Month: September 2017

Quays Theatre, The Lowry, Manchester – Thursday September 14th 2017.  Reviewed by Julie Noller

4****

I arrived at The Lowry and indulged in a spot of people watching, I surveyed the audience gathered to enter and noted a very eclectic range of ages. Always a good indicator of just what would be expected. As was the stage set up – I forgive the delay in start, artists need their time to prepare. The stage was basic stripped back, just a simple chair wearing a jacket (I wondered if Charlie Fink would maybe get cold) a microphone and very dark hazy lighting with added smoke. It brought to mind roadhouse venus across America or pre smoking ban Britain, I felt transported into club culture.

Charlie didn’t only sing he acted. He used his guitar to interact on a very personal level with the audience, songs ranged from folky to upbeat especially when performing ‘the hit’ the song which his character Frank hates, Charlie isn’t the performer he’s Frank the troubled singing star who is seeking a way out of life. Talented as a songwriter he keeps a notebook for his scribbles. Our introduction to Frank is when the hugely talented Rona Morison arrives on stage I instantly warmed to her character with her scotish lilt, she was bright yet vulnerable looking for the fun in life and finding her soulmate in Frank. He was however at the time hanging on a window ledge having forgotten he’d order room service.

We are then taken on a rollercoaster journey are they discussing Franks wake? He’s dead? He’s not dead? He’s missing? Blink and you might just miss the clues.

Cover My Tracks was emotional, moving, clever and intelligent, I was genuinely moved by the raw stripped back emotion. There were moments when the air inside the auditorium was electric the pause was noticable to feel.

It was funny with witty one liners, it was prophetic and political bringing our senses to the fact that Frank/Charlie was a member of a band. I like theatre that makes me question things – was it semi autobiographical? Given that it was extremely well written by David Greig, I just don’t know but it’s an interesting thought. It made you think about life in the digital age, how easy is it to disappear? In an age where life is played out by the small devices pressed into hands. We’re given a visual shake up, Joni Mitchell would have been taking selfies, Neil Young would’ve posted about a protest petition. It’s a rather depressing and sobering thought. Which is rather the aim of the play.

As is life, it moves on, it continues quite often on a different path to the one we believed we were following, the search for Frank shows us that, oh and the god (dog for those not in the know) Dionysus who must be fed and looked after. The search takes us from Ireland to Scotland, thanks to a simple flyer found in Franks jacket pocket, to the goat farm. Finally to remote woodlands, retracing steps would she find her Frank and be able to regain her song? As much as we love to cheer on the underdog you feel every step taken, her depression deepens. Finally Frank appears but it’s not a happy ending reunion, she does however find his notebook and agree to finish his songs, Frank fades from stage leaving his guitar and is finally replaced. Its not the big lavish polished performance that you quite often see in theatres but Cover My Tracks, I loved with the same passion as the performers gave, shining out with life that is far from perfect but is genuine and heartfelt. At 70 minutes it’s not an epic show but my bum was firmly glued in my seat to see Rona Morison bring the curtain down.

Home, Manchester – 14 September 2017.  Reviewed by Marcus Richardson

4****

Wedding is a contemporary physical theatre piece set in a dystopian world, offering the audience an entertaining performance with powerful and meaningful scenes. The play opens up with an actor coming down a slide and entering this new world and given a job straight away, a note to add is that there were several languages used in the play from French to German and even Arabic, this is an interesting concept as we focus more on the actors bodies and the stage rather than the words spoken, at first we were listening to this actress on stage who spoke German and the audience laughed due to her energy and confusion on what was happening.

The main aspect of this performance is the use of body and manipulation and creativity of telling a story, if I could pin point one exact scene in the play, it would be between a man and a woman’s relationship and how it’s breaking down the contemporary use of dance linking in with props that were on large poles which flowed along with the scene and when needed the actor would interact with them. This creativity is something I love to see in theatre and it didn’t look out of place whatsoever.

This play has a lot of symbolism and meaning to it, so it would be stupid without talking about a character who is homeless and lives in a suitcase (strange I know) with his family, at first his entrance is comical and you are made to believe he is the fool of the play, but his story develops into this energetic tale of survival. The scene with him in often had me lost into the play and I forgot I was in a theatre.

The Manchester Home Theatre is new to me since moving to a new city and from what I’ve seen I’m my first week of living here I can say that I will most definitely be watch more theatre by the Gecko Company and at home theatre. If you as a theatre goer want to feel the way I feel and see new and exciting theatre go and watch The Wedding at Home theatre Manchester.

