Tony Nominations 2026

Posted on May 6, 2026 by garylongden

Tony Nominations

If you are reading this in New York the Tony awards nominations  have been announced .

The magnificent Giant, which originally opened at London’s Royal Court, is in the

running for best play. American star John Lithgow is in contention for his shattering

 portrayal of Roald Dahl, as is Aya Cash  for her performance as a publishing executive,

  Nicholas Hytner is nominated as director.

Meanwhile, that modest little British fable Two Strangers (Carry a Cake Across New

York) is up for eight awards, including best musical,

 Watch out foro the extraordinarily witty Schmigadoon!  And spoof Titanique

In further British success, Mark Strong and Lesley Manville are singled out for their roles

in Robert Icke’s modern-dress take on Oedipus (which receives seven nominations.

 And Andrew Lloyd Webber, will be pleased to see the reboot Cats: The Jellicle Ball listed

for best revival of a musical. (It’s up against Ragtime and The Rocky Horror Show.)

Nominations for the 2025-2026 Season

American Theatre Wing’s Tony Awards®

Presented by The Broadway League and the American Theatre Wing

Best Book of a Musical

The Lost Boys

David Hornsby and Chris Hoch

Schmigadoon!

Cinco Paul

Titaníque

Marla Mindelle, Constantine Rousouli and Tye Blue

Two Strangers (Carry a Cake Across New York)

Jim Barne and Kit Buchan

Best Original Score (Music and/or Lyrics) Written for the Theatre

Arthur Miller’s Death of a Salesman

Music: Caroline Shaw

August Wilson’s Joe Turner’s Come and Gone

Music: Steve Bargonetti

The Lost Boys

Music & Lyrics: The Rescues

Schmigadoon!

Music & Lyrics: Cinco Paul

Two Strangers (Carry a Cake Across New York)

Music & Lyrics: Jim Barne and Kit Buchan

Best Performance by an Actor in a Leading Role in a Play

Will Harrison, Punch

Nathan Lane, Arthur Miller’s Death of a Salesman

John Lithgow, Giant

Daniel Radcliffe, Every Brilliant Thing

Mark Strong, Oedipus

Best Performance by an Actress in a Leading Role in a Play

Rose Byrne, Fallen Angels

Carrie Coon, Bug

Susannah Flood, Liberation

Lesley Manville, Oedipus

Kelli O’Hara, Fallen Angels

Best Performance by an Actor in a Leading Role in a Musical

Nicholas Christopher, Chess

Luke Evans, Richard O’Brien’s The Rocky Horror Show

Joshua Henry, Ragtime

Sam Tutty, Two Strangers (Carry a Cake Across New York)

Brandon Uranowitz, Ragtime

Best Performance by an Actress in a Leading Role in a Musical

Sara Chase, Schmigadoon!

Stephanie Hsu, Richard O’Brien’s The Rocky Horror Show

Caissie Levy, Ragtime

Marla Mindelle, Titaníque

Christiani Pitts, Two Strangers (Carry a Cake Across New York)

Best Performance by an Actor in a Featured Role in a Play

Christopher Abbott, Arthur Miller’s Death of a Salesman

Danny Burstein, Marjorie Prime

Brandon J. Dirden, Waiting for Godot

Alden Ehrenreich, Becky Shaw

Ruben Santiago-Hudson, August Wilson’s Joe Turner’s Come and Gone

Richard Thomas, The Balusters

Best Performance by an Actress in a Featured Role in a Play

Betsy Aidem, Liberation

Marylouise Burke, The Balusters

Aya Cash, Giant

Laurie Metcalf, Arthur Miller’s Death of a Salesman

June Squibb, Marjorie Prime

Best Performance by an Actor in a Featured Role in a Musical

Ali Louis Bourzgui, The Lost Boys

André De Shields, Cats: The Jellicle Ball

Bryce Pinkham, Chess

Ben Levi Ross, Ragtime

Layton Williams, Titaníque

Best Performance by an Actress in a Featured Role in a Musical

Shoshana Bean, The Lost Boys

Hannah Cruz, Chess

Rachel Dratch, Richard O’Brien’s The Rocky Horror Show

Ana Gasteyer, Schmigadoon!

Nichelle Lewis, Ragtime

Best Scenic Design of a Play

Hildegard Bechtler, Oedipus

Takeshi Kata, Bug

Chloe Lamford, Arthur Miller’s Death of a Salesman

David Korins, Dog Day Afternoon

David Rockwell, Fallen Angels

Best Scenic Design of a Musical

dots, Richard O’Brien’s The Rocky Horror Show

Soutra Gilmour, Two Strangers (Carry a Cake Across New York)

Rachel Hauck, Cats: The Jellicle Ball

Dane Laffrey, The Lost Boys

Scott Pask, Schmigadoon!

Best Costume Design of a Play

Brenda Abbandandolo, Dog Day Afternoon

Qween Jean, Liberation

Jeff Mahshie, Fallen Angels

Emilio Sosa, The Balusters

Paul Tazewell, August Wilson’s Joe Turner’s Come and Gone

Best Costume Design of a Musical

Linda Cho, Ragtime

Linda Cho, Schmigadoon!

