Interview - Bronté Barbé (Beautiful: The Carole King Musical)

'I was always a bit of a performer' actor Bronté Barbé muses, recalling her early roots in acting. 'I remember I was Mary in a nativity play when I was three, and I decided I wanted to be Mary for the next 6 months. I was dressed as Mary and my mum had to take me everywhere as Mary – I think she was a bit embarrassed' she laughs. 

‘A bit method?’ I proffer. 

‘Oh, SO method.'

Bronté, whose previous theatre credits include Princess Fiona in the Shrek The Musical UK Tour, and Nadine in The Wild Party, may be best known to some for her appearance in the 2010 BBC talent series Over The Rainbow, which saw several young actress competing for the role of Dorothy in an upcoming West End production of The Wizard of Oz. After her elimination from the show (which was eventually won by fellow Northerner Danielle Hope), she went on to study musical theatre at Mountview, and has since been seen in many shows around the UK. Now she is taking on the role of songwriting legend Carole King, in the UK and Ireland Tour of hugely successful musical Beautiful: The Carole King Musical, which only recently closed in London.


When discussing the challenges of bringing incredible real life music icon Carole King to life on stage, Bronté reflects that finding the character has been quite a different process. 'It's something that I’ve never done before, and it’s been a big balance between finding it for myself and obviously looking back on research, because I want to stay true to her as much as I can. It’s definitely more of an interpretation rather than an impersonation'. Inevitably portraying such an interesting character on stage has its challenges, 'it spans over a period of about 12 years, and it's sort of plotting her journey throughout that and how she changes.' she explains. It's evident that Bronté has a lot of respect and admiration for the musical and its protagonist, and she admits that some of the songs still make her emotional, stating, 'I really love You’ve Got A Friend, it’s my favourite moment in the show I think – so far. It’s really nice to sing, and it gets me every time, I think "oh god, try not to cry"'.

In fact, one of the element which has undoubtedly made Beautiful: The Carole King Musical so popular is the great songs, such as the aforementioned You've Got a Friend, as well as tunes like Natural Woman, and I Feel The Earth Move Under My Feet, which punctuate the story. As Bronté confesses, 'I’ve had the Tapestry album for quite a long time on vinyl, and I had a few friends in the show – my housemate was in it, so it got overplayed in the house a little bit, but I could never get bored of it!' And it's not just a musical for people who are drawn to music from the '60s and '70s either (although those who are will definitely enjoy the selection of songs which make it into the show'). As Bronté puts it, 'there are so many songs that you don’t even realise are by Carole, or Cynthia and Barry', she says, referring to the vast and surprising catalogue of songs written by both Carole King and her friends, the husband and wife songwriting duo Cynthia Weil and Barry Mann. And Beautiful: The Carole King Musical has more to offer than just great music, as Bronté is quick to point out. 'I remember being so struck by her story when I went to see it. I didn’t know a lot about her personal life. I think she’s an amazing person'.

Of course, for musical theatre fans, the much lauded musical should not be missed on tour, but Bronté asserts that because of its source material, Beautiful: The Carole King Musical may appeal to a wide range of audiences. 'I think, or I hope, that it will bring in a wider audience, because I think everybody has heard of Carole King, or one of the songs that’s in the show'. Yes, it's a fun jukebox musical, filled with great songs, recognisable characters and a healthy dose of nostalgia, but at it's heart Bronté believes that Beautiful: The Carole King Musical is different is some way, and finishes out interview by stating 'I think you go to the theatre to escape for a bit, but also to relate, and I think it’s such an important story that should be told.'

Don't miss Bronté Barbé in Beautiful: The Carole King Musical on its first ever UK and Ireland Tour.

Review - Miss Saigon (UK and Ireland Tour)

It feels like only yesterday that Miss Saigon was preparing for a West End revival, but it's been over a year since Boubil and Schoenberg's ever popular epic closed in London. Happily though, it is touring the UK and Ireland again, and leaving a string of teary eyes behind it wherever it goes.

Set during the Vietnam war and in the years of uncertainty that followed, Miss Saigon tells the story of a doomed romance between Kim, a 17 year old bar girl, and Chris, an American GI, and explores ideas about tradition, survival, and love in many different forms. Inspired by Puccini's Madame Butterfly, Miss Saigon is a timeless story with haunting songs and an unforgettable story, and has captured the hearts of audiences around the world since it was first seen on the West End back in 1989.