Jack Studio Theatre, 7 – 23 September.  Reviewed by Claire Roderick

4****

The sidelining of the arts in schools and the government’s obsession with forcing the STEM subjects upon uninterested students is alarming for everyone involved in education. At a time when KS1 staff are being encouraged to use art, drama, music and rhythm to aid mindfulness, thinking skills and creativity across the entire curriculum, once the children are of an age to be tested, tested and tested again, all of these theories and methods are deemed irrelevant and the pressure builds as school life gets more and more regimented with minimal opportunities for relief. The AC Group’s new musical tackles this issue with humour, and some cracking tunes.

With books hanging from the ceiling, and instruments all around the stage, as you wait for the show to begin you may start to wonder whether the State of Things will be Matilda on steroids, or The History Boys on speed. Turns out it’s somewhere smack bang in the middle. There’s the camaraderie as the children band together to defy and take on authority figures, but also the melancholic awareness that things don’t really change as they are too young for their opinions to be respected.

When they find out that their academy is cutting music provision, the seven members of the GCSE class decide to do something about it. Appeals to the head teacher fail, so they begin a campaign on social media. As in any show set in a school, the characters are a Breakfast Club-lite mix. There’s the posh, rich Adam (Elliot Clay) who is mooning after the enigmatic Ruth (Hana Stewart) – their repeated moments of almost, but not quite, kissing are written sweetly, with a hilarious evening in his bedroom writing a letter to the head as the rest of the cast sing a Barry White style song encouraging her to “take my sonnet, go down on it” amongst other suggestions. Rugby player Will (James William-Pattison), who has no filter whatsoever and is crude, funny and sexually confused; bass player Sam (Peter Cerlienco), the cool one who looks and acts like he’s in a real rock band; geeky and intense Kat (Nell Hardy) who knows deep down that nobody actually NEEDS a viola player in a band; and soppy lovebirds Jaz (Rosa Lukacs) and Beefy (Toby Lee) who can’t keep their hands off each other, complete the band.

The cast are all full of energy, and are talented musicians. Completely believable as hormonal teenagers, each cast member manages to make an impact on this fine ensemble piece. William-Pattison grabs the most laughs as Will, with some wonderful drunk acting, while Clay’s facial expressions as he struggles to talk to Ruth are a joy. And Hana Stewart’s voice – fabulous!

Elliot Clay’s music and lyrics (he’s a talented young man) are catchy and memorable, with a couple of lovely ballads which build to powerful emotional endings, and a fantastic singalong finale that ensures the audience leaves buzzing. One of the funniest songs has the cast smilingly and sweetly insulting the head, Maggie, as Kat earnestly delivers her statement to Maggie (a coherent and well thought out piece about the benefits of music education) which ultimately falls on deaf ears.

Thomas Atwood’s book is full of wit, and lots of authentic teenage sarcasm. The political points are mostly delivered with fatalistic humour without becoming preachy (as well as education cuts, child carers and the changing goalposts of disability benefits crop up) and the teenagers’ realisation of their own impotence and despair at the older generation’s mistakes isn’t overdramatised, making their acceptance of their fate credible and satisfying. There isn’t a happy ending for these characters, just an uncertain future, but one filled with hope.

The State of Things is a fantastic new home grown musical, demonstrating EXACTLY why music education is so important. Get down to the Jack and join in the fun.

 

Edinburgh Playhouse – Monday 11th September 2017.  Reviewed by Linda McLaughlan

5*****

The evening began with the audience waiting in anticipation for the production to begin. The orchestra were positioned high above the stage and kicked of the night

By introducing each member and their instruments. The show began with the classic song which took you back to the summertime and the beach when Tom Par-ker (Danny) and Danielle Hope (Sandy) each took to the side of the stage to sing the opening Sandy before the rest of the Company erupted on stage to the sound of Grease is the Word. The story had begun of teenage romance, slick hairstyles, rock and roll and friendships formed in school that would stand the test of time. A time when students enjoyed getting together to listen to record players and vinyls with nights in the Hamburger joints enjoying milkshakes. The audience clapped and sang as the evenings show got into full swing. Sexy dancers in the showers, the Pink Lady’s and the T Birds really got everyone in the mood to kick off their shows and enjoy the performances as they unfolded.

