Month: June 2017

Majestic Theatre, Darlington – Reviewed by Andrew Bramfitt

Since 1969 when it was first published, Eric Carle’s The Very Hungry Caterpillar has enthralled children of each and every generation – the illustrations and style have become almost synonymous for educational and entertaining children’s books and set out a blueprint for others to follow. Now his creations have been brought to life on stage by Jonathan Rockefeller and, given the reaction from one particularly young theatre goer, this is a smash hit.

The show actually covers 4 of Carle’s stories, each engagingly told through the use of some amazing puppets, very vivid lighting and lots and lots of movement – my grand daughter who only recently turned 1 sat riveted for most of the show, loving the non-stop action – in fact she only got restless when one of her favourite characters left the stage, standing on mum’s lap to shout for the sea horse to come back.

There is some very clever ideas around painting pictures which then come to life, emerging on stage as full size puppets which just added to the magic of the show and ensured it kept tiny and slightly bigger minds watching and guessing what might happen next.

Of course, the star of the show is the caterpillar and the eponymous final story is a finale to send all the audience, young and old, on their way home feeling very well entertained. There were many comments from parents & guardians afterwards who were surprised by just how engaging it was for the adults as well as the children – I guess we have all read, listened to (or in some cases been) The Very Hungry Caterpillar in our lives.

The Majestic Theatre in Darlington is the perfect venue for this very colourful and visually engaging show; it is intimate, relaxed and ideal to cater for children who might otherwise feel a little intimidated by a more austere theatre. That sense of relaxation spread to the parents too and as such, everyone was able to sit back, kick back and wallow in good old-fashioned story telling brought right up to date.

Disney Pub Quiz (Fundraiser For Wheelchair Access)

at The Majestic Darlington

Friday 23 June at 8.30pm

 

How much do you really know about your favourite Disney movies? We are raising money for our access fund via lots of events so please come along and support us in your mission to make the arts accessible for all!

The fabulous sister duo Meg & Gillian Campbell will be hosting the quiz and keeping the whole evening running smoothly… like a magic carpet ride 😉

Get your team booked in now as this is a strictly registration only event!

Doors open at 6.30pm quiz starts at 8.30pm

Register your team here http://www.majestic-tickets.co.uk/

Majestic Theatre

Bondgate

Darlington

DL3 7JT

 

 

Hen and Chickens Theatre 13 – 24 June.  Reviewed by Claire Roderick

Writer/director AJ’s debut play tackles the issue of child marriage in the UK. At 14, Aisha travelled from her home in Dagenham to Nigeria to be married to a 51-year-old man in exchange for a large dowry. Now 17, Aisha (Laura Adebisi) tells the story of her life with her nameless husband.

Beginning with a poetically gruesome description of nightly rapes and abuse, the play doesn’t shy away from the brutality and viciousness of Aisha’s husband, with a torture scene that is particularly graphic, but completely justifiable in this narrative. Aisha calls her nameless husband her possessor, and talks matter-of-factly about how the man has stripped her of her identity, belongings and relationships. AJ has given Aisha an eloquent voice that conveys the fact that this is an educated modern girl trapped in this antiquated nightmare, and her attempts to liberate her mind through books is a lovely touch.

The play is strongest when Aisha is alone, or having flashbacks and imaginary conversations with her mother (Sabrina Richmond). The play would still be powerful, perhaps even more powerful with some characters and their dialogue cut out. When her husband (Ayo Oyelakin) is silent, or roaring wordlessly at her, the tension and danger is palpable, but his scenes with his obnoxious racist friend add nothing to the narrative and could be cut to create a tighter production. AJ may have wanted to flesh out the man to show what a pathetic little bully he is, but that really goes without saying and the scenes feel like filler. Also, Aisha’s case-worker’s sharing of her own experiences being groomed and abused by older men was a little incongruous. I understand that this is high profile in the public’s consciousness compared to the less spoken about issue of child marriages in the UK, and AJ might want to highlight this inequality but the whole speech just felt tagged on.

Laura Adebisi is unbelievably convincing as the 17-year-old, delivering a moving and fearless performance. The voice that the audience need, and want, to hear is Aisha’s and AJ should have more confidence in this fantastic character to carry the play without extraneous distractions. Some judicious trimming could turn this into a much more coherent and focussed play. Aisha is a brave debut from an exciting new writer, harrowing and heart-breaking, with a stunning performance from Laura Adebisi that deserves a wider audience.

