Actors I urge to learn text. Take great and significant texts like Shakespeare, for grittiness learn Macbeth... learn it all and by doing that you'll strengthen your acting mind." 

Berkoff who was taught mime by Jacques Lecoq went on to explain how theatre today has lost its sense of ensemble: "Lecoq taught us to think outside ourselves and outside of our egos. He taught us ensemble and how to utilise gesture and the body and it should absolutely be mandatory for directors to do a course in Lecoq. They know nothing about the body and so they create a fantastical dead theatre. People like Julie Taymor are a great example of those who have benefited from Lecoq, look at The Lion King - it utilises every element of the body - and my work has always been about that."

The amateur rights for Broadway musical Avenue Q were released this week and Rupert Sharp explained that demand for the show has seen Josef Weinberger Ltd. inundated with requests. They offer the Libretto, piano conductor scores, logo packs, video animations as well as the hire of 11 rehearsal puppets and 15 performance puppets all made with the same appearance as the puppets in the professional productions. More information here.

In attendance at Perform/Move It were a group of young Midlands students and theatre-goers. For them, the trip was organised by the

Wolverhampton Grand Theatre 

Get-In! Youth Scheme

Get-In! is open to all 9 - 18 year olds and for just £10 a year offers a range of fantastic benefits for those interested in performing arts. The offers include £5 best available stand-by tickets for shows at the Wolverhampton Grand Theatre, backstage tours, Glee Choir, summer schools with West End stars and theatre experts, workshops, London theatre trips and opportunities to visit events such as Perform/Move It.

Grace Gull was a Get-In! member for five years and since January has been an active member of the team behind the organisation and planning of education events for the Wolverhampton Grand Theatre. She was a supervisor for the Get-In! members at Perform/Move It and reflects on the trips success:

Perform/Move It was a great event that allows the creative industry, music, dance and drama, to come together and showcase talents whilst giving advice to the future generation of performers. The Get-In! members throughly enjoyed the day and got some great advice from industry professionals. The members attended a range of workshops from a conversation with Steven Berkoff, direction movement with the RSC and musical theatre to name a few. The Get-In! members had a brilliant day and gained from the advice that the top class drama schools could give them.

Download a Get-In! application form here.

CADFAEL - THE VIRGIN IN THE ICE (UK Tour) Review March 2013

Middle Ground Theatre Company celebrate their 25th birthday this year and in celebration offer a brand new work - a stage adaptation of Ellis Peters' popular Medieval murder mystery novels Cadfael.

(Gareth Thomas)

BAFTA nominated Gareth Thomas (Blake's 7) takes on the iconic role of the Welsh Benedictine Monk - Brother Cadfael and presents us with a believable hero as he battles through harsh blizzards to uncover the mystery behind the girl frozen under ice. 

In Shropshire, November 1139 the tide of civil war has swept over the city of Worcester and washed away many of its inhabitants, livestock, property and women. Those who could escape scurry for their lives northwards away from marauders to wherever there is a priory, walled town or castle strong enough for shelter. Among them, an orphaned boy and his sister accompanied by a nun - the ill fated Sister Hilaria. Cadfael spends the entirety of the lengthy play exploring Shropshire on horseback to piece the mystery together.

With no production shots as of yet, the images used above and below are from a location shoot that provided the play with video projection when scenes were more difficult to play out live. This perhaps confirms that The Virgin In The Ice is better suited as a novel and to screen rather than stage. Scenes ended rather abruptly and action switched instantly to somewhere else - providing there wasn't a set change. Hooded monks quite often wheeled trees on and off the stage (yes, trees on wheels) and a large wooden fort, although impressive in size required monks to hold back the curtains of the wings whilst it was tediously and noisily clamped into position. 

The sets however were beautiful, designed by Michael Lunney (who also adapted and directed) and with a whole team of scenic artists it is clear that every effort had gone into the authenticity of the scenery and backdrops as well as the snow machines which worked well. The bespoke footwear and armoury is again an example of the creative team's dedicated effort. There are still a few teething problems with the show (currently in it's first week) such as sound effects that were left to run on into the next track playing over dialogue which was completely missed. 