Qween Jean, Cats: The Jellicle Ball

Ryan Park, The Lost Boys

David I. Reynoso, Richard O’Brien’s The Rocky Horror Show

Best Lighting Design of a Play

Isabella Byrd, Dog Day Afternoon

Natasha Chivers, Oedipus

Stacey Derosier, August Wilson’s Joe Turner’s Come and Gone

Heather Gilbert, Bug

Heather Gilbert, The Fear of 13

Jack Knowles, Arthur Miller’s Death of a Salesman

Best Lighting Design of a Musical

Kevin Adams, Chess

Jane Cox, Richard O’Brien’s The Rocky Horror Show

Donald Holder, Schmigadoon!

Adam Honoré, Cats: The Jellicle Ball

Adam Honoré and Donald Holder (Lighting Design) and 59 Studio (Projection Design), Ragtime

Jen Schriever and Michael Arden, The Lost Boys

Best Sound Design of a Play

Justin Ellington, August Wilson’s Joe Turner’s Come and Gone

Tom Gibbons, Oedipus

Lee Kinney, The Fear of 13

Josh Schmidt, Bug

Mikaal Sulaiman, Arthur Miller’s Death of a Salesman

Best Sound Design of a Musical

Kai Harada, Cats: The Jellicle Ball

Kai Harada, Ragtime

Adam Fisher, The Lost Boys

Brian Ronan, Richard O’Brien’s The Rocky Horror Show

Walter Trarbach, Schmigadoon!

Best Direction of a Play

Nicholas Hytner, Giant

Robert Icke, Oedipus

Kenny Leon, The Balusters

Joe Mantello, Arthur Miller’s Death of a Salesman

Whitney White, Liberation

Best Direction of a Musical

Michael Arden, The Lost Boys

Lear deBessonet, Ragtime

Christopher Gattelli, Schmigadoon!

Tim Jackson, Two Strangers (Carry a Cake Across New York)

Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball

Best Choreography

Christopher Gattelli, Schmigadoon!

Ellenore Scott, Ragtime

Ani Taj, Richard O’Brien’s The Rocky Horror Show

Omari Wiles and Arturo Lyons, Cats: The Jellicle Ball

Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys

Best Orchestrations

Doug Besterman and Mike Morris, Schmigadoon!

Ethan Popp, Adrianne “AG” Gonzalez, Gabriel Mann, Kyler England, The Lost Boys

Lux Pyramid, Two Strangers (Carry a Cake Across New York)

Brian Usifer, Chess

Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball

Best Play

The Balusters

Author: David Lindsay-Abaire

Producers: Manhattan Theatre Club, Nicki Hunter, Chris Jennings

Giant

Author: Mark Rosenblatt

Producers: Brian & Dayna Lee, Stephanie Kramer & Nicole Kramer, Josh Fiedler & Robyn Goodman, Royal Court Theatre, Tilted, Federman Koenigsberg TS Perakos, Scott M Delman & Timothy C. Headington, Stephanie P. McClelland, Jessica R. Jenen & Linda B. Rubin, Tom Smedes & Peter Stern, Mark Rubinstein LTD, Pam Hurst-Della Pietra & Stephen Della Pietra, Ruth Hendel, Daryl Roth, Tom Tuft, Four Front Productions, A Golden Ticket Production, Willette Klausner & Tom D’Angora, Kuhnsabi Furman Furie, Alex Levy & Shari Redstone, Oddly Specific Productions, Rialto Productions, Winkler & Smalberg, The Shubert Organization, James L. Nederlander, John Gore Organization

Liberation

Author: Bess Wohl

Producers: Daryl Roth, Eva Price, Rachel Sussman, Jenny Gersten, Betsy Dollinger, FineWomen Productions, Craig Balsam/Broadway Women’s Fund, Jessica Goldman Foung/Rachel Styne, Michelle Noh/Todd B. Rubin, Gold Sky Productions, MHSSP Productions, Creative Partners Productions, Sheri Henriksen, Hopkins Haffner Wright, Pam Hurst-Della Pietra, Ellie Hurwitz, Willette Klausner, Hilary Ley Jager, Los Angeles Media Fund, Jonathan Littman, Isabelle Mann, Practical Mayhem, Jenna Segal, Tracy Semler, Marcy Syms, The Weisbrots, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave

Little Bear Ridge Road

Author: Samuel D. Hunter

Producers: Scott Rudin, Barry Diller

Best Musical

The Lost Boys

Producers: James Carpinello, Marcus Chait, Patrick Wilson, James L. Nederlander, At Rise Creative, Ayesha & Stephen Curry, Lauren Shuler Donner, Neil Patrick Harris, Douglas Sills, Slash, Kiefer Sutherland, Steve Young, Amy & Grady Burnett, Allison Bloom & Gabriel Mann, Hunter Arnold/Broadway Strategic Return Fund, Eastern Standard Time, DJD Productions/ZK Productions, Jay Marcus/Carl Moellenberg, Stark Sands, Jordan Silver/Kerri Mandelbaum, James Bolosh & Hillary Wyatt, Decca Broadway/Federal Films, Creative Partners Productions, Independent Presenters Network, The John Gore Organization, Stewart F. Lane/Bonnie Comley/Leah Lane, Greg & Lisa Love, MacPac Entertainment, Murray Entertainment, Inc., Oddly Specific Productions, The Shubert Organization, Toho Co Ltd., We R Broadway Artists Alliance, Stage Entertainment, Carrie & Joe Staley, W Thompson Family, Drew Elhamalawy/Kirsten & David Abdo, Brandon Blaser/Davis-Carroll, Crossroads Live/Marla McNally Phillips, Anthony & Maria Diaco/D’Angora Padgett Productions, Nancy Glass/Handler-Pawliuk Family, Grove Entertainment/KLIVE Entertainment, Howard-DePhillips/Jamie Stone O’Brien, Pam Hurst-Della Pietra & Stephen Della Pietra/ Polly & Ed Han, Willette Klausner/Waikit Lau, Knudsen-Weissberger Productions/April Dovey Productions, Nabatoff-Caise/Sean Nyberg, Andy Raab/Ratelle-Eliason, Orfeh/Braedon Young, David & Megan Scacco/Jason & Sarah Sobel, Jason Taylor/Michael Graf, An 11:11 Experience, Devin Keudell, Warner Bros. Theatre Ventures

Schmigadoon!

Producers: Lorne Michaels, No Guarantees Productions, Micah Frank, Caroline Maroney, Marylee Fairbanks, James L. Nederlander, SAMS Entertainment, Charles D. Urstadt, Bradford & Melissa Coolidge, Jeffrey Finn, John Gore Organization, Theatrical Rights Worldwide, Cinco Paul, Andrew Singer, Willette Klausner/Kolson-Prisand, Leah Bergoffen/Andrew Paradis, Wendy Bingham Cox/Jodi Oh, Jamie deRoy/TT Partners, Donnelly Harris/Roth-Manella Productions, Marc David Levine/Jack Sullivan, JMB Collective/Jillian Robbins, Broadway Video, Apple TV, Universal Theatrical Group

Titaníque

Producers: Eva Price, Diamond Dog Entertainment, Marla Mindelle, Constantine Rousouli, Tye Blue, OD Company/OD Universe & Co., MEP, James L. Nederlander, Tristan Schukraft, Joey Fatone & Joe Mulvihill, Matt Rogers, Bowen Yang, Deborah Cox & Melissa Haizlip, Patty Baker, James Berwind, Broadway MDs, Crossroads Live, Ken Davenport, Hungryman Entertainment, John Gore Organization, Perakos-Fellman Adventures, Rogers & Spiro, Monica Saunders-Weinberg, ShowTown Productions & Matthew Sycle, Tom Tuft, JC Chasez/Boucher & Grant, IPN/NSST Entertainment, Jelmoni & Lazar/Lauren Kennedy Brady, D’Angora Padgett Productions/Willette Klausner, Scott & Mark Hoying/Manhead Merch, Griffin Schultz/Donald Smith, FGSW Productions/Iris Smith

Two Strangers (Carry a Cake Across New York)

Producers: Kevin McCollum, Tim Johanson, Glass Half Full Productions, Jamie Wilson Productions, Evan McGill, Dennis Trunfio, Abrams Corr Riemer Productions, Marc David Levine & Stephen S. Miller, Laura Lonergan, James L. Nederlander, Michael Patrick & Paul Gavriani, Merrie L. Davis/Tony Spinosa & Barbara Gallay, Walport Productions, Agrawal & PBT/JKDNV Productions, Aleff & Nothing Ventured/Flatto Turchin, Pam & Stephen Della Pietra, Nicole Eisenberg/Willette & Manny Klausner, Liddell Shilaimon/John Voege, Cecilia Lin/Wanyue Jie, Kevin Shen/We Believe, The Transatlantic Alliance/IPN, Oki Wallace-Phoebe/Laurie Tisch & Greg Field, Clemmie Forfar, Oliver Mackwood, Victoria Weinberg, Lucas McMahon, The Kiln Theatre

Best Revival of a Play

Arthur Miller’s Death of a Salesman

Producers: Scott Rudin, Barry Diller, Roy Furman, Composite Capital Partners, Cue to Cue Productions, Thomas Tuft, John Gore Organization, Peter May, The Shubert Organization, Jane Bergère, Corey Brunish & Spencer Dress, Lynne & Marvin Garelick, Bruce Robert Harris & Sean Nyberg, Alex Levy & Shari Redstone, Lloyd Tichio Productions, William C. Martin, Scott H. Mauro, Jeffrey Schoenberg, Emerald Drive, Al Nocciolino

Becky Shaw

Author: Gina Gionfriddo

Producers: Second Stage Theater, Evan Cabnet, Adam Siegel, Creative Partners Productions

Every Brilliant Thing

Author: Duncan Macmillan with Jonny Donahoe

Producers: Second Half Productions, Seaview, Gavin Kalin Productions, Pam Hurst-Della Pietra & Stephen Della Pietra, Rodeo Productions and Tilted, Winkler & Smalberg, ZL Productions, Tom Tuft, Larry Lelli, Grace Street Creative, Salem Productions, Barbara Chiodo, Cohen-Gutterman Productions, The Array IX, Julie Boardman, Kate Cannova, Creative Partners Productions, JMB Collective, Mickey Liddell & Pete Shilaimon, Oren Michels, Carl Moellenberg, Origin Story Productions, Roth-Manella Productions, Echo Lake Entertainment, P3 Productions, Jamie deRoy, FineWomen Productions

