YIPPEE KI YAY Comes to Wilton's Music Hall

Performances run Tuesday 18th to Saturday 22nd April.

Show of the Week: Tickets From £30 for WITNESS FOR THE PROSECUTION

Following a critically acclaimed season at the Edinburgh Festival Fringe 2022, a Christmas season at Islington's Kings Head Theatre and a UK tour, James Seabright is delighted to present Richard Marsh's achingly funny rhyming retelling of classic film Die Hard at Wilton's Music Hall this April. One of the Picks of the Fringe in The Stage and Recommended by The British Comedy Guide, this is a classic that's not to be missed.

When gunmen seize an LA skyscraper, off-duty policeman John McClane is the hostages' only hope. This uplifting action romp (and unauthorised parody) pays affectionate tribute to the iconic 80s fan favourite. Essential viewing for Hans Gruber superfans and newcomers alike. Content warning: divorce, foot trauma, German terrorists.

Richard Marsh is a Fringe First Award Winner, London poetry slam champion, BBC Audio Drama Best Comedy-winner and New York cop (one of these is untrue). His one-man play Skittles was commissioned for Radio 4 as Love & Sweets, and won Best Scripted Comedy in the BBC Audio Drama Awards. Dirty Great Love Story (co-written and co-performed with Katie Bonna) won a Fringe First Award at the Edinburgh Fringe, before transferring to New York followed by the West End. Edinburgh hit Wingman was picked up by Big Talk Productions for UK TV then developed by CBS Studios for US TV. He also wrote the Radio 4 poetry comedy series Cardboard Heart.

Hal Chambers is a Writer and Director. He trained at the University of Sussex, Bristol Old Vic Theatre School and The National Theatre Studio Directing Course. He has created and directed several productions including Sam Rose in the Shadows, The Golden Cowpat (both Greenwich Theatre and UK Tour) and Tim and Light (Rich Mix, UK Tour). Work as a Director includes Dare Me To The Desert (Kings Head Theatre), The Elephant in the Room (New Wimbledon Theatre) and The Fastest Clock in the Universe (Alma Tavern Theatre).

Venue: Wilton's Music Hall, London E1 8JB

Dates: Tuesday 18th to Saturday 22nd April

Time: Evenings - 7.30pm (Matinees - 3.00pm Thurs & Sat)

Box Office: 020 7702 2789

Online: Click Here


Interview: Brodie Donougher A REAL LIFE BILLY ELLIOT STORY!

What do you get when you have a ballet dancer who dreams of making it professionally and showing the world that guys can dance too?  You have a real-life Billy Elliot story, which is happening to someone who played the titular role of Billy on the West End back home in the UK, and is now here in the US studying and training in professional ballet making his dancing dreams a reality! Not only does he dance, but he has done a few acting roles as well and even participated in a professional opera as a dancer. He is taking the role, and making it his real-life story!   At the end of the musical, we see Billy leaving his home and family to head off for training at the Royal Ballet School, so this is like getting to see the story continue beyond the stage!  Broadway World Detroit got a chance to catch up with Brodie Donougher, the last person to play the role of Billy, and see what he’s up to since his days on the West End stage 7 years ago!

Review: BLACK PANTHER IN CONCERT, Royal Albert Hall

Conducted by Anthony Parnther (isn’t that the perfect name to lead this specific venture?), this European premiere features Massamba Diop on the talking drum, an instrument essential to the score. Diop, who performed the original tracks for director Ryan Coogler, is a force of nature. After a beautiful introduction by Parnther (who surprisingly does a cracking impression of James Earl Jones as Mufasa!), Diop gave a taster for what was to come: a vibrant tattoo that goes hand in hand with masterful storytelling, filling the Hall effortlessly.


Few words grab the attention like murder. And few genres outside immersive theatre can pull you physically into a specific time and place. So why aren’t there more immersive murder productions like this one?


All in all, the evening is like a group session with no guarantees of being called out or receiving answers. Believers will believe, sceptics won’t. Without going into Michael’s “gift”, the two hours are, unfortunately, rather dull. He jumps straight in between tongue-in-cheek jokes and an entertainer’s spirit. A tense silence falls onto the audience and he starts pacing around, trying to “pick up” some “energy”. He is respectful, and kind, almost apologetic for his intrusions into people’s personal lives as he glances into nothingness, pulling information out of thin air.



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