Ashley Gilmour and Sooha Kim as Chris and Kim in Miss Saigon
Fans and newbies can rest assured that this touring production absolutely matches up to the titanic scale of the recent West end iteration. Its hugely detailed set is so incredibly intricate that the world of the story feels totally realised, and Miss Saigon's famously scene stealing set pieces are as awe inspiring as ever!

Additionally its monumental scale is bolstered by an impressively large cast, which fills the stage with bustling life and amplifies every ensemble number. The cast shines in songs like Bui Doi, and This Is The Hour, where their talent is palpable.

What is Miss Saigon, though, without a superstar Kim? Like a beacon of light, Sooha Kim is totally transcendent in the role. With a sweet yet powerful voice, and a characterisation of the role which is full of innocence and love, her performance is beautifully nuanced and immensely touching. She carries the show with ease and has the audience on her side from the first moment she steps on stage. Having understudied the role in the West End revival before taking on the lead full time in a more recent production in Japan, it's clear that Kim is a character which Sooha Kim is connected to deeply. Her revelatory performance sticks in the mind long after the curtain comes down.

Opposite Sooha Kim, Ashley Gilmour makes a perfectly dashing Chris. An American GI with a conscious, Chris is potentially a difficult character to pitch, but Gilmour does well to make Chris sympathetic and truthful on stage. And of course, the two leads make an utterly gorgeous couple, with strong chemistry and voices which blend together perfectly.

The are so many unforgettable songs in Miss Saigon, and the several love duets between the musical's central couple are no exception. Most notable perhaps, is Last Night Of The World, a song so full of dramatic irony, and featuring such a stirring melody, it makes the rushed romance between Kim and Chris seem totally believable. However, it is I'd Give My Life For You, Kim's formidable act one closing number, which steals the show. Kim and Chris' love may be powerful, but it's motherly love which dominates the latter half of the Miss Saigon and nowhere is that more evident than in Kim's foreboding solo.

It's not every day that a touring production of this calibre comes around, and if you've not yet crossed Miss Saigon of your to-see list then there has never been a better opportunity. Miss Saigon is touring around the UK and Ireland until late 2018. Catch it at your local theatre or miss out!

Find out more information at www.miss-saigon.com/uk-ireland-tour

Interview - Alan Pearson (Alice's Adventures Underground)

Alice's Adventures Underground, Les Enfants Terribles' bizzaro maze-like piece of immersive theatre, is unlike anything else in London right now. Every inch of the sprawling Waterloo Wonderland is packed from floor to ceiling with curious objects, Easter eggs which evoke Lewis Carroll's original stories, and mysterious details which will have audience members temporarily transported into the psychedelic world. 

But what would Wonderland be without its assortment of kooky characters? Alice's Adventures Underground is crawling with recognisable characters from the books, and one of the most iconic of all, the Hatter, is played at some performances by actor Alan Pearson. 


It's Pearson's first year in Wonderland, and as well as playing the Hatter he also performs as the Mock Turtle, the Joker, the Knave of Hearts and the Wasp in a Wig. Quite an assortment. There are, however, some other parts which he wishes he could have a crack at... 'I’d love to play the Queen of Hearts, I think that’d be a great part to play. There are so many great characters, and the puppet characters are really great fun as well - the Cat and Humpty Dumpty. I think I wouldn’t mind having a go at those.' Without a doubt, the puppetry within the show is extraordinarily clever, and showstopping characters like the fearsome towering Jabberwocky will stay with audiences long after they depart. 

But the Hatter, such a well known and loved character from the books, and woven into popular culture so deeply, is surely a holy grail character for most actors. 'I love the part of the mad hatter, but also I heard so many great things about the piece the last time it was around, it was a bit of a no-brainer really', Pearson says of his initial reaction to being involved in the production. 'I’ve never done anything to this scale. I’ve worked in improvisation before but this sort of level of improvisation where you’re transported into the world - and it is a world, it’s so vast, the space that we’re using – is something I’ve never had to tackle before'  