Richmond Theatre 12 – 17 June, touring UK to September.  Reviewed by Claire Roderick

It’s 170 years since Jayne Eyre was published, but Charlotte Brontë’s novel still strikes a chord today with its wonderfully strong-minded and independent heroine. While most adaptations rush through Jane’s early years to get to the love story, this Bristol Old Vic/National Theatre production takes it time, with most of Act one showing the events that mould Jane’s character in delightful detail, dealing with the social and gender issues that the novel highlighted.

Michael Vale’s set design seems incongruous before the show starts, all wooden planks and frames, and lots of ladders. As soon as the cast start moving around, the design makes perfect sense, with the cast constant circling around the platforms and changing levels adding to the momentum of the play. A three-piece band is tucked under one of the platforms playing quirky and haunting music that accompanies the story perfectly. Melanie Marshall is a constant melancholy presence onstage as Bertha, with her magnificent voice providing an extra emotional punch to scenes with some traditional and modern songs. Her mellow rendition of Gnarls Barkley’s Crazy as she burns down Thornfield Hall is spectacularly spine-tingling.

Nadia Clifford plays Jane with enough pent-up energy to light the national grid. She is equally impressive playing the frustrated 10-year-old as she is playing the adult Jane, and makes Jane instantly likeable and sympathetic. Her relationship with Tim Delap’s Rochester doesn’t really have much stage time, but the pair create a powerful picture of love and mutual respect quickly and convincingly without the need for further dialogue. Hannah Bristow, Evelyn Miller, Paul Mundell and Linda Rooke take on a variety of roles and excel in them all. Mundell brought the house down every time he came onstage as Rochester’s dog. Pilot, using no costume but a leather strap as his tail. (I know that sounds slightly naff, but it REALLY works – he’s fantastic!)

Director Sally Cookson has done a fine job squeezing the original two shows into one. Three hours may sound lengthy, but everything that’s left is necessary to the storytelling. The mix of music and movement builds an infectious energy that makes the quieter, still passages even more moving.

You may think you know the story of Jane Eyre, but this production, with its wild, brave energy, brilliant performances and glorious heroine will have something new for you to discover. This adaptation is essential viewing.

National Tour Dates:

19 – 24 June Marlow Theatre, Canterbury

26 June – 1 July Wales Millennium Centre, Cardiff

3 – 8 July Theatre Royal, Newcastle

10 – 15 July Milton Keynes Theatre

17 – 22 July Norwich Theatre Royal

24 – 29 July Theatre Royal, Brighton

31 July – 5 August Grand Theatre, Leeds

28 August – 2 September His Majesty’s, Aberdeen

4 – 16 September Repertory Theatre, Birmingham

 

Edinburgh Playhouse – until Saturday 17 June 2017.  Reviewed by Linda McLaughlan

With the air electric with anticipation we awaited the performance to begin. The story began as we all know so well from the film production with arrival of the Houseman Family to the prestigious Kellerman’s House. ‘Baby’ (Katie Eccles) took centre stage as we followed her families arrival and their introduction to the staff who would be significant to their visit. The arrival of ‘Johnny Castle ’ (Lewis Griffiths) to the stage did not disappoint as he teased the audience with some formal dance steps as per his role as resort dance instructor. His routine with dance partner Penny Johnson (Carlie Milner) provides us with a small indication of their moves as they fluidly move across the stage.

The story really begins when ‘Baby” helps ‘Billy’ (Jonny’s cousin) “Carry a Watermelon’ and she is introduced to a world of dance she never new existed. The audience is taken along with Baby’s journey of discovery through the well known music accompaniment with songs such as ‘Do you love me’ ‘Wipe out’ ‘Hungry Eyes’. ‘I’ve had the time of my life’. The songs and story are well known by audiences all over the world and it is evident throughout the entire show the impact that the production has on its audience in Edinburgh tonight.

