Review - An American In Paris (Dominion Theatre)

The glorious elegance of Paris meets the malaise of post war Europe in An American In Paris, which transfers to London after a hugely successful Broadway run. The production is based on the 1951 film of the same name, and is directed by Christopher Wheeldon, the acclaimed contemporary ballet choreographer. Wheeldon's expertise inflects each dance sequence with sensation, and is notable throughout the production as a whole, which moves smoothly and kinetically from start to end. Meanwhile, the music and lyrics of George and Ira Gershwin are irresistibly charming and full of flair.

Haydn Oakley and the cast of An American In Paris
Photo credit - Johan Persson 

In a Paris racked with guilt and haunted by the events of the war, Jewish-American Pianist Adam Hochberg narrates a story in which he is curiously sidelined, about how his friend, American Lieutenant Jerry Mulligan, arrives in Paris after its liberation, and decides to stay and pursue artistic endeavours. Hochberg and Mulligan team up with Henri Baurel, the son of a wealthy family obsessed with appearances, who dreams of being an entertainer. The trio are brought together by their artistic interests, and inexorably linked by their attraction to a talented and demure ballet dancer named Lise, whose talent and spirit enraptures them all.

Bob Crowley's production design is gorgeously painted in a light dreamy pallet, which transports the audience to some of Paris' most recognisable and evocative locations. In a uniformly excellent cast of performers, Royal Ballet star Leanne Cope shines as Lise, with a sweet voice and unmatched dancing skills, which is only to be expected given her impressive career prior to her star turn originating the role of Lise of Broadway in 2015. She effortlessly sells Lise's remarkable talent as a ballet dancer to be reckoned with, and adds innocence and personality to Christopher Wheeldon's striking choreography. 

However, despite its heavenly design and mesmerizing choreography, An American In Paris doesn't quite hit every mark. Like many musicals originating several decades ago, what constitutes 'romance' within the setting of 1940s France comes of as a little bit uncomfortable by today's standards. Certainly, having three men lust after the same woman after she initially shows very minimal interest in any of them can be a little unnerving. This is made all the more noticeable as we're currently in the midst of an outpouring of allegations of sexual assault in the arts. Of course, within the context of the story, it's not intended to be anything more than an innocent tale of a woman opening herself up to love after enduring emotional trauma, but nevertheless to an audience in 2017 the story's connotations could be seen as a little uncomfortable. 

Additionally, the production maintains a sleepy pace throughout, which works in its favour in many ways, but does mean that more urgent or even just flashier moments jar with the piece's tone. Henri's act two dream sequence I'll Build A Stairway To Paradise seems to come out of nowhere, and is enjoyable but bizarre after the production has established a subdued and grounded tone throughout. Similarly, the unmistakably brave and angsty 'Laurey's Dream From Oklahoma'-esque abstract ballet sequence which brings the second act near enough to a close, is exciting and fabulously performed, but seems incongruous with the musical's mellowness, which is maintained for the majority of the show.

All of that being said, dance lovers will no doubt adore An American In Paris' gorgeous ballet scenes, which are undoubtedly the musical's main draw. Full of joie de vivre, it calls back to a time when musicals were easy breezy, but also contains a bit of bite for modern day audiences to get their teeth into. 

Interview - Belinda Lang (Duet For One)

When asked for a brief overview of her career, Belinda Lang admits, 'I've been doing this for over 40 years, I suppose I must have been in dozens and dozens and dozens of plays, and a lot of telly as well, so I really don't think I can summarise it'. An enviable answer, and totally founded. Lang has been working as an actor since 1980, and made a name for herself in the 90s, in sitcoms Seconds Thoughts and 2point4 Children. Since then her CV has filled up with a massive variety of roles across several different mediums. In fact, you may have seen her earlier this year as Aunt Eller, in the BBC's Oklahoma Proms, reprising the role she played on tour a few years ago. And now she's returning to the stage yet again, to play Stephanie Abrahams in the UK tour of Tom Kempinski's award-winning play Duet For One. 

