The next interview in our stagey chat series, is with the wonderful James Lawrence. James just finished his run in Doctor Who: Time Fracture. James is also about to open Riot Cabaret in London. His recent theatre credits include The Great Gatsby, One Man, Two Guvnors, The Tempest and Othello.

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

The next interview in our stagey chat series, is with the sensational Suzanne Ahmet. Suzanne is currently in the London production of The Haunting of Susan A. Suzanne's recent theatre credits include: Marvellous, Pride and Prejudice, The Merry Wives of Windsor and The Jungle Book.

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

The Phantom of the Opera
Rating: ★★★★★
Venue: Her Majesty's Theatre, London 
Cast: Killian Donnelly, Lucy St Louis, Rhys Whitfield, Saori Oda, Adam Linstead, Matt Harrop, Greg Castiglioni, Francesca Ellis and Ellie Young

Experience the thrill of the West End’s most haunting love story, starring double Olivier Award nominee Killian Donnelly as The Phantom, Lucy St. Louis as Christine Daaé and Rhys Whitfield as Raoul.

The Phantom of the Opera is widely considered one of the most beautiful and spectacular productions in history. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night, All I Ask of You, Wishing You Were Somehow Here Again, Masquerade and the iconic title song. 

Phantom is still one of the most iconic shows in the West End, even 35 years into its run. I only visited Phantom for the first time last year to celebrate the 35th Anniversary, and simply couldn't resist another visit. This time I booked a box in the stalls, and I'd highly recommend to any Phantom fan out there. The experience is like no other, and you're so close that you almost feel part of the show.

In the early 1900's, Phantom of the Opera was written by French author, Gaston Leroux. If you're unfamiliar with the story, it follows Christine Daaé who finds herself with a mysterious singing tutor. Her new teacher, just so happens to be the Phantom; a masked figure who lives beneath the Opera House. His obsession with Christine starts to spiral and Christine begins to fear for her safety. Surely having the voice of an angel isn't worth putting her life in danger for?

This musical has some of the most recognisable music in the world of theatre, and to see the songs performed on stage is nothing short of spectacular. It's without a doubt the reason this show has had the longevity it has, is down to the music. From soaring, romantic music, to haunting organ music; the soundtrack is stunning. It goes without saying that The Phantom of the Opera and Music of the Night are the standout performances within the show. That's simply the greatest fifteen minutes of theatre I've ever witnessed. The lighting, the staging, the props, the voices. Nothing can be faulted. 

Lucy St Louis plays Christine Daaé and her performance is entirely enchanting. Although the Phantom is supposed to be the ghost within the show, Lucy's performance is ethereal. Her voice is delicate, yet powerful. Her elegance and vulnerability shine throughout. And it's great to see Christine's character arc, and strength grow throughout the show.

Killian Donnelly as the Phantom is exceptional. His dominant and chilling exterior, along with his unexpected vulnerability is portrayed perfectly. Killian's voice is hypnotizing, and you understand why Christine is so drawn to Phantom in the first place. He is scarily good. 

Rhys Whitfield plays Christine's love interest, Raoul. His rendition of All I Ask of You alongside Lucy is rich and mesmerising. He's incredibly handsome, hopelessly romantic and his love for Christine is the one thing that remains constant throughout. 

The stage isn't particularly large, but they certainly make the best use of the space available. The Masquerade scene is elaborate and whimsical, just utterly spellbinding. And when you see Phantom in the gondolier for the first time, with Christine by his side; it's a truly magical moment of theatre.

A special mention must go to the costume designers. The beading and jewels on the many outfits are just incredible. And another mention must go to the orchestra who, for me, are the true stars of the show. The music is what carries this show, and there's something so special about hearing this music being played live.

If you're a theatre fan and are yet to see Phantom, I implore that you book tickets as soon as possible. It's a theatre experience you'll never forget. The entire cast are exceptionally talented, and you'll understand why the production continues its run after so many years. 

You can buy tickets to The Phantom of the Opera at Her Majesty's Theatre, here.

The next interview in our stagey chat series, is with the incredible Carl Man. Carl is currently in West End production of & Juliet. Carl recently finished his time at Wicked playing cover Fiyero, and is now playing 1st cover Romeo in West End smash hit, & Juliet.

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

Hi Carl, thanks so much for chatting to Stage to Page today! How are you? And would you mind  introducing yourself and telling us how you first got into acting?
Hello everyone, my name is Carl Man and I am an actor and singer, most recently in West End musicals. I actually first got into acting doing local am dram shows when I was a kid. 