Speaking of the vast space, the sheer scale and detail of Alice's Adventures Underground is definitely an element which helps the production to feel so real, and for audience members the whole experience of being led through Wonderland can feel extremely disorienting in the best way possible. It's not hard to imagine that the actors in the piece must feel similarly flustered, but Pearson elaborates that despite some early hiccups, his route through Wonderland is ingrained in his muscle memory now. 'I remember in the first week we were running around flapping, lots of us had little bits of paper in our pockets just with details on to tell us exactly where to go, but it’s ingrained now. Now we look at the time and see that we’ve only got 15 seconds until our next scene, but that feels like so much time, it feels like a luxury. But initially the panic would set in, and there was a lot of running involved!' Nevertheless, the finely choreographed nature of the production, which sees several large groups of people navigating through the world at once, is immensely impressive. 'It’s down to the second, so what’s been put in place are sound cues and audio cues, and visual cues to tell the actors "okay you need to move this audience now because in ten seconds another 26 people are coming through". We make it seem very seamless and effortless without the audience members knowing at all. You get a real sense of satisfaction as an actor knowing that you’ve achieved this'.

What with Alice's Adventures Underground being such a unique night out, and very different to a lot of the entertainment which London has to offer, it's interesting to think about exactly what kind of audiences come to see the show. Pearson describes how people come for multiple different reasons, 'we’ve got a lot of creative people that come, actors and such, but also people who just like the idea of Alice in Wonderland. It’s very cult, isn’t it, I suppose.' 

Undoubtedly the crowds are flocking to the show to experience something different, and in Alice's Adventures Underground the audience's interactions do help to shape the show, 'it’s entirely unique and dependent on the audience members that come through, and what they give and offer' Pearson explains. However, as with all shows of its type, it's seen its fair share of unusual audience offerings. 'We’ve got audience members that want to come for more of the party experience, so we’ve had a few, well, a lot of drunken people come through. We had a woman who took her trousers down and pissed on the floor.' Not exactly the sort of behaviour you'd expect to find at your standard West End musical, or anywhere in fact. 'We always find it constantly hilarious because there’s so many audience members coming through each night, there’s always something which is quite strange. But I think weeing in the Tulgey Wood is up there'. It'd be hard to argue with that! 

Alice's Adventures Underground is an exciting addition to London's theatre and nightlife scene, and Alan Pearson's zeal for the production is undeniable, as he enthuses, 'I think it’s magical and the finer details are incredible, and I think everyone gets an incredibly unique experience out of it.' 

Don't miss Alan Pearson in Alice's Adventures Underground, an immersive piece of theatre which you'll want to keep on returning to again and again. 

Find out more information by visiting www.alice-underground.com and read my review of the show at www.talkstageytome.co.uk/2017/05/review-alices-adventures-underground 


Interview - Red Concepcion (Miss Saigon)

Miss Saigon, the blockbuster musical, is back! Setting off on a tour of the UK and Ireland, the show is bound to capture the hearts of many first time audiences, as well as dedicated fans. An exciting cast of performers, old and new, has been assembled for this new tour, and amongst them is Red Concepcion. Hailing from the Philippines, where his achievements in musical theatre include the Aliw Award for Best Actor in a Musical and the Gawad Buhay Award for his performance as Adam/Felicia in Priscilla: Queen of the Desert, in his UK theatre debut Red will be taking on the role of The Engineer, the devious owner of the Dreamland bar and brothel where the events of Miss Saigon begin. As he prepares to hit the road, Red Concepcion speaks about his experience of the show, what the rehearsal process has been like, and what he hopes audiences will take away from it at the end.


Red reflects on his experience so far, remarking that the rehearsal process has been ‘a little overwhelming for someone who hasn’t seen the show, and who comes from another country, because obviously the process it very different, but very exhilarating’. It may surprise people to hear that Red has never seen Miss Saigon before. ‘It went to Manila but I think I was too young to see it, but I’ve been a fan of the music for a long time. It’s beautiful, beautiful music’, he explains, ‘When I was a kid it was very big in the Philippines so I think we listened to the cassette tape. I had the whole album and I used to listen to it a lot’.