Based loosely on the real life musician Jacqueline du Pré, Duet For One is the sparkling and moving story of concert a violinist who is forced to consult a psychiatrist after being diagnosed with Multiple Sclerosis, a life changing disease which forces her to reevaluate her life. Being a two hander, focusing on such an affecting subject, it's interesting to hear Lang describe the play as 'actually quite funny', before adding, 'you wouldn't think it would be.' In fact, despite playing a character whose life has been shaken by such a significant health issue, Lang maintains that Duet For One is not an upsetting play to watch or be a part of.  'Of course it's moving in that it's about a person who is struggling, but she's a very feisty woman and it's the not MS that going to get her. She's not dying. She's dealing with her life, and she goes about it in a very spirited fashion'. It seems as if Lang has a lot of admiration for the character she plays, which is understandable. Especially as she adds 'it's not a play about somebody in decline, it's a play about someone learning to live with themselves as they are, rather than as they thought they were going to be.'

Due to the two hander nature of the play, Duet For One has its own specific set of challenges, not least because sharing the stage with just one other actor is hugely exposing. Even when the actor opposite you is wildly successful writer and actor Oliver Cotton. Lang explains that 'every play brings different challenges', before elaborating that 'the main challenge in this [play] is learning it, because there are only two of us so there's a lot to take in, but it's very well written so once you know it it kind of sweeps you along.' That being said, she does joke that 'it's hard remembering it all in the right order!' It's surprising and heartening to hear such a seasoned actor talk so candidly and humbly about the challenges which such a play presents, with Lang admitting that 'you can't not concentrate for a single second, and of course, when you're in a play you should be concentrating, but it's frightening to know that if you drop your concentration then the whole thing could hit the deck.'

Belinda Lang in Duet For One

Understandably, the two-hander nature of the play affects the dynamic of the relationships between actors on stage, but interesting Lang explains that it also alters the connection between the actors and audience too. 'It's very personal. The fact that there's only two of us, and the fact that it's a conversation, sucks the audience into it. They get drawn in like a vortex, and when the bits come that are quite quiet you can feel the concentration. They concentrate with you, and they go through the process with you, which they might not so much if it was dissipated by other scenes and other characters. They do seem to come on a journey with us.' 

And it's that journey which Lang describes as Duet For One's main selling point Particularly in regards to her character's exploration of her feelings, and attitudes towards her new life. Lang describes how' 'a lot of people either have been through therapy, or haven't and wonder what it's like, and this does give you a sort of bird's eye view of what can happen. Therapy is a space to explore your feelings, some of which are aggressive, and it's a safe place to let off steam. I think people who've been there would recognise it, and for other people it's quite interesting. A revelation.' 

Interview - Orlando Seale (Manhattan Parisienne)

Actor Orlando Seale is currently appearing in a work in progress production of Alain Boublil's Manhattan Parisienne at The Other Palace. Following on from its world premier in 59E59 theatres, New York, in December 2015, this piece, featuring songs from the classic French and American songbooks, tells the story of a French actress and an American musician, both of whom have a connection to Paris. 

The importance of music within the piece is paramount, and with that in mind, cast member Orlando Seale, who is currently playing Gerard in the play, took a little bit of time out of his schedule of rehearsals and performances, to talk about his own relationship to music, the experience of working on a work-in-progress, and his affinity for Paris. 

'I think the audience reactions have been really positive' Seale says of the work-in-progress nature of the piece. 'It’s not supposed to be a performance, in a sense, it more just showing 5 or 6 days' worth of rehearsals.' Fascinatingly, because of the ever changing nature of the piece, it's very likely that what audiences who come later in the run see will be very different to what audiences saw at the beginning of it. Seale explains that he does what he can to explore the piece, and revels in the evolution of the show, explaining that 'they’re taking things out, putting new things in, trying different things out, and Bruce [Guthrie] the director has been really clear with the audience about that, so the audience has been very supportive. They’ve been coming in with a spirit of understanding that this is very much a work-in-progress, and it might change radically.'