When you were growing up, did you know that you always wanted to be on stage?
Absolutely. I never wanted to do anything else. My Grandma took to me to see Oliver! and from that  moment I knew I wanted to be like those kids on the stage. 

You've just finished your run in Wicked. Do you have a particular moment or memory that stands out from your time on the show?  
I have a couple; my first performance as Fiyero, I remember being really calm for the whole show and then as soon as the curtain came down I just cried. Also, the reopening after being closed for 18 months was insane! The energy from the audience was incredible! 

By the time this interview goes live, you'll have just started your run in & Juliet. How has it been  rehearsing for the show?
It’s been challenging as there is a lot of hip hop and commercial style dancing in this show which is  completely out of my comfort zone. I was nervous about it but the team have been amazing and really  helped me a lot. 

For those that don't know, you're now first cover Romeo! How does it feel to be taking on a role that's so well loved by the fans of & Juliet? 
I’m really excited! Especially for that epic entrance! Romeo is just ridiculous and a lot of fun. I’m excited to play around with it. 

How does preparing for a show like & Juliet, differ from preparation for a show like Wicked? They couldn't be more different if they tried! 
They are both completely different. & Juliet definitely requires a higher level of fitness as there is so much dancing. With Wicked you have to make sure your voice is in top form as there are a lot more vocals and harmonies. 

Regardless of gender and age, which stage role would you choose to play and why?
Hmm maybe Jenna in Waitress? I like the emotional journey she goes on. 

Do you have a go-to musical theatre audition song? I spoke to someone recently who said they prep a different song for every audition! 
I think as long as you have a one solid song that you feel comfortable singing for each type of show, for example a good pop rock song, a good legit song and a good contemporary MT song then you’ll be fine.  Recently I’ve been fortunate to be asked to only prepare songs from the show I am auditioning for. 

What do you enjoy doing when you're not doing theatre? 
I love spending time with my dog, going to the cinema and trying out new restaurants. 

My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why? 
I think all the best ones have probably been done already. I’ve recently done a few workshops for new musicals that had completely original stories, not based on anything like a book or a movie. I would love to see them make it from script page on to the West End stage.

And finally, why should people book tickets to & Juliet? I've seen it 7 times this year...and I have no doubt I'll be back very soon. 
The show has so much heart and is just a really good time! It’s so current and really clever and the  characters are so relatable. Also, if you were a kid of the 90s and early 2000s then you will love every single song!

Thank you so much for chatting to us Carl. You can catch Carl in & Juliet at The Shaftesbury Theatre, here. 

The Haunting of Susan A
Rating: ★★★★
Venue: King's Head Theatre, London
Cast: Suzanne Ahmet and Mark Ravenhill

Drawing on the traditions of a classic ghost story, Kings Head Theatre’s artistic director Mark Ravenhill prepares to share the story of London’s oldest pub theatre. But there are other stories and other memories hidden in the space. Echoes of a trauma from the past are pushing to manifest on stage.

Engrained within the fabric of North London’s creative culture for over 50 years, The Haunting of Susan A is a site responsive piece that invites you to become a part of local history. Gather round, let us share our story…

The King's Head Theatre has been around for just over 50 years, but yesterday was my first visit. The theatre itself is a small room in the back of a pub, which seats just over 100 people. The setting is perfect for a ghost story retelling. It's intimate, with just enough lighting to set the atmosphere of the piece.

Mark Ravenhill, who is also the writer of this play, is our narrator for the production. His passion for theatre shines through as he tells us the history of the theatre we're sitting in, and how it's changed over the years. He tells us that this room was once an illegal boxing ring where men would fight until one become unconscious, the room overflowing with the "dense smell of sweat, the tang of freshly spilled blood". 

While Mark is part way through our history lesson, an audience member interjects and tells us we need to know the truth about this place. And the reason why it's been haunted by a young woman for many years. She begins to tell us the story of how she landed her first acting role in this theatre. And how she eventually learned of the actress before her. The actress who swiftly took her own life once rehearsals had begun. The actress had said she had seen a ghost...

I think it's important to leave the plot at that, and let Susan (Suzanne Ahmet) tell you the rest of the story herself. Susan tells us how she became obsessed with this spirit, and finding out everything she could about her, no matter how dangerous it became.