Fallen Angels

Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel

Oedipus

Author: Robert Icke

Producers: Sonia Friedman Productions, Sue Wagner, John Johnson, Patrick Catullo, Jillian Robbins, Winkler & Smalberg, Stephanie P. McClelland, Alan Shorr, Tilted, Mickey Liddell & Pete Shilaimon, Jon B. Platt, John Gore Organization, Scott Abrams, No Guarantees, Adam Zell & Company, Christopher Ketner & Hunter Regian, Carl Moellenberg & Ricardo Hornos, Barbara Chiodo, Linda B. Rudin & PRLH Productions, The Shubert Organization, Nederlander Presentations, Willette & Manny Klausner, Charles & Charles, deRoy Adler, Garcia Haung, Kierstead & Laurence, Koenigsberg Federman Riley, Art Koski, Nick Padgett & Tom D’Angora, Carl & Jennifer Pasbjerg, Marj Press, John Voege, Richard Batchelder, William Berlind, Dodge Hall Productions, Craig Balsam & Bellanca Smigel Rutter, Goldfischer Sabi Turchin, Ordinary Magic & The Transatlantic Alliance, Ilona Rozwadowska & Max Cantor, The Araca Group, Jonathan Demar, Roundabout Theatre Company, Scott Ellis, Sydney Beers, Christopher Nave

Best Revival of a Musical

Cats: The Jellicle Ball

Producers: Michael Harrison, Mike Bosner, Lloyd Webber Harrison Musicals, Cynthia Erivo, Get Lifted, LaChanze, Jeremy Pope, Law Roach, Lena Waithe, Origin Story Productions, Miranda Gohh, George Strus, William Berlind, Timothy Bloom/Martinez Grimmett Productions/Drama Club Productions, Adam Kantor & Charly Jaffe, Alex Levy & Shari Redstone, Kevin Cahoon, AEG Presents/Jay Marciano, D’Angora Padgett Productions/Open Horizon, Gavin Kalin Productions, Jake Hine, Nederlander Presentations, Scott Mauro Entertainment/Leachman Feigelson Productions, Lindsay Holmes, Sean Nyberg, MeoWZ Productions, Nelson & Tao, TFLO Theatricals, artEquity Acton, Bob Boyett, Chimney Town, Cloth Fair Productions, Crooked Letter, DJD Productions, DudaMarcus, EK Productions, Lian Bloch Gill, Grace Street Creative, Lisa Hane, Harris Lanedo Productions, Hill Steinfast, John Gore Organization, Key to the City Productions, Willette Klausner, KLive Entertainment, L+E+N+Z Entertainment, LBH Productions, Christina Liceaga, LTJOF Productions, Lucky Tea Productions, Gates McCaffrey, Mount Caperton Productions, Mumby Foung, Mark Musico, Debbie Ohanian, Ryan R. Ratelle, Adam Riemer, Second Set, The Shubert Organization, The Brians, The Theater Offensive, Theatre Producers of Color, Andy Jones, The Perelman Performing Arts Center/PAC NYC

Ragtime

Producers: Lincoln Center Theater, Lear deBessonet, Mike Schleifer, Bartlett Sher, Nicole Kastrinos, Naomi Grabel, Maria Manuela Goyanes, Tom Kirdahy, Kevin Ryan, Robert Greenblatt, Lamar Richardson, Thomas M. Neff, Roy and Jill Furman, Stephanie P. McClelland, Michael Page, Acton Rothschild Productions/Willette and Manny Klausner, Alexander-Taylor Deignan/Jay and Mary Sullivan, D’Angora Padgett Productions/Janet and Marvin Rosen, Maggio Lane/Rubin Bolosh, Peter May/Coluzzi Cohen

Richard O’Brien’s The Rocky Horror Show

Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Rebecca Habel, Trafalgar Entertainment, The Dodgers

Tony Nominations by Production

The Lost Boys – 12

Schmigadoon! – 12

Ragtime – 11

Arthur Miller’s Death of a Salesman – 9

Cats: The Jellicle Ball – 9

Richard O’Brien’s The Rocky Horror Show – 9

Two Strangers (Carry a Cake Across New York) – 8

Oedipus – 7

August Wilson’s Joe Turner’s Come and Gone – 5

The Balusters – 5

Chess – 5

Fallen Angels – 5

Liberation – 5

Bug – 4

Giant – 4

Titaníque – 4

Dog Day Afternoon – 3

Becky Shaw – 2

Every Brilliant Thing – 2

The Fear of 13 – 2

Marjorie Prime – 2

Little Bear Ridge Road – 1

Punch – 1

Waiting for Godot – 1

http://www.TonyAwards.com

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Disenchanted! – Lichfield Garrick Theatre 29/4/26

Posted on April 30, 2026 by garylongden

*****

( all photos Pamela Raith photography)

In a remarkable coup for the Garrick  this is the Uk professional premiere of the off Broadway hit musical Disenchanted.

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The 2022 Disenchanted film  was an American  Walt Disney live-action/animated musical fantasy comedy film  and the  sequel to the 2007 film Enchanted set in a fairytale castle.