In some ways it’s possibly advantageous to be coming into the show fresh. It’s undoubtedly an iconic role, and one which frequently divides audiences. ‘The whole show is kind of a cautionary tale about war, and what war does to people, and The Engineer, although he’s funny and whimsical, more than that I want the audience to see the show to be like “if I ever find myself in war, or in a country in turmoil, or unrest, I should not turn into that guy!” Because he’s very conniving, very scheming, to get what he wants’. However, just like the rest of the characters within the musical, Red identifies that The Engineer is a victim of circumstance too. ‘He kind of has this inherent hatred of who he is. He wants to be an American, so he’s got an inherent hatred of himself, but he’s also knows and admires himself for all his cunning and his smarts, so having those two things in one person, constantly battling is very challenging, but a good challenge to be explored.’
Red Concepcion in rehearsals for the Miss Saigon UK Tour
Photo Credit - Manuel Harlan
The new tour features cast members from the West End production of Miss Saigon, such as leading actress Sooha Kim, who previously understudied the role in London before taking the lead in a production in Japan. However, it also features a load of new faces. It’s not hard to imagine that for a production so big, and with such a reputation, the pressure to get things right would be high, but as Red explains, ‘the creative team is very supportive and you can tell than they want us to do good, so it’s a very gruelling process but also a very encouraging lovable atmosphere.’ Reflecting on his experiences in rehearsals so far he laughs, ‘whenever I feel like I’m about to get stressed, everybody’s so loving and there’s really no cause to lose your mind.’

Speaking more generally about Miss Saigon, it’s not a surprise to hear his favourite part of the show to perform is The American Dream. 'It’s a show stopper, it’s so fun to do, working on it with the choreography and with the rest of the cast, I just love doing it’. Undoubtedly The American Dream, an outlandish dream sequence of a song which features countless dancers flooding the stage, along with a couple of pretty big symbols of wealthy America, is a jaw dropping and memorable highlight of the show which allows the actor playing The Engineer to cut loose for several minutes. He notes however that his favourite part of the show to watch is in fact Morning of The Dragon. ‘They pull out all the stops and they’ve got an amazing cast of dancers, and they just kill it every time’. It’s a lesser spoken about but equally breath-taking moment in the show, which shows a parade in Ho Chi Minh City celebrating the third anniversary of the reunification of Vietnam. The moment acts as a time jump within the story, and is just one of many incredible moments of spectacle within the show.

It’s partly this element of spectacle that Red identifies as a selling point of Miss Saigon. He enthuses that ‘Miss Saigon is a modern classic. There’s nothing like it in terms of its scope and its scale, the music that it has, and the storytelling that it manages to do’. And what does he hope that audiences will gain if they buy a ticket? ‘They’ll be laughing, they’ll be enjoying themselves, and thoroughly entertained, but also it’ll open their minds about a lot of things, like race, and war… everything.’

For more information visit www.miss-saigon.com

Interview - The Cast of Our Ladies of Perpetual Succour

Our Ladies of Perpetual Succour, Lee Hall’s smash hit musical play, has been entertaining, startling and moving audiences around the world since it debuted at the Edinburgh Festival Fringe back in 2015. Having played to audiences in places like America and Australia before transferring to the West End, the sweary Olivier Award winning comedy has a somewhat irresistible appeal.

Sitting backstage at the Duke of York’s Theatre, the cast reflects on the reasons why Our Ladies of Perpetual Succour has been so successful, and shares their own personal experiences with the play…
Frances Mayli McCann (Kylah), Caroline Deyga (Chell), Isis Hainsworth (Orla), Dawn Sievewright (Fionnula), Karen Fishwick (Kay), Kirsty MacLaren (Manda)
Photo credit - Manuel Harlan 
‘Everybody remembers that point in life of being a teenager on the precipice of adulthood, and not really knowing what tomorrow’s going to bring…’Frances Mayli McCann muses. ‘We found when we took it round the world, to Australia and America, that same universal story resonates.’

Aside from its relatable plot, what’s fascinating about Our Ladies of Perpetual Succour is that it’s a piece of theatre which portrays women in such a brutally honest light, showing both the good and bad in each of its six main characters. As Karen Fishwick puts it, ‘there are definitely no shows that represent women the way that we represent them, which is strange because we represent them in a very real way.’ Dawn Sievewright adds, ‘When we did the press night they did this really amazing thing where they talked to quite a lot of people in the business just after they came out, and women just couldn’t believe the sense of joy and empowerment. They can’t believe that 6 young women plus 3 women in the band do this, it’s actually ridiculous.’ As empowering and moving as the play is, it does seem ridiculous that it’s considered scandalous just because it features young women drinking, swearing and engaging in a few family unfriendly conversations. ‘People walk out of our show all the time. We had 18 people walk out in one night,’ Sievewright continues, ‘people think we’re pushing boundaries but actually we’re just telling normal stories.’