Tom was amazing both in voice and also adding the quirky moves associated with John Travolta in the original movie production of Grease.

Danielle brought a sophisticated touch to the performance with her amazing vocal range which brought a different feel to the show. Credit must be given to Tom Senior and Louise Lytton for their perfect performance and portrayal of Kenickie and Rizzo another two main characters of the show. Credit must also be given to all the Performers who each brought a musical highlight to each song performed.

The staging and originality brought to the performance was different from the original movie which kept the audience on their toes as what would be an expected song came later or earlier that predicted. This arrangement brought freshness to the night and added a classic touch. Songs which everyone recognised allowed the audience to participate by clapping and singing throughout the performance. Music spanning over 50 years from the 1960’s and ranging from basic stage shows to Award winning Movies and Stage Performances this classic story has spanned many generations as was evident from the vast age range present in the audience from as young as 6 to 80. Everyone being able to relate to each song as it brought back memories or continued let them enjoy their new found love of Grease.

From the dance moves to the songs this performance made for a fun, enjoyable first class night in Edinburgh and I would recommend that everyone makes a family night of going to the Playhouse to enjoy this performance of a classic movie played out on the stage. The evening concluded with a much deserved standing ovation and a fantastic opening performance which everyone associated with the production can be proud of. ‘Grease is and will always be the word.’

⭐⭐⭐⭐⭐ An excellent show

Richmond Theatre 11 – 16 September.  Reviewed by Claire Roderick

4****

Alfred Uhry’s 1987 play, inspired by a family anecdote about his grandmother, is revived in this classy and exquisitely acted production.

When 72-year-old Daisy wrecks her car, and a building, her son Boolie hires Hoke as her chauffeur. Although her late husband’s business success means that she is now wealthy, Daisy is proud of her simple upbringing, and detests any show of wealth. Her initial resentment of Hoke gradually thaws, and the play, covering the years from 1948 to 1973, shows the evolution of their relationship. Set in Atlanta, the characters in Driving Miss Daisy live through the development of the civil rights movement without becoming directly involved, but shifts in their attitudes over the years are clear.

Uhry’s script is full of dry wit, and some cracking one-liners. There is lots of incidental social comment, but it forms the backdrop of the characters’ lives, not driving the plot. This is ultimately a play about friendship, and Siân Phillips and Derek Griffiths have the acting chops to keep the audience entranced throughout this episodic and gently paced play. It says so much about the duo’s consummate skill that one of the most memorable scenes has no dialogue, as they share a picnic in the car displaying perfect comic timing.

I’d better get the car issue out of the way – after a glorious billboard showing a vintage Oldsmobile, the garage door opens and a steering wheel is placed in front of a bench. But it works brilliantly, it’s such a simple conceit that feels perfect with the homespun Southern charm of the play. The white clapperboard set and minimal props add to the atmosphere.

Phillips is luminous as Daisy, cantankerous and fizzing with energy, and subtly signalling Daisy’s advancing years with nuanced body language before the script clarifies leaps in time. Griffiths is her perfect foil, funny, feisty and subservient, but becoming bold and sometimes manipulative as he becomes comfortable in his relationship with the family. Sitting watching pensioners squabble shouldn’t be this entertaining. Teddy Kempner is a memorable Boolie, his frustration and love for his mother is completely believable, and his developing relationship with Hoke is delightful.

The later scenes, in 1973, are gut-wrenching, as Daisy develops dementia and is put in a home, but the final moments between Hoke and Daisy bring a huge grin to your face as the actors effortlessly remind you of the strength of love between the couple. If you’re looking for an action-packed evening, then this play isn’t for you, but if you’re after a warm, witty and wise exploration of friendship, filled with glorious acting, get a ticket to see Driving Miss Daisy.

Arcola Theatre  –  11 September.  Reviewed by Brian Gordon

5*****

Translated from Sergio Blanco’s original Uruguayan play in to English by Daniel Goldman as part of this year’s CASA Latin American Theatre Festival, this production in the Arcola Theatre is a step away from the conceptual deliveries of many creations. Daniel also directs and has chosen a great location. The Arcola is inviting and buzzing from stepping through the urban mix match of artistic and social uses of the building, not to dissimilar to the stratums of the play which unfolds.