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An imagined sequel, this is a musical fairy tale that bites back. There are no simpering helpless hopeless damsels in distress here- and the princes are nowhere to be seen

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Imagine the Spice girls meet the cast of “Six” with Girl Power to the fore, the  excellent three piece on- stage band are women too.  All of the lazy princess tropes are forgotten. Cinderella has burst out of the kitchen and sleeping beauty is wide awake. As for Rapunzel, well you wouldn’t want to cross her.

Rapunzel making sure you are paying attention.

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Each character tells their own story with a powerful original musical score including the Little Mermaid, Pocahontas ,the Princess Who Kissed the Frog  and a comic  Teutonic Rapunzel who steals the show.

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The show combines, panto, pop concert, cabaret, with stand up comedy  but crucially has heart and inspiringly declares that it’s never  too late to re-write our own endings.

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 It boasts two secret weapons. In a brand new show, inevitably the audience is adjusting to the format. Just before the interval any adjustment time is sidelined by the arrival of Jewelle Hutchinson as the princess who kissed a frog.

Jewelle Hutchinson dazzles with her costume and voice.

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With a voice so powerful the rest of Lichfield must have suffered an electricity shortage she blasted the show into the interval with great vocals and personal presence, the lift she provided to the show and audience was palpable. In the second half Eliza Bowden seizes the limelight as Rapunzel with Germanic zeal and efficiency. Make sure you have done your bit in the audience for the call and response  sections – as she doesn’t tolerate any slackers.

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Dennis Giacino and Fiely  Matias are responsible for the Book, Music and Lyrics which skip along briskly for a show that does not outstay its welcome at just under two hours including interval and is very funny. The copyright gags are amusing and droll. . The set design is utilitarian, the costuming lavish, no princess is going to tolerate skimping on the dress budget.

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The audience was predominantly a traditional mature one. However I sneaked in a nine and ten year old ( the advisory is fourteen) and they loved it. The brief profanity was nothing they had not heard in the playground that day. The empowerment message resonated strongly with them and it may be that the producers might want to find a way to reach out to that audience in the future.

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Disenchanted runs until Saturday 2nd May before heading for the Edinburgh festival. Director Daniel Buckroyd has done a superb job with the show which I suspect will be critically acclaimed north of the border. Outstanding, refreshing entertainment which deserved its prolonged standing ovation leaving us all definitely Enchanted.

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Barnum- Birmingham Hippodrome, 24/4/26

Posted on April 26, 2026 by garylongden

***

The story is that of Phineas Taylor Barnum (1810-91) who ‘humbugged’ his way through life, written by Mark Bramble, Michael Stewart and Cy Coleman.

It premiered on Broadway in 1980, where it starred Jim Dale as Barnum, it came to the London Palladium the following year with Michael Crawford who estblished himself, and the show, as box office gold.

In the current revival, Lee Mead takes the titular role. He has enjoyed a distinguished career in musical theatre after winning the television talent show Any Dream Will Do. He went on to enjoy a short lived marriage with Denise Van Outen- how much luck does any man need?

The show is predicated on spectacle that is delivered in spades. It is a visual extravaganza with the circus sequences expertly expounded , the costuming a cornucopia of colour and styles designed by Lee Newby. Mead inevitably dominates but is ably accompanied by. Monique Young is believable as Barnum’s wife, Charity. Penny Ashmore, as opera singer Jenny Lind with whom Barnum falls in love, is convincing as a Swede and vocalist. Fergus Rattigan entertains as Tom Thumb.

Dominique Planter, as Joice Heth, the ‘oldest woman in the world’ and one of Barnum’s first “humbugs”, sings brilliantly channelling her inner Ella Fitzgerald. the music is played by the ensemble on stage playing over 150 musical instruments during the course of the show, including mass Kazoo in effort, the Sousaphone for “Come Follow The Band” at the start of Act Two, and the harp beautifully played by Jenny Lind/Penny Ashmore.

Oti Mabuse’s choreography is busy and omnipresent, Lee Newby’s multilevel circus-themed set is copiously utilised and Jai Morjaria’s lighting is dazzling. The circus element is assisted by by Zippo’s Circus and the National Centre for Circus Art.

But for me the show was style over substance. After the initial visual impact the first half at almost an hour and a quarter dragged , ghe shorter fifty minute second half was much stronger. Considering that there were thrre writers, the narrative was poor, lacking pace, drama and conviction. The American backdrop was out of touch with the prevailing anti American zeitgeist. As a child I was lucky enough to see the Barnum and Bailey three ring circus in America, that childhood awe is now long since tarnished. I would not see it again. These days a mass standing ovation is almost de rigeur for shows, on Friday night it was limited to polite applause.

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The Rocky Horror show- Wolverhampton Grand Theatre, 14/4/26

Posted on April 26, 2026 by garylongden

****

This was my fifth visit to the show, but my second in four days having previously seen it at the Leicester Curve, a modern theatre. Wolverhampton grand is a traditional theatre- and Grand! Richard O’Brien‘s audacious musical The Rocky Horror Show has had a cult following since it first opened in London in 1973. It lovingly parodies B-movie horror and science fiction clichés. An all-American couple are forced to seek refuge at a mysterious castle after a flat tyre sees them stranded on a stormy night. What they discover there will change them forever in what is essentially an adult pantomime

As Roxy the Usherette appears in front of the curtain, we are transported back to 1950s America. Laura Bird sings ‘Science Fiction’ perfectly, recalling those iconic but trashy films and setting the scene as the curtain draws back to reveal Brad and Janet driving home from a wedding. 