In a show featuring such a variety of different characters, all with such relatable issues, and realistic bonds, it’s interesting to think about how the actors’ personalities shaped the story. Caroline Deyga describes that ‘in the auditions they asked everybody, out of all of the characters, who they related to most, and all of us that are playing these parts, all said these parts, which probably says a lot about how much we relate to these characters, because we sort of felt drawn to them, and so did a panel of people that were auditioning us’. It’s also exciting to consider how the actors’ input in the initial rehearsal process will have shaped the show in its future iterations. Deyga enthuses, ‘that’s really exciting as well, that parts of you will always be in that character’.

As Kirsty MacLaren says, ‘As an actor you very rarely get a chance to come at a piece of theatre that’s a skeleton that you get to really invest in, and you get to play with, because normally you come in and the design’s already set and the script’s set, where as in this you got to come in and play as actors, you got to have fun every day at work and make this piece of theatre together’. That sense of creating a piece of theatre as a group is absolutely prevalent in Our Ladies of Perpetual Succour, a play which focuses largely on portraying the immensely strong bonds felt between friends. Interestingly, although 5 of the 6 cast members have been working together from the very beginning of the process, Isis Hainsworth made her professional stage debut when she joined the show for its transfer to the West End. ‘Before I came in, I was so scared,’ Hainsworth expresses, ‘they’d been together for so long, and I’d heard so much about it and everyone said it was the best thing they’d ever seen, and I was like oh shit, but then I came in and I met them and they’re all super lovely, and made me feel at home’.  

But with so many critically acclaimed productions on stage in London right now, why should audiences come and see Our Ladies of Perpetual Succour above anything else? Caroline Deyga has a pretty persuasive answer… ‘It’s as much an experience as it is a piece of theatre. And if you get shocked by it and you walk out then that is an absolutely credible thing to feel. Sorry we made you think.’ She adds with a smile, ‘but to have that strong response to a piece of theatre doesn’t come along all the time, so come and take advantage of it while it is here!’ And isn’t that as good a reason to go to the theatre as any?

Visit ourladiestheplay.co.uk for more information

Review - Our Ladies of Perpetual Succour (Duke of York's Theatre)

'Let's go f*cking mental!' scream the unruly catholic schoolgirls of Our Ladies of Perpetual Succour as they're set free from the confines of their quiet hometown for the day. Ferried into Edinburgh for a choir competition, the rowdy friends shed their stuffy uniforms and embark on an unforgettable day of drinking and partying. Hooches are downed, friendships are tested, and each girl is confronted with the realities of their lives, and their futures beyond high school. 

The cast of Our Ladies of Perpetual Succour
Photo credit - Manuel Harlan 
Best known for writing the screenplay and subsequent stage adaptation of Billy Elliot, Lee Hall has adapted Alan Warner's book The Sopranos into an exuberant and uninhibited play, which bubbles with youthful abandon. Featuring a cast of 6, who play a multitude of different characters in addition to their named roles, and an additional 3 musicians, Our Ladies of Perpetual Succour is brought to life with relentlessly energy which it's impossible not to be totally drawn in by. 

It's so heartening to see 6 female characters on stage, all of whom have completely different, and perfectly defined personalities. Far from dainty school girl stereotypes, each of the choir girls of Our Ladies of Perpetual Succour as feisty, fleshed out and relatable as the next one. It's almost cathartic to see such realistic depictions of young women on stage. 

In addition to Lee Hall's magnetic book, as a play with music Our Ladies of Perpetual Succour benefits from some spine tingling musical performances numbers, performed by the blazingly talented company. Most notably, their adrenalized rendition of ELO's Mr Blue Sky is so energetic, peppy and audacious that it's impossible to resist. 

Most notably though, is that what's so magical about the story is how unremarkable it is in the grand scheme of things. Yes, in real life it's unlikely that 6 school girls could fit so much drinking, chatting and emotional cleansing into one day, but the way the girls interact within the play, the antics they get up to and the struggles they face are far from unheard of in schools up and down the country. Our Ladies of Perpetual Succour portrays young women at their most unguarded, and subsequently each character feels completely real, each action totally justified. 