I have to mention the voice of Michael Kent who is a very talented performer which was highlighted in his vocal renditions throughout the night and also the comical performance from Lizzie Ottley who did not disappoint as Lisa Houseman especially during her ‘Hula’ at the end of season show

As for the story progresses and the moves from Lewis Griffiths become more intense leaving everyone breathless with anticipation watching him all that can be said is ‘WOW, WOW, WOW’. He had the audience in the palm of his hand through-out the production and his seductive dance moves and physique had many of the female audience encapsulated in his grasp, wanting to see more and he did not disappoint……a nerve tingling experience which everyone should feel.

I will definitely be back to see more of this exhilarating production and experience more of Johnny Castle in action.

King’s Head Theatre 7 – 25 June.  Reviewed by Claire Roderick

After a sold out run at Finborough Theatre, Arthur Miller’s rarely seen play transfers to the King’s Head. Inspired by true stories of men being rounded up for inspections, a Gentile who gave a Jew his own papers to escape the Nazis and a defiant Austrian noble, Phil Willmott’s production of Miller’s play takes place in a kind of limbo. The stark white set and increasingly unsettling sound effects create a strong feeling of the men being in limbo, helplessly awaiting judgement for an unknown crime.

The men all appear to fit the Nazi’s ubermensch criteria, with a gypsy, a communist, and a gay actor brought in with the Jews. As they sit waiting to be called for inspection, the men, initially cagey, with coded questions about being “Peruvian”, begin to theorise about what the Germans want of them. The men go through denial, insisting that if their papers are good, everything will be fine, but soon start to discuss rumours about work camps, slave labour, and trains taking Jews to die in furnaces. Henry Wyrley-Birch as Leduc, ex-army and psychiatrist, is the mechanism for examining society’s denial of and complicity in such atrocities. Monceau’s (PK Taylor) insistence that European society is too civilised to allow such things, Von Berg’s (Edward Killingback) argument that nobody who appreciates art could commit barbaric acts, and Bayard’s (Brendan O’Rourke) communist view blaming the rise of the Nazis on the rich and upper classes are all shot down in flames eloquently and rationally. Miller doesn’t give Leduc the answers, he just leaves the unpalatable truth hanging in the air, and we get to see some of this worst of human nature onstage too, as the men treat the gypsy with contempt because of his race. In times of hardship, people always need someone to blame. Although Incident at Vichy was written over 50 years ago, Miller’s play resonates today, with Trump’s talk of a Muslim register and nationalism, paranoia and anger simmering around the world. Miller ends the play with an act of redemption and sacrifice that is wholly satisfying and is played with perfect restraint by Killingback and Wyrley-Birch.

The entire cast give utterly convincing performances, with the nervous tension palpable, and the audience beginning to wince with the cast each time the door clangs shut. There are some wonderfully heart-rending moments, mostly involving Daniel Dowling as the 14-year-old boy, and his mother’s ring, but Jeremy Gagan will break your heart as the mute old Jew as the boy is taken away, and on his own exit. A beautiful performance.

Incident At Vichy is a fine production with a wonderful ensemble cast with a theme that resonates today. Well worth a look.

Trafalgar Studios 6 June – 8 July.  Reviewed by Claire Roderick

Richard Bean’s new play is an intimate affair, perfectly at home in Trafalgar Studio 2. Claire Lams plays a woman who married young and was widowed by World War One. She is a thoroughly modern woman trapped by the constraints of the time; and ten years later, in an England missing almost an entire generation of men, she is determined to have a baby. Enter “Dennis” (Ben Lloyd-Hughes), sent by Doctor Trollope as a hands-on sperm donor.

There is lots of comedy to be found in their first meeting, with Dennis trying to remain business-like setting out the rules and parameters of the arrangement, but becoming more and more flustered under the barrage of “Stephanie’s” questions and rambling chatter as she tries to dispel her anxiety.

The pair circle the bed (under the constant gaze of her dead husband’s photo), fully clothed, and full of sexual tension, as she tries to understand his reasons for sleeping with so many women. His survivor guilt about not fighting in the war has made him cling onto Freud’s Eros and Thanatos theory, and when he finally explains, full of conviction that THIS is his war, to defeat death, you begin to see that he is just as broken as the shell-shocked survivors whose wives he impregnates.