Rocky Horror is as much about the audience as the performance and Wolverhampton were up for it in wall to wall wigs and stockings Then, when the cast sings the iconic ‘Time Warp’ about 20 minutes in, much of the audience stands up and joins infor an ensemble Rocky love in.

The ‘horror’ starts when Brad and Janet arrive at Dr Frank-N-Furter’s castle and a large gothic front door comes forward. Riff Raff opens the door ‘What’s your favourite Lionel Richie number?’ shouts someone from the audience. ‘Hello’ says Riff Raff to Brad and Janet.

Jackie Clune is a withering Narrator, although the apparent ad libs were expose by the wholesale repetition of her lines from leicester a few days before. But she nonetheless was superb in the role,

The set is B-movie tackiness. Wall decorations in the hallway revolve to become over-the-top laboratory equipment and a huge strip of cinema film maintains the theme. The entrance of Frank‑N‑Furter sees the audience in ecstatics and Stephen Webb plays him with full gusto wearing a leather basque, fishnet stockings and a mischievous grin.

The mad scientist’s creation, Rocky, is played by Morgan Jackson who has the perfect physicality for the role and delivers seemingly effortless acrobatic dancing. His impressive entrance is on a revolving full-size Vitruvian man prop, lit with neon.

The show replicated the one in Leicester minus the Saturday night buzz, but “Im going home” by Frank really landed tonight. Another great show

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Rocky Horror Show- The Curve, Leicester, 11/4/26

Posted on April 26, 2026 by garylongden

****

This was my fourth visit over the years to The Rocky Horror Show and my first to the Curve at Leicester for the final night of the week long run at the venue. over half of the audience were dressed for the occasion . On my left Sandra was all gold lame, to my right fish net clad Victoria a construction firm employee was pleased to swap her work boots for stiletto heels and feather boa

Over fifty years on from its debut performance the formula endures ; a catchy rock soundtrack, audience participation and cult appeal. not only do the audience know the libretto, they also know all the ad libs too, updating them where appropriate. The former prince Andrew is not spared.

Unusally the show opens with arguably its best song.Laura Bird is exquisitely sexy and alluring as she welcomes the audience with the opening number ‘Science Fiction: Double Feature’ with superb vocals and, legs and are then introduced to Brad (James Bisp) and Janet (Haley Flaherty) the wholesome all-American couple who are in for a very dark night indeed. 

Central to the show’s success is the Narrator played with consummate ease and a twinkle, by Mandy and Motherland actor Jackie Clune.

Clune is magnificent handling the audience call and response with ease, and dealing with new heckles with caustic aplomb.

The role of Riff Raff, is lessened in this production, made most famous by the author and originator of the part, i Ryan Carter-Wilson is functional with Magenta (Laura Bird after a quick change) and the tragic but delightful Columbia (Daisy Steere) dutifully at his side.

Frank ‘n’ Furter , played by Stephen Webb sashays and strolls like a perverted peacock, enjoying every minute of his lurid role.

The band , led by musical director Adam Smith, as part of a five strong team offered stirring support from the gallery. A cracking show and experience which was lapped up by the Saturday night crowd.

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David Bowie and fame

Posted on April 26, 2026 by garylongden
David Bowie performs at Deutschlandhalle, Berlin, on 16 May 1978 as part of his Isolar II world tour. Image: ARTCO-Berlin/ullstein bild via Getty Images

Bowie and fame

The short answer is “we don’t know.”

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His most explicit pean to fame, the eponymous song, is pretty unattractive lyrically, but driven by an hypnotic Alomar backbeat.  Created at a time when he was drenched in drink and drugs, the plight of millionaire rock stars in their limousines, plush hotels, with  fast women and men,  didn’t bother me. David always had his luxury home in Switzerland when it all became too much and the cocoon of  a first class cunard suite to travel there.

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Bowie successfully, and ruthlessly pursued fame leaving those that aided and abetted his journey by the wayside. Unquestionably  Tony DeFries was architect in chief, his Mainman offices in London, New York and Tokyo providing the launch pads to success, Angie, Ronno and Alomar being  jettisoned  like expended booster rockets when required.

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David understood contemporary celebrity  as well as anyone. What is astonishing is his celebrity in so many different fields. David the songwriter ( Space oddity, Life on Mars, The Man  Who sold the World, Dudes), David the Popstar (  Ziggy), David the Media darling ( the Panorama interview), David the lady Diana look alike ( live Aid/ Serious Moonlight era) , David the  Film Star ( The Man Who fell to earth et al), David the Childrens’ hero ( Laughing Gnome, Peter and the Wolf, Labyrinth), David the Theatre stage star ( Elephant Man), David the Messiah to the masses  ( Live Aid, Serious Moonlight Tour, Glastonbury2) David alternative Music hero ( Low and Heroes), David Saviour of failing careers ( Mott the Hoople, Lulu, Iggy Pop). It is an astonishing list, I could go on…

Intellectually David was a grasshopper moving from place to place, a cultural magpie, picking up ideas, using them, then trying something else. His flirtation with fascism was disastrous, he almost starred in an aborted  Camerson Crowe film about the Spanish Civil war as an anti fascist, but the Low heroes earthquake very effectively erased memories of the past.

