Tag Archives: Gabby Antrobus

NEWS: Cast announcement for Chicago tour

David Ian in association with Barry and Fran Weissler have announced that West End and TV star Darren Day will play ‘Billy Flynn’ in the forthcoming UK and Ireland tour of the international musical sensation CHICAGO opening at the King’s Theatre, Glasgow on Saturday 11 September 2021. Darren joins the previously announced Faye Brookes as ‘Roxie Hart’, Sinitta as ‘Mama Morton’, Divina De Campo as ‘Mary Sunshine’, Djalenga Scott as ‘Velma Kelly’ and Joel Montague as ‘Amos Hart’.

The cast will also include Ishmail Aaron, Michelle Andrews, Gabby Antrobus, Delycia Belgrave, Joel Benjamin, Tanisha-Mae Brown, Daniel Clift, Callum Fitzgerald, Emily Goodenough, Billie Hardy, Aaron Jenkins, Liam Marcellino, Theo Reece, Hollie Jane Stephens and Harrison Wilde.

Darren Day’s many West End credits include the title role in Joseph and his Amazing Technicolor Dreamcoat at the London Palladium, Tony Parker in Copacabana at the Prince of Wales Theatre, and Danny Zuko in Grease at the Cambridge Theatre. His UK touring theatre credits include the leading roles of Kashoggi in We Will Rock You, Frank n Furter in The Rocky Horror Show, Tick in Priscilla Queen of the Desert The Musical and Don in Summer Holiday. Darren’s numerous TV credits include Danny Houston in Hollyoaks, David Wilde in Doctors and Will Morgan in Stella. He was a contestant on the very first series of I’m A Celebrity Get Me Out of Here! and a finalist on Celebrity Big Brother.

Faye Brookes (Roxie Hart) recently reached the final of this year’s series of ITV’s Dancing On Ice. She is best known for her role as Kate Connor in ITV’s Coronation Street, for which she won a National Television Award. Her theatre credits include Princess Fiona in Shrek and Elle Woods in Legally Blonde, both on national tour, Ann/Edna in That Day We Sang directed by Victoria Wood at Manchester’s Royal Exchange, Liesl in The Sound of Music at Regent’s Park Open Air Theatre and Frenchy in Grease at the West End’s Piccadilly Theatre. Faye’s other TV credits include Agnes Franklin in Our Girl and Helena in Atlantis, both for the BBC.

Sinitta (Mama Morton) is an international recording artist having released 15 hit pop records including So Macho, Toyboy and Cross My Broken Heart. No stranger to the stage, she has appeared in the West End productions of Cats, Little Shop of Horrors, Hair, Smokey Joe’s Café and as the female lead in Mutiny! Since the mid-00s Sinitta has remained in the spotlight becoming a mentor to young emerging talent as Simon Cowell’s right-hand woman on The X Factor.

Divina De Campo (Mary Sunshine) is a seasoned British drag queen and singer who was recently crowned runner up on the first Series of RuPaul’s Drag Race UK. Known for her high soprano and four -octave range, Divina has been featured on ITV’s The Voice and the BBC’s All Together Now.

 Djalenga Scott’s (Velma Kelly) West End credits include Lily St Regis in Annie at the Piccadilly Theatre, Joseph and the Amazing Technicolor Dreamcoat at the New London and Chicago at the Adelphi, Cambridge and Garrick Theatres. Her other credits include Anita in the national tour of West Side Story, Rizzo in Grease at Curve Leicester, Magenta in The Rocky Horror Show and Carmen in Fame, both on European tours, the US tour of Batman Live and Bombalurina in Cats at Kilworth House. Djalenga’s screen credits include Scarlett/Esme in Trapped for the BBC and Alexandra in the film I Give It A Year.

Joel Montague (Amos Hart) most recently appeared as Ogie in the West End production of Waitress at the Adelphi Theatre and Mendel in Falsettos at The Other Palace. His many other West End credits include School of Rock at the New London Theatre, Funny Girl at the Savoy Theatre and Menier Chocolate Factory, Urinetown at the Apollo and St James Theatres and Billy Elliot at the Victoria Palace. His UK touring credits include Fat Friends The Musical, Sister Act The Musical, and Eddie and Dr. Scott in The Rocky Horror Show. He also played Gangster 2 in Kiss Me, Kate at the Sheffield Crucible and Nicely-Nicely Johnson in Guys and Dolls at the Theatre Marigny in Paris.

Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, CHICAGO’s sexy, sassy score includes the show-stopping songs “Razzle Dazzle”, “Cell Block Tango”, and “All That Jazz”.  Winner of six Tony Awards, two Olivier Awards and a Grammy, CHICAGO is the longest running American musical in Broadway and West End history.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide and has been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  Worldwide it has been seen by an estimated 33 million people, grossed over $1.7 billion and played over 32,500 performances.

SATURDAY 11 SEPTEMBER – SATURDAY 18 SEPTEMBER 2021

King’s Theatre, Glasgow

www.atgtickets.com/venues/kings-theatre-glasgow

REVIEW: Summer Holiday – King’s Theatre, Glasgow

Taking as its source the classic 1963 Cliff Richard movie, Summer Holiday is a feather light piece of escapism for all the family with a hard-working, talented cast and more than a few much-loved, familiar tunes.

It’s yet another miserable British summer, when Don and his fellow London bus mechanics persuade their bosses to let them borrow a double-decker bus to escape the grey skies. They set off for the south of France. On they way, they encounter a trio of female singers (the Do Re Mi’s) who have broken down on the way to a gig in Athens. Thrown into the mix is an American singing sensation (Barbara) disguised as a boy, on the run from her over-bearing mother and her agent. Cue some old-fashioned frolics and farce.

First turned into a stage musical in 1996, it has become a favourite of amateur dramatic societies up and down the UK, and as a work that’s fondly regarded by the great British public, it is ripe for a revamped professional tour. In order to ensure mass appeal, some of Cliff’s earliest releases have been shoe-horned into the song list along with those culled from the soundtrack of the movie. It must be said that there are more than a few that are pure filler, and unnecessarily extend the running time without adding much entertainment value, but for the most part the hit songs are a winner: Do You Wanna Dance, The Young Ones, Move It, Living Doll, Bachelor Boy and the famous title song get the audience on-side the moment the first bars ring out.

The energy level of the cast is critical in a work as lightweight as this, and thankfully they are giving their all. Their commitment to their roles is universally deserving of praise. In the ‘Cliff Richard’ role of Don, Ray Quinn is a hugely reliable, likeable and sure-footed leading man, he’s more than proved his chops in the singing department, but he’s also a gifted dancer. His trio of mates: Rory Maguire (Cyril), Billy Roberts (Steve) and especially the hugely talented Joe Goldie (Edwin) provide solid support, each singing, dancing, acting and breathing life into their roles with energy.

The Do Re Mi’s prove a likeable trio and Alice Baker (Alma) Laura Marie Benson (Angie) and especially Gabby Antrobus (Mimsie) do their best with the slim material they are given. Sophie Matthew is pleasant enough but unremarkable as Barbara and Becky Bassett as her mother Stella, is at least two decades too young to play the part.

Racky Plews choreography is as reliable and inventive as ever and is executed with precision and energy throughout. The scene to Move It in particular, is cleverly realised with ski poles and pairs of Heelys.

The minimal (read for that cheap looking) set doesn’t do much for the production, it is played out to a stark black background throughout which lends no sense of place, it is clear all the money has been spent on the realisation of the double decker bus, which is thankfully effective.

The script is weak and the characters are utterly two-dimensional, however, the fact that the cast are clearly giving their all makes up for the short-comings in the writing. The humour gets to the levels of mildly ‘seaside saucy’ and there are some lazy stereotypical ‘Johnny Foreigners’ replete with dodgy accents, if you’re being kind you could say it’s a hark back to a more innocent and simplistic time, less kindly you could call into question the taste/judgement levels of the production team. Criticism could also be made of an all-white cast in a musical in the UK in 2018.

It’s simplistic, it’s undemanding but it’s ultimately good old-fashioned, feel-good fun.

Runs until 3 November 2018 | Image: Contributed

This review was originally written for and published by The Reviews Hub