That approach very much reflects Seale's attitude towards his own musical creations, which he described as 'post punk DIY stuff'. It's refreshing to hear the actor's views on how creating music should be accessible to everyone, with him expressing that 'I like the idea of everyone making music. You don’t have to qualified in some special way to do it. Of course it helps, but it’s nice the idea that everyone can get up and sing a song.'

And Seale's musical beginnings are a result of just that, as he describes how he didn't study a musical instrument in school, but was lucky enough to be invited to join the school band nevertheless. However, his obsessions with creating music didn't start until much later, when he was living in Los Angeles, and his then-girlfriend introduced him to a whole host of amazing music. He recalls driving around L.A in his car, his own personal soundbooth, 'I’d always written poetry and things, and I started wanting to see if I could sing songs. It partly came out of feeling like I wanted to make things of my own, that weren't just dependent on being cast. I became completely obsessed and I couldn’t stop'.

Seale recalls enjoying working on music projects, and finding himself searching for a way to combine his love of music and of theatre, having never done a musical before. Whilst teaching at the Associate Studios performing arts academy he was impressed with the hard work and talent of the musical theatre students, and says that curiosity led to him seeking out more opportunities to perform in music heavy pieces. 

'When this opportunity came up I thought it’d be really fascinating to go and spend a few weeks with people who were unbelievably talented, who were at the top of their game, and see how they did things.' As a show which relies so heavily on the use of music, Manhattan Parisienne, sd you would expect, has assembled a great team for its performances at The Other Palace. Seale is quick to praise the musical talent of everyone involved, stating that he is 'really impressed by the level of musicianship of all of the players and singers who play multiple instruments, and sing, and dance', whilst also marvelling at the skills of the director, choreographer, and band.

Given the name of the piece, asking about Orlando Seale's personal relationship with the titular boroughs, and of course his answers are extremely interesting. 'I’ve not only been to Paris, I lived in Paris, and I loved it so much. I’m a massive Francophile, and I have a lot of French friends, and I was actually at drama school in Paris at The Conservatoire National Supérieur D’Art Dramatique, so I go back as often as I can. The first time I went to New York was with the RSC years ago when we were on tour, and I absolutely love it. I haven’t spent as much time there, but I’d jump on any opportunity to go back!'

Unfortunately Seale doesn't know what the future holds for Manhattan Parisienne, but suggests that the creative team are taking audience comments on board and are eager to know what works and what doesn't. He is also full of praise for the play in its current iteration, stating 'I think it’s got a lot of charm, and it’s an opportunity to enjoy the American and the French song books, in a really charming way that brings the two together. I love the subtitle that Alain [Boublil] gave it; the songs he wished he’d written. I think that’s really beautiful, and for someone who’s been involved with such enormous hits, that's a really charming and humble thing to say.'

Interview - Ria Jones (Sunset Boulevard)

'It’s taken years but it’s worth the wait.'

26 years after she created the role in a workshop which took place during one of Andrew Lloyd Webber's exclusive Sydmonton Festivals, Welsh musical theatre star Ria Jones is finally getting the chance to play the iconic role of Norma Desmond in Sunset Boulevard. 

Having first workshopped Sunset Boulevard aged just 24, Ria Jones is thrilled to be returning to the role now. Especially because, the way she sees it, there aren't many roles out there for older women. 'I think the other one that this compares to is Mamma Rose in Gypsy, and that’s another role that I’d love to play, but apart from that there aren’t that many great female roles. I suppose there's Hello Dolly, Mame, Gypsy and Sunset Boulevard, and Reno Sweeney in Anything Goes can be played by an older actress, but there aren’t as many as when you’re in your twenties and thirties'. 