Bean’s writing is as sharp as ever, finding comedy in the darkest moments, but not overshadowing the melancholy and despair of the characters’ situations. Lams and Lloyd-Hughes are both utterly convincing and heart-breaking as two people searching for love and affection, and have wonderful chemistry and comic timing.

The set is underwhelming as you wait for the play to start – a bed and a background of oddly angled distressed mirrors. But once the play begins, the concept becomes clear. As the actors move around the stage, wherever they stand, and wherever you sit in the audience, their faces are still visible – enhancing the feeling of being voyeurs in this tiny bedroom where no secrets can stay hidden for long.

Kiss Me is a funny, provocative and engaging play; a millennial Brief Encounter with rum and sex rather than tea and cake. Well worth a look.

Jack Studio Theatre 6 – 24 June.  Reviewed by Claire Roderick

Edgar Allan Poe is one of those marmite writers, you either let the florid meandering prose envelop you, or you shake your head and wonder exactly what he had taken before putting pen to paper. The Okai Collier Company’s adaptations take inspiration from the Corman films of the 1960s, fleshing out the plot with characters not in the original stories. Let’s be honest, the original Masque reads like a nightmarish estate agent’s blurb and is a theatrical non-starter.

Simon James Collier’s adaptation of The Masque of the Red Death begins atmospherically enough, with a description of the devastation caused by the disease given by the grotesquely grinning and unsettling Jester (Anna Larkin). Prince Prospero has invited his friends to sit out the Red Death in his castellated abbey, and as the country burns and dies, the rich and privileged dance and play. A bit like an apocalyptic version of Made in Chelsea really. Through whispered conversations between the nervous guests and encounters with Prospero, the horror of the disease, and the ruthlessness of Prospero’s methods to deal with it, are revealed. The guests’ secrets are used against them by the Satan worshipping prince (Cristinel Hogas) who intimidates with smiles and gentle but malevolent words. Omar F. Okai has steered away from the camp grotesquery of the film versions, but the story just isn’t that gripping, and a lot of the character detail feels like filler before the big finale. The cast do a fine job, when you can see them. I know the double bill sets restrictions on set design, and the bare, black space creates a wonderful claustrophobic feeling, but the fog and dim lighting are a bit overdone in some parts, making it very hard to see the actors. The final confrontation with the Red Death is competent enough, given the restrictions of the production, but I was a little underwhelmed. It may be because I’ve watched too many police shows, but, rather than being a terrifying spirit, the Red Death sounded more like a third-rate villain making a ransom demand. But this was balanced out by the use of the Jester in the final scene – very effective.

The Fall of The House of Usher is more successful, with Adam Dechanel using the ghosts, Bristol and the Winthrop character from the film. Winthrop’s fiancée Madeline was snatched from him before their wedding, and he has followed her to her ancestral home. There he encounters her brother Roderick Usher, and learns that Madeline and her brother are sick. Roderick is frantically carrying out experiments on the last remaining corpses of his dead relatives to find a cure, helped by servant Bristol. The ghosts of these relatives act as a weird Greek chorus, spitefully tormenting Winthrop and Bristol, but tenderly soothing Madeline’s tormented sleep. The malady that afflicts the Ushers is illustrated brilliantly, with raised voices triggering lights, piercing noise, and spasming from Madeline. The link between the madness and sickness of the Ushers and their home is given a new twist in a nod to the double bill, which works well. Maud Madlyn ramps up the tension and feeling of unease with great skill. Nell Hardy is phenomenal as Madeline – her physicality bringing gasps and hand over mouth moments from some audience members. Zachary Elliott-Hatton’s take on Roderick Usher is full of layers, petulant and controlling, and wonderfully nuanced in the differences between touching the living and the dead. Very creepy – like Max Schreck with jazz hands.

A mostly successful production of Poe adaptations, atmospheric and unnerving, and filled with great performances.

Park Theatre 1st -24th June.  Reviewed By Jessica Brady 

I was always told ‘Beauty is in the eye of the beholder’, but as more modern idea’s of what beauty truly is are at the forefront of most magazines, TV shows and even theatre, it’s hard to know if we as average bodied, non air brushed people are in fact classed as beautiful anymore. Do we succeed if we are not visually appealing to the people that ‘matter’? The Ugly One delves into a world that isn’t too far away from the one we live in now to explore that very question.