At times the play feels almost like a rock concert, with blaring music, frenzied choreography and performances which frequently border on manic. It's a full throttle hour and forty five minutes, which jolts its audience through hilarious highs and crushing lows, and never lets up, even for a second. Unmissable is most definitely the word to describe Our Ladies of Perpetual Succour. It's a swirling riot of unbridled teenage spirit which will have you laughing one minute and crying the very next. Grab a ticket, and get ready to go f*cking mental!

Visit ourladiestheplay.co.uk for more information

Interview - Natasha J Barnes (Funny Girl)

Prior to her high profile stint in the Michael Mayer directed London production of Funny Girl back in 2016, rising star Natasha J Barnes may not have been a household name, but there’s a good chance that London based musical theatre fans had already encountered the actor. Having made her West End debut in the relatively short-lived London production of Spring Awakening, also directed by Mayer, Barnes’ previous musical theatre credits included Heather in American Idiot at the Arts Theatre and Svetlana in Chess at the Union Theatre. ‘I did every school play, local poetry competitions, anything I could get my hands on’ the actress expresses, explaining how her love of performing began at a young age. ‘The passion grew from there really, into Theatre studies a-levels, NYMT, YMT and open auditions. An open audition is how I booked Spring Awakening’.


It’s been 6 years since the fateful audition which catapulted Barnes into a professional career in the theatre, and now she is starring as Fanny Brice on many of the stops during Funny Girl's UK tour, sharing the role equally with actor Sheridan Smith. 

Barnes was cast in the ensemble of Funny Girl when it debuted at well-loved off-West End theatre the Menier Chocolate Factory in 2015. However, when the show transferred to the West End in early 2016 Barnes was called upon to temporarily replace Sheridan Smith, after Smith was forced to take a break from the show for personal reasons. Thankfully the public welcomed the up-and-comer with open arms, and Barnes received plaudits from audiences and critics alike. ‘The support I got at the Savoy was unbelievable, from the company, the press, the audience, my family and friends; it was completely overwhelming but it helped me to be bolder and develop my own version of the character’ explains Barnes, who recalls ‘that character evolved over that time into something that sat better inside me, and re-discovering that this year has been really exciting.’

Musical theatre aficionados are undoubtedly aware of how iconic the role of Fanny Brice is. Originated by superstar Barbra Streisand in both the 1963 Broadway production of Funny Girl, and revered 1968 big screen adaptation, the self-professed “greatest star” is a plucky protagonist like no other. ‘Barbra Streisand is a masterclass. Her voice has so many colours and the way she uses the dialogue and music is fascinating to me’ says Barnes who, like so many performers and fans alike, describes herself as ‘a massive fan’ of the 1968 film which introduced mass audiences to songs such as I’m The Greatest Star, Don’t Rain on My Parade, and People, the latter being Barnes’ favourite song in the show. ‘I love singing that song. It's a simple moment but such a defining, human part of the story’ she says of the song, which has become something of a musical theatre staple. In fact, the role of Fanny Brice has topped the dream role list of many a musical theatre performer, whether aspiring or accomplished. The character's life is filled with hope and joy, but besieged with tragedy and heartbreak too. Such an interesting journey, accompanied by Jule Styne and Bob Merrill’s music and lyrics, makes Brice a fascinating powerhouse of a role. ‘I still have moments during the show where somewhere behind the character I light up singing those melodies’ Barnes reveals.  

Natasha J Barnes and Darius Campbell in Funny Girl
Photo credit - Paul Coltas
It’s clear that despite the vocal and emotional demands of the show, as well as the logistics of touring, Barnes is having a great time working on the Funny Girl tour. Describing the touring experience, she says ‘the audiences are different at each venue, they bring a flavour of the community and culture in with them and relate to different parts of the show in different ways. It's always a fresh feeling stepping out onto the stage’. And as if she wasn’t busy enough already, her debut album, which Barnes describes as ‘very personal’ and ‘a step away from musical theatre’, is due to be released in September 2017 as well.

Theatre lovers will undoubtedly be rushing to their nearest tour venues to catch the 5 star production of Funny Girl as it entertains audiences up and down the country. In the words of the star herself, Funny Girl is ‘a slick, glittering, West End quality show with real heart and humanity at the centre of it. It's got laughter and tears and music and movement and it's a wonderful way to escape for the evening!’

Find out more information about the 2017 Funny Girl tour by visiting www.funnygirlthemusical.co.uk