Suzanne's storytelling is intense and captivating. She plays all of the characters within her story, and does so convincingly. With a range of accents and genders, the effortlessness with which she does is it impressive, to say the least. Ravenhill told me after the production that he had written the play to be performed by Suzanne, and with her talent, that was hardly surprising to hear. 

This ghost story is compelling and of course, you can expect a jump scare or two throughout the piece. If you're not comfortable with unexpected blackouts and sound effects, this may not be the show for you.

The scenes between Mark and Susan feel authentic, and as though the characters are just meeting for the first time. While the storyline itself wasn't quite as haunting as I would have liked (I am a horror junkie, after all!), it was gripping, and even left me feeling emotional at times. 

The theatre itself really is at the centre of this production, and it serves as the perfect celebration to London's oldest pub theatre. I would highly recommend seeing The Haunting of Susan A, if not for Suzanne's outstanding performance alone. It's an intense, and intimate 60 minutes of storytelling, which I thoroughly enjoyed.

The Haunting of Susan A is currently running at The King's Head Theatre until June 26th. You can book tickets here.

Immersive Gatsby
Rating: ★★★★
Venue: Gatsby's Mansion, Mayfair
Cast: James Lawrence, Elliot Liburd, Safeena Ladha, Alex Wingfield, Aimee Barrett, Steve McCourt, Jessica Hearn and Sophia Lewis 

Welcome back to the roaring twenties! Jay Gatsby invites you to one of his infamous parties. The champagne flows and as the drama unfolds the man himself will be the perfect host. As invites go, this is the hottest ticket in town. A hedonistic world of red hot rhythms, bootleg liquor and pure jazz age self-indulgence awaits. Dress to the nines and immerse yourself in this heart racing adaption of F Scott Fitzgerald’s seminal tale.

Immersive theatre is becoming increasingly popular, and after studying The Great Gatsby for my A-Levels over a decade ago, I was incredibly excited when I heard there was an immersive experience themed around the book. 

From the moment you enter the acclaimed, Gatsby's Mansion, it's as glamorous and extravagant as you'd imagine. I was surprised how many other guests had dressed up, like myself, and it definitely contributed to the atmosphere. If you book tickets to the show, I would highly recommend wearing something as glitz and glam as possible.

You're given a set of rules before you enter the main part of the mansion by Rosy Rosenthal, who was played by the wonderful Sophia Lewis, and then you're given permission to enter. Your 20's party officially begins. From Old Fashioned cocktails, to jazzy music and the most gorgeous outfits; I found myself transformed to that era almost immediately.

We're introduced to the cast gradually and the audience are given the chance to take to the dancefloor and learn the Charleston with the cast. Most of the audience chose to participate, but there was absolutely no pressure and it was a lot of fun, and really set the mood for the evening. 

If you're unfamiliar with the narrative, it focuses on the story of an elusive millionaire called Jay Gatsby. He had fallen in love in his youth with Daisy Buchanan, who is now married. He has his heart set on winning her back, no matter what it takes. Gatsby is throwing one of his extravagant parties, which is where we, the audience, find ourselves right in the heart of, in this immersive experience.

As someone who is very familiar with the story, I followed the storyline smoothly. However, throughout the two and a half hour show, you're split off into groups and enter different rooms. While this means that every time you visit the show you can experience something new, it also means that the story can feel a little disjointed if this is your first introduction to Gatsby. 

The smaller rooms you're taken off into as groups are perfectly themed, and intimate enough to make you feel as though you're really connecting with the characters, which is something I loved. Again, there was no pressure for any interaction with the cast, but it was welcomed if you were comfortable doing so.

You frequently meet back in the "nightclub" for major moments of the show, and there's some wonderful dance and vocal performances. My favourite being a touching dance number between Gatsby and Daisy. Their chemistry was undeniable, and they played the forbidden couple perfectly.

One thing's for sure, the cast is exemplary. There is no weak link and they all do such a fantastic job at including the audience in the storyline, and encouraging you to get involved. We were even able to help Daisy choose a dress for her tea with Gatsby, which was brilliant.

James Lawrence as Nick Carraway was the star of the show for me. He played the fumbling, nervous character of Nick incredibly well, and I felt myself compelled to follow whichever room he was headed to. The other standout performances for me were Safeena Ladha as Daisy, Jessica Hern as Jordan Baker and Aimee Barrett as Myrtle. What a group of sensationally cast women. Safeena and Aimee delivered heartfelt, moving performances. And Jessica was the life and soul of the party. 