The story is focused around Lette [played by Charlie Dorfman] a clever engineer who has all the brains to invent and produce revolutionary things in his line of work and even the charisma to present them. However Lette’s boss, Scheffler [played by T’nia Miller] has recruited Lette’s young and attractive assistant Karlmann [played by Arian Nik] to present the newest invention and stay in a luxurious resort to top it off. Lette is obviously very put out by this and demands to know why he isn’t going to present his work, thus plays the awkward conversation where his boss tells him he is too ugly to do it. Outraged and horrified, Lette goes home to his wife Fanny [played by Indra Ové] to seek comfort but his wife tells him the same thing leaving Lette dejected and with only one real option, surgery. Lette goes under the knife and becomes completely transformed into a mega hunk and becomes more successful, arrogant and begins to take everything for granted including his job and wife. Lette becomes a star and the face that everyone wants, literally, as he has attained a level of beauty now that people associate with success on every level, so people everywhere begin to get the exact same face as him leading to somewhat desperate and bizarre consequences.

Buckland Theatre Company’s production of ‘The Ugly One’ has some very dark satire which at moments is laugh out loud funny but gloriously uncomfortable too which is just as good sometimes. I particularly enjoyed the surgery section of the piece which was demonstrated with a soundscape of a smoothie being made; the sounds alone were enough to give the visual idea without actually having to see a spot of blood and were cleverly done. All four actors were impeccable with their comedy timing and often turned to the audience for little in jokes which in a fairly intimate setting was a nice touch.

The staging was simple but effective, a platform in the centre of the arena theatre setting which images and videos were projected onto it from above. The use of a live recording camera projecting what footage it was getting onto the stage was a great tool that I wish they could have used more of. Costume was basic and represented the characters well until multi-rolling occurred, there was no change of costume but a change in characterisation and a slight lighting state change which at times left the action a little confused as to who was who.

Overall I felt the piece was executed well but I didn’t come out feeling anything had been resolved by the end of the play. The ending is a little bizarre and went in a direction that wasn’t what I had expected, however the performances were great and in particular Arian Nik who makes an excellent professional debut in this.

Despite feeling a little baffled at the end [Which could have been the desired effect, I don’t want to give too much away] the play definitely made me think about identity, beauty standards and what it takes to be successful. The scary prospect that this play tackles is on its way to becoming a reality if it hasn’t hit us already and that on reflection makes me feel quite sad and worried but this is why plays like The Ugly One are important. Go be entertained, challenged, cringed and recognise that this isn’t so far away from the truth of the world today but I still believe beauty is skin deep and its what’s underneath that counts and leads to the kind of success I strive for.

 

 

Manchester Opera House

8 September 2017 – 30 September 2017

 

Sheffield Lyceum Theatre

4 October 2017 – 14 October 2017

 

Bradford Alhambra Theatre

17 October 2017 – 28 October 2017

 

Southampton Mayflower Theatre

31 October 2017 – 11 November 2017

 

Llandudno Venue Cymru

14 November 2017 – 25 November 2017

 

Stoke Regent Theatre

28 November 2017 – 9 December 2017

 

Cardiff Wales Millennium Centre

9 January 2018 – 20 January 2018

 

Liverpool Empire Theatre

23 January 2018 – 3 February 2018

 

Norwich Theatre Royal

6 February 2018 – 17 February 2018

 

Canterbury Marlowe Theatre

20 February 2018 – 3 March 2018

 

Hull New Theatre

6 March 2018 – 17 March 2018

 

Leeds Grand Theatre

20 March 2018 – 31 March 2018

 

Newcastle Theatre Royal

3 April 2018 – 14 April 2018

 

Bristol Hippodrome

17 April 2018 – 28 April 2018

 

Birmingham Hippodrome

1 May 2018 – 12 May 2018

 

Plymouth Theatre Royal

15 May 2018 – 26 May 2018

 

Northampton Royal & Derngate

29 May 2018 – 9 June 2018

 

Nottingham Theatre Royal

12 June 2018 – 23 June 2018

 

Glasgow King’s Theatre

26 June 2018 – 7 July 2018

 

Edinburgh Playhouse

10 July 2018 – 14 July 2018