Almost as remarkable as David’s success with fame was his ability  to dodge it. He spent 18 months with Cameron Crowe in LA, providing him with a biographical manuscript and no-one knew. His three years in  Berlin are  largely a mystery with three women who featured in it, RSC actor Clare Shenstone, transsexual performer and legendary nightclub owner Romy Haag and former journalist Sarah-Rena Hine – all of whom knew Bowie intimately, remarkably coy. Did David save Iggy? Did Iggy save David? Or did a Berlin awash with heroin consume them? No videos, a handful of photos.

Fame? What’s your name?

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Sunny Afteroon- Regent theatre, Stoke on trent

Posted on April 12, 2026 by garylongden

*****
This was the third time I had seen the show on this tour, and the fourth overall. It continues to grow on me.

For a detailed review search for the Nottingham Theatre and Alex theatre, Birmingham shows.

What stood out this time was quality of Ray Davies song writing and the coherence of the song choice. The end is a little forced and rushed but after two hours all good things must end.

The Friday night finale of “Lola” was electrifying, energising the entire theatre. before that “I go to sleep” was sublime. The entire cast gave it their all for the closing mash up of tunes- of course we needed “You really Got Me” one more time.

Unusually for a jukebox musical there is a story, and it is well told, and well acted. Continues on nationwide tour

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Richard Ashcroft- Birmingham Arena

Posted on April 5, 2026 by garylongden

As the Rock era draws to a close, heroes are thinner on the ground. Unusually, Ashcroft has had two bites at the cherry, first as an Indy icon with the Verve, then after a period in the wilderness ,and a career pivoting stint supporting Oasis as a solo superstar. Stadiums and festivals are unforgiving places, intolerant of those that are merely filling in time before the main event. Ashcroft triumphed. Tonight I saw why.

Saturday night for a bank holiday weekend in Birmingham England’s second city and a 16000 sell out. No wonder as he came on he made his way to the front of the stage and took a minute to savour the atmosphere and occasion before blitzing the evening.

One thing he can never be accused of is modesty. Billed as Richard Ashcroft, not the Richard Ashcroft band, his initials are emblazoned in lights as the backdrop. He doesn’t introduce or name check his backing singers, the five piece string section, or band. This is him- and he pulls it off. No snazzy stage, no glitzy costumes. Just shades, jeans and t shirt and hoody for him.

What he did have was a killer set of songs, many stretched out, all improved for live performance. “Music is power” and “Break the night with Colour” became ten minute opuses. Two hours of compelling genius. “Hold on” was Springsteenesque in its call to arms cry.

Yes he does love the “all along the watchtower” chord changes ( weeping willow and others), and the lyrical nod to Reach out ill be There in Cmon people is shameless. But he gladly name checked Joan Armatrading for Lover and William Blake for the imperious History.

Wrexham’s the Royston Club held their own as the opening act with a sharp thirty minutes

Nailed on to headline the next Glastonbury.

  1. Weeping Willow
  2. Space and Time
  3. Music Is Power
  4. A Song for the Lovers
  5. Break the Night With Colour
  6. Velvet Morning
  7. Hold On
  8. Lover
  9. The Drugs Don’t Work
  10. Lucky Man
  11. Encore:
  12. C’mon People
  13. Sonnet
  14. History
  15. Bitter Sweet Symphony
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Macbeth- Derby theatre

Posted on April 3, 2026 by garylongden

*****

The East Midlands has been treated to Shakespeare’s greatest hits just recently. A few weeks  ago the RSC brought Hamlet to  Nottingham. Now Derby theatre in conjunction with Hull Truck Theatre , and Octagon Theatre Bolton, offer us Macbeth

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The Tragedy of Macbeth is thought to have been first performed in 1606  and dramatizes the physically violent and damaging psychological effects of political ambition and power. It is Shakespeare’s shortest tragedy written during the reign of King James I, and  contains the most allusions to James, patron of Shakespeare’s acting company. In the era of the predominance of Donald Trump this cautionary tale of the dangers of power could not be more prescient.

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If you don’t know the plot, where have you been for the last four hundred and twenty years?

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The set is spartan, industrial  and austere. Grey  flagstones are   speckled with weeds against a  backdrop  of doorways and an iron staircase illuminated by  eerie lamplight. This is no luxury castle. Is it a bunker? Is it a barracks? Is it a prison? Is it an underground carpark? It is brutal, and unforgiving- just like the play. There are lots of doors, some dead ends, some exits, some entrances, just like the choices facing the play’s characters. The multiple multi level doors and doorways create a sense that whatever route or door is taken, the fate of the characters is sealed. Hell is murky

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 Costuming  and weaponry is modern as is the overall tenor of proceedings. Rachel Canning does a skilful job with her set and costume design to underscore that. Rarely do I namecheck fight directors. With the suitably exotically named Haruka KurodaI , I make an exception. The closing showdown is terrific, visceral, muscular and tense, enormously aided by the physical presence of  Oliver Alvin Wilson in the titular role. The ensuing bloodbath makes Quentin Tarantino look tame.