The choreography is brilliant. The lighting and staging compliments the atmosphere, just as you'd hope. And it truly is a party to remember. One thing worth mentioning is that I have access needs, and when I arrived, there was no seating available. I was given a chair immediately, and the actors had then clearly been told of my needs because I was seamlessly given a seat in every room, which the actors intertwined within the story, which I thought was a lovely touch.

If you're looking for a fun night out and a reason to get dressed up, I'd highly recommend Immersive Gatsby. Whether you Charleston the night away, or enjoy from the shadows, there's something for everyone in this production. However, as this is an abridged version of the show - I'd perhaps do some research on the story before attending. Or book an extra visit or two to experience every room. Perhaps that's what I'll do...

Immersive Gatsby is currently running at Gatsby's Mansion in Mayfair. You can book tickets here.

The next interview in our stagey chat series, is with Phyllis Ho. Phyllis is about to star as Ariel/Boatswain in The Tempest, as part of the incredible Shakespeare in the Squares; which is returning for its fifth season on 15th June 2022.

Phyllis trained at the Royal Central School of Speech and Drama. Her theatre credits include The Mozart Question (The Barn Theatre, Cirencester), Life of Pi (Wyndham’s Theatre), Giraffes Can’t Dance (Curve, Leicester) and The Vagina Monologues (Ugly Duck).

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

Hi Phyllis, thanks so much for chatting to Stage to Page today! How are you? And would you mind introducing yourself and telling us how you first got into acting?
Thanks for having me! I'm an actor who's originally from HK, grew up in Vancouver and am now based in the UK. I started performing as a musician as a young child and performed in school plays etc. I started taking it more seriously in high school, but I have a very distinct memory of being around 5, turning from the TV and telling my mum I wanted to be an actor so it's always been a goal. My first role was as a sheep in the nativity!

Over the past few years, covid has had a devastating blow on the industry. How does it feel to be back after such an extended break? 

Like everyone else I'm so excited to get back in the rehearsal room! I was lucky enough to get a job as an understudy as my first job back which let me ease back into it without too much pressure. It's been great to not only perform again but also go out to the theatre and see all the great shows that are on around the city, big and small.

 

You're just about to open The Tempest as part of Shakespeare in the Squares. How are rehearsals going? Can you give us any insight into the production?

Rehearsals have been intense and really collaborative. We've got such a great cast where everyone is so supportive and creative and playful, not least our intrepid leader Sioned Jones who really gives us space to try things out and share as much of ourselves with the audience as we can. There's music, there's movement, there's amazing costumes and I think it's going to be a really fun show to watch.

 

For those people unfamiliar, can you tell us about Shakespeare in the Squares?

It really is a wonderful idea - and I'm so pleased to see it back for its 5th anniversary! Shakespeare in the Squares is a non profit touring company where the shows are performed in a different London square almost every show. Our performances are all outdoors and adapted to each space, so it really gives us a chance to reach more audiences in different areas of the city, as well as keeping us on our toes! It also really invites the audience to experience Shakespeare as something to be enjoyed, and not just intellectually appreciated or belonging in a stuffy theatre. 

 

How does it feel to be portraying such an iconic character in Ariel, from The Tempest?

I've always loved to see the juxtaposition between Ariel and Caliban within the play. I haven't really thought of Ariel from the iconic point of view, I think as an actor you need to take the character as it is and work from there. There are a lot of elements of the character of Ariel that are close to myself, but amplified, so it's been really freeing to explore ways of expression that the character affords because she is out of the human dimension. We also loved exploring the fact that even though Ariel is used to play tricks on Caliban, he also speaks of lovely music that calms him and makes him have good dreams, so I like to think that Ariel has a soft spot for him when Prospero isn't looking.

 

Regardless of gender and age, which stage role would you choose to play and why?

Oh gosh! Impossible question to answer. I would love to play a character like Elphaba but am not a singer so that performance will have to stay confined to my living room. (sorry neighbours) I just love musicals.

 

What are you most excited about for starting the run of The Tempest? And why should people book tickets to see the show?

We have so fully packed the show with fun details for the audience that I genuinely cannot wait to share it with our first crowd. This is a different Tempest full of light and joy and it will be absolutely unique to this company and to the square that you come to. No two shows will be the same and each one will be really special.

 

A more light-hearted Tempest inspired question - if you were shipwrecked, which three personal items would you try to save and why?