(George Telfer)

There were strong performances from of course Gareth Thomas (Brother Cadfael) - also George Telfer (Brother Eelyas), Paul Hassall (Hugh Beringer) and Daniel Murray (Yves Hugonin). Other performances may have perhaps been stronger had they not have been required to perform a slow motion sword fight which was less dramatic, more comical. 

It's an interesting story, and given the circumstances of the play, I think it's hard to do better. With a few tweaks to the pace and perhaps a little more attention to the stage combat Cadfael - The Virgin In The Ice could be a solid piece of drama. 

The world premiere performances continue at the Wolverhampton Grand Theatre until Saturday 9th March. Tickets can be booked here. 

Promotional Trailer:

GHOST THE MUSICAL (UK Tour) Cast Announcement

GHOST THE MUSICAL ANNOUNCES UK TOUR CAST

Yesterday rehearsals for the 2013 UK Tour of Ghost The Musical began in London and sparked the announcement of the brand new cast.

When Ghost opened in Manchester and subsequently transferred to London, Coronation Street heartthrob Richard Fleeshman (Sam) and Caissie Levy (Molly) received high praise and took the show to Broadway. Sharon D. Clarke (Oda Mae Brown) stayed with the production until it closed in London in October 2012.

For the 2013 UK Tour, Stewart Clarke (Loserville) will be stepping into the role of Sam Wheat, made famous in the film by Patrick Swayze. Molly Jensen will be played by Rebecca Trehearn who understudied the role in London at the Piccadilly Theatre and the coincidently named Wendy Mae Brown (Porgy And Bess) will be the phoney psychic Oda Mae Brown.

David Roberts will play Carl and Stevie Hutchinson joins as the Subway Ghost. Oda Mae's Sisters will be played by Karlene Wray (Clara) and Keisha Atwell (Louise). Reprising his role from the London production Ivan De Freitas will be Willie Lopez.

Ensemble members include Michael Cortez, Bradley Jaden, Luke Wilson, Gregor Stewart, Nick Hayes, Maeve Byrne, Amy West, Kimmy Edwards, Gabriela Garcia and Amy Webb.

Swings are Livvy Evans, Michael Stewart, Robert Knight and Jaye Juliette Elster.

Also revealed is that the set has been redesigned since the Manchester/London production and the tour will feature brand new illusions.

Ghost The Musical makes its Midlands premiere at the Wolverhampton Grand Theatre in June.

CLICK TO BOOK HERE

WICKED (UK Tour) Birmingham Hippodrome 2014 Announcement

WICKED FLIES INTO BIRMINGHAM

Wicked has already been seen by over 36 million people around the world and has 6 productions running concurrently. Having just extended the London booking period until April 2014 this will see the show into it's 8th year at the Apollo Victoria Theatre. The hugely successful Broadway musical is about to embark on a UK/Ireland tour which today announced a summer residency at the Birmingham Hippodrome in 2014. 

Wicked is the story of Elphaba (The Wicked Witch of the West) and her unlikely friendship with Glinda (The Good Witch) based on Gregory Maguire's retelling of the Wizard of Oz through the eyes of the 'wicked' witch. Was Dorothy such an innocent little girl?

The Birmingham Hippodrome's summer smash hits have included We Will Rock You (2011), Dirty Dancing (2012) and The Lion King (2013) all playing lengthy runs throughout the summer. Wicked will run for 9 weeks in Birmingham from Wednesday 9th July until Saturday 6th September 2014. Casting is yet to be announced.

Priority booking for Friends of the Hippodrome opens on Tuesday 28th May 2013 and general ticket sales from 10am Monday 10th June 2013 (online) and phone/box office sales from 10am on Tuesday 11th June 2013.

www.wickedtour.co.uk