Recalling how she first became involved in the show during its conception, she says 'I was in Cats and working closely with Andrew Lloyd Webber, and I heard he was writing a musical called Sunset Boulevard. I didn’t really know much more about it than that really'. But soon she would be whisked away to Lloyd Webber's house in Sydmonton, where a chapel in the grounds had been converted into a theatre. 'I spent weeks there working with other actors, creating the role and working on the very first draft, and showing the musical in front of producers, agents and friends who he’d invited over to show his new piece'. Despite loving the score, Ria was fully aware that, being in her early twenties at the time, the role of Norma Desmond, a faded silent movie star in her fifties, was not a great fit. Indeed, when the show opened in the West End in 1993, Norma was played by none other than Patti Lupone. 'I jokingly said to Andrew that I’d do the revival one day' Jones laughs, 'And now I’m doing it in my own right, at the right age, and in an exciting new production.'

Danny Mac, Ria Jones and Adam Pearce in Sunset Boulevard
Photo credit - Manuel Harlan

Of course, this isn't the first production of Sunset Boulevard that Jones has appeared in since her early encounters with the show. In 2016 she made headlines when she went on as the understudy for Glenn Close whilst the show was playing at the London Coliseum. Despite a whirlwind of media hysteria, and some initial grumblings from one or two audience members, by the time the curtain came down at the end of her first show, Jones had totally won over naysayers and went on to receive an influx of rave reviews from both news outlets and general audiences alike. In fact, the response was so positive that it led to her being asked to star in the UK tour. 'Andrew Lloyd Webber was so thrilled when I went on in the Coliseum. He left me a lovely message on my phone, saying how delighted he was and how unbelievable it was that the original Norma Desmond was now playing the role at the London Coliseum. He was so thrilled and so disappointed that he wasn’t there because he was in New York working on School of Rock, I think. But he heard all the reports. Michael Harrison, David Ian and Curve, the producers of the Sunset Boulevard tour, were in for my last show. I got a call the next day saying would I be interested in touring it.'

Despite being a dream role, playing Norma Desmond does come with its challenges, especially when playing the role is combined with the demands of the touring lifestyle. 'I’ve got to pace the show 8 times a week, because, especially on two show days it’s very emotional because there’s a lot of shouting as well as singing, and sometimes shouting can tire out your voice more than singing'. However, for Ria Jones, the thrill of performing in Sunset Boulevard outweighs the pitfalls of touring by far, and her enthusiasm for the show, and in particular, its music, is extremely apparent. 'The score is so beautiful, it’s a cinematic score. I think it’s one of Andrew Lloyd Webber’s best works. It’s certainly a favourite of mine to listen to. I often put it on just to hear the overture and the entr’acte, just gorgeous.' And interestingly it seems that the UK touring production, directed by Leicester Curve Artistic Director Nikolai Foster, is different from past productions of Sunset Boulevard in many ways as well, adding a new element of excitement for fans. 'Nikolai Foster’s vision is incredible' Jones enthuses, 'It’s breathtakingly visually, as well as sounding fabulous, because we have one of the biggest orchestras touring at the moment. We have 16 in the orchestra and with extra padding out in the keyboards, it’s going to sound like a full orchestra, and I don’t think you can do this show on anything less because it would be sad not to, because it’s so beautiful. You need to hear the strings, you need to hear the harp, because it’s written with such detail and it’s so cinematic. You need that full luscious score. With the new set, and costumes, and lighting, it’s just going to take the show to the next level.' And she's also very complimentary towards her castmates, including Strictly Come Dancing 2016 competitor Danny Mac, who she describes as 'lovely to work with', along with musical theatre performers Molly Lynch and Adam Pearce. 'It’s just a lovely atmosphere, and of course you create your best work when you’re happy!'

If Ria Jones' passion is anything to go by then the UK tour of Sunset Boulevard should be on every musical theatre fan's to-see list. Now you've read about Jones' fascinating history with the show, make sure you catch her as Norma Desmond. Details of the tour can be found by visiting uktour.sunsetboulevardthemusical.com. 

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 Boublil 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
Photo credit -  Johan Persson

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!

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