My violin provided it hasn't been soaked. Honestly can't think of any others. Is a husband considered a personal item? Or is it rude to drag him into my dire situation...

 

My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?

Not a light hearted choice but there is a book I read in uni that's always stuck with me called Ordinary Men. It documents how a unit of reserve policemen who were average middle aged men became a unit that killed tens of thousands of Jews in WWII. I think it's important to realise that it was not only fanatical evil men who committed atrocities but that under the right conditions any of us could have done the same. I also believe in the power of theatre and storytelling to help us learn about the human condition and help create a better world. While I love my comedies, theatre is a medium that can take a really heavy and tough topic and delve right into it, heart and guts and all. With everything going on in the world today, I feel like stories like this really need to be told.

Thank you so much for taking the time to chat to us. You can catch The Tempest, touring around London this summer, until 8th July. You can purchase tickets, here. 

The Music of Zimmer vs Williams
Rating: ★★★★
Venue: Royal Festival Hall, London
Cast: Anthony Inglis and the London Concert Orchestra

The Glass Menagerie
Rating: ★★★
Venue: Duke of York's Theatre, London
Cast: Amy Adams, Victor Alli, Lizzie Annis, Paul Hilton and Tom Glynn-Carney

Devastated by her husband’s abandonment, Amanda Wingfield (Amy Adams) obsesses over the futures of her restless son, Tom (Tom Glynn-Carney), and emotionally vulnerable daughter, Laura (Lizzie Annis). Years later, through the fractured prism of memory, Tom (Paul Hilton) reflects on the crushing pressures placed on his sister to secure a suitor (Victor Alli), and the betrayal inflicted by his pursuit of freedom.

Since Amy Adams was announced for The Glass Menagerie last year, London has been hotly anticipating her West End debut. While Amy Adams' performance was exceptional, as were the rest of the casts', I did leave the theatre feeling underwhelmed. It never felt like we fully got the chance to get our teeth into the characters and the story, and you left wanting more than you were given. 

The Glass Menagerie is set in 1930's America and is narrated by the son of Amanda Wingfield, years into the future. While the narrative is from the son's perspective, the focal point is on Laura, his sister. Laura is a disabled woman in her mid twenties, and her mother is desperate for her to find a "gentleman caller", as she so often puts it. Her brother is almost certain this will never happen, whereas her mother is filled with blind hope that she'll find a "gentleman caller" and make a home for herself.

The son, Tom, spends his days in the warehouse and his evenings drinking. Amanda begs Tom to invite a gentleman friend over from work for Laura, and when they meet, sparks fly and an old friendship is rekindled. The suitor, Jim, seems to fit right in with the Wingfield family over dinner. The perfect friend. The perfect son in law. The perfect husband? But is that enough?

Amy Adams plays the role of the smothering, overbearing mother exceptionally. I had seen complaints of her voice projection in this production. However, after being sat in the Royal Circle, I had no issues hearing any of the cast, including Amy. Her almost ditzy, naive take on being a housewife whose husband has just left, is portrayed brilliantly. You're very much under the impression that she believes a man in Laura's life will solve everything. If you've come to see the show to see Amy Adams' outstanding talent, you won't be disappointed.

The role of Laura, played by Lizzie Annis is nothing short of magnificent. And while I went to see the production for Amy Adams, I think the best acting was done by Lizzie. Laura has a physical ailment and Tom regularly calls his sister "a cripple"; which is as uncomfortable to watch, as you'd imagine. I was shocked to learn that The Glass Menagerie is Lizzie's West End debut. Lizzie has cerebral palsy, and as a disabled person myself, it meant so much to see that they cast a disabled actor in the role. It's something that has always angered me in theatre, so I'm pleased that it was done right.

Jim has a certain kind of magnetism and it was hard not to fall for his charm and on-the-surface kindness. Victor Alli plays an incredibly likeable Jim, and you truly understand why Laura falls so quickly for him too.

The juxtaposition between Tom and Laura was very apparent. Tom is almost never home, drinks frequently, is loud and almost boisterous. Whereas Laura rarely leaves the house and has this innocence about her, which is laced with shyness and kindness. It's an interesting dynamic to see the two conversing with one another.

While the cast is superb, the story fell a little flat for me; as there were too many changes from the original plot. There was too much kindness in the characters and not enough grit. However, I will be back for another viewing in the coming months, to see how it fares a second time. 

You can buy tickets to The Glass Menagerie at Duke of York's Theatre until 27th August, here.