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The main protagonists are Macbeth (Oliver Alvin-Wilson) and his conniving wife, Lady Macbeth,  played by Derby theatre favourite Jo Mousley.  

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Not only does Alvin Wilson have an imposing physique, he also has the ability to roll hubris, ambition and  vulnerability into a compelling performance. That performance is hugely  energised by Jo Mousley who smoulders as Lady Macbeth.

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In the 1970’s Helen Mirren gave a career defining performance as a gangster’s moll in the film;  “The Long Good Friday”. Mousley’s performance is a raven haired spin on that. Sexy, sassy,  and assured, she brings 21st Century Girl Power to a 17th century creation. Yet still she also  convinces in her white nightgown , disintegrating  amidst the wreckage of her plotting, centre stage. It is a wonderfully executed scene.

Director, Mark Babych, has managed to update this tragedy without losing its essence, aided and abetted by an unusually strong ensemble cast- the witches themselves chilling and thrilling. It lasts a taut two hours and thirty minutes including interval and runs until Saturday 18th April

Gary Longden

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Priscilla Queen of the Desert- Birmingham Hippodrome

Posted on March 30, 2026 by garylongden

Priscilla Queen of the desert- Birmingham Hippodrome

****

Old sparkling favourite  Priscilla Queen Of The Desert returns to the Birmingham Hippodrome stage with a dazzling, brand new 30th anniversary tour production.

An unseasonably cold, drab Tuesday evening in Birmingham , metamorphosed into the warmth and colour of the Australian desert drag and transgendered scene, as Priscilla rolled into town as part of a triumphant  nationwide tour.

The premise of the show, that a group of drag queens take  a tour bus – the eponymous Priscilla, into the Australian outback to perform a show is inauspicious. The realisation of it is a delight, aided and abetted by the  cast alchemy of this stage production . Its origins lie in the   1994 film, by Stephan Elliott and Allan Scott,  The Adventures of Priscilla, Queen of the Desert, but the musical did not debut until 2006. Legend has it that show Producer Scott could  sing the scores of some three dozen musicals. That knowledge , grasp and touch for musical theatre is much in evidence here.

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Musically, the songs are culled from the club Hi- energy  scene of the eighties. Richard Atkinson, musical director, and Ben Harrison, sound design, have  done a fine job  both with song choice and with the arrangements using a live band, orchestrations by Richard Weeden .

The evening is jam packed with 80’s dance favourites    including; Hot Stuff, It’s Raining Men, I Will Survive, Girls Just Wanna Have Fun, Finally, and Shake your grove thang- which the audience did enthusiastically until the end.it is also very funny.

The songs are supported by the  stunning choreography courtesy of  Matt Cole. Vicky Gill produces a visual cornucopia of costuming. Ian Talbot as Director delivers a compelling entity with vim and vigour. The ensemble singing is at once beautiful and stirring featuring delightful harmonies packing punch whilst knowing when to provide space in the music.

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The Drag queen triumvirate of  Tick,  ( Kevin Clifton),  Bernadette (Adele Anderson) and Felicia (Nick Hayes) are perfectly cast combining pathos and joy with equal aplomb. Adversity  always gives way to  triumph, as the ladies overcome prejudice and preconception by dint of their personalities, music and resilience.

The most compelling performance comes from Adele Anderson  as Bernadette, whose ageing   female persona is alluring, tragic but life affirming. Understated in a way his two lead performing companions, Tick and Felicia are not, she anchors the show from drifting off into plain Burlesque.

Nick  Hayes has the fun, flouncy part as the irritating Felicia, with the camp button always turned to the maximum. It is only when he is fully dressed, and sings “Hot Stuff” that his natural talent emerges, giving the song, which is often routine, an edge and poignancy rarely apparent in the renditions of other singers.

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Special mention should be made of Billie Hardy, who plays Ticks’ wife, Marion . In the face of overwhelming competition for the skirts, heels and stockings in the wardrobe, she still stands out with sharp dance moves and a figure the boys would die for.

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The show carries a torch for all members of society who may feel marginalised for whatever reason, hence its success.

In a troubled world, this life affirming show and message strikes a timely chord with its feel good vibe and irascible humour- runs until  Sat 28th and continues on nationwide tour.

Star of the show is boy band heartthrob Duncan James, from Blue, who plays Tick, a drag queen who wants to travel to Alice Springs to see his wife and young son aboard a rickety old coach christened Priscilla. James carries the role with ease, and on “I Say a Little Prayer For You” and “Always on my Mind” sings with power and conviction, a trait demonstrated by the entire, substantial cast.

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Production values are glitzy and opulent, with the focus on costuming and the bus. The choreography, originally by the late Ross Coleman, and now in the hands of Andrew Hallsworth is snappy and crisp, with an eye for the panorama of the stage, including the airborne divas!

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It is pretty much impossible to watch this show without clapping your hands, tapping your feet, and singing along to the club classic score. The energy injected into this opening night from a large talented cast was impressive, as were the smiles and standing ovation at the end from the audience. The show runs till Saturday 7th May and continues on nationwide tour.

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