The stage is intimate and the audience are layered around it, close and involved. The central cage (yes cage) is dominating and the use of CCTV brings the audience into the world of Martin and S’s world as their relationship develops. Trevor White gives a convincing introduction that makes the audience question what they are seeing this evening, art, representation of reality or reality…Is this play or a social experiment. Well representation of reality is of course better than reality isn’t it? S guides you through a steadily increasing translation of the facts, the story and the development of the story. The lines increasingly crossing and the truth blurring.

Martin the protagonist, a convicted patricide, is portrayed by Alex Austin, who demonstrates a vagarious performance via Freddie, the actor selected to play Martin…This third and fourth dimension required and delivered a character with complex transitions between serious, muddled, angry but understandably likeable criminal to middle class, intelligent and often slightly dopey actor… Yoga is not a sport… The linkages to Oedipus are clearly defined and then challenged. He was not aware it was his father he slays, or his mother he married… There is nothing in this play that would make you want to stab your own eyes out…Quite the contrary.

5 stars all round for this polished and accomplished production in a great venue, superb delivery with the audience deathly silent and cracking in laughter within the same context. Alex Austin is one to watch, in this performance as an actor playing and actor playing a complex character he goes from dominant, intense deliveries to funky dance moves and witty role reversals.

Sunderland Empire – until 16 September.  Reviewed by Andrew Bramfitt

3***

The 3rd biggest movie of 1983 (behind Return of the Jedi and Terms of Endearment) gets its leg warmers back on for a high octane dance fest filling theatres and delighting dance fans of all ages.

Since Tom Hedley penned the story of a dancing welder in Pittsburgh way back in the early 80’s the world has changed but one thing that has remained constant is the public love for a great story, brilliant dancing and of course, iconic songs. This current incarnation, directed by Hannah Chissick and with world famous Joanne Clifton as the lead Alex Owens, has been brought right up to date with stunning use of digital screens, hi-tech lighting and some very recognisable choreography.

The story, for anyone who has lived in a cave for the past 30+ years is split across 3 arcs with Alex the thread between all 3. She is an apprentice welder by day and wannabe dancer by night who befriends the steel mill owner whilst trying to save her best friend, Gloria (Hollie-Ann Lowe and a definite rival for star of the show) from ending up at the local sleaze bar & strip club. Along the way Alex has to decide between trying to conform to the expectations of society and remaining true to her own passions and does so through such eternal favourites as Gloria, Maniac, and What a Feeling.

The original movie was noticeably lauded for its approach being somewhat akin to the infant MTV – it was purposefully shot like a series of individual music videos stitched together by the story and this stage show retains that feel. Sadly though, this doesn’t always make for coherence when being viewed on a live stage. For all that the stories interweave, there were times where they felt they had been written by 3 different people, in separate rooms and then pushed together to form the whole; the pacing was a little inconsistent and some of the numbers felt like fillers before the next well known song. This in no way detracted from the cast’s delivery but just meant it felt a little stilted. That said, the dance numbers, compiled by Matt Cole, were like a who’s who of 80’s dance icons – Madonna, Michael Jackson, Paula Abdul, Janet Jackson and of course the original Jennifer Beals’ moves all play heavily into each routine.

The set design by Takis was ingenuity at its best; the use of LED display screens to seamlessly move the action from steel mill to dance studio to bar to apartment meant there was very little down time at all and by using the cast to move the 2 screens and stair cases kept the flow of the show without dropping a beat.

It was very clear from the sell out audience that this show, its parent movie and the soundtrack remain ever popular. The iconic songs have become woven into the 80’s consciousness (though I don’t recall the Joan Jett standard “I Love Rock ‘n’ Roll” featuring in the movie) and coupled with the dancing are sure to delight any dancers or dance students – even to my untrained eye it was an impressive display and one which will undoubtedly continue to delight.

 

CASTING ANNOUNCED FOR THE NEW NATIONWIDE TOUR  OF SHREK THE MUSICAL 

• CAST INCLUDES STEFFAN HARRI AS ‘SHREK’, CALL THE MIDWIFE STAR LAURA MAIN AS ‘PRINCESS FIONA’, MARCUS AYTON AS ‘DONKEY’ AND SAMUEL HOLMES AS ‘LORD FARQUAAD’
• NIGEL HARMAN RETURNS AS DIRECTOR FOR THE HIT PRODUCTION, OPENING AT THE EDINBURGH PLAYHOUSE FOR CHRISTMAS 2017

Believe all ‘ogre’ again! SHREK THE MUSICAL® today announces casting for the major nationwide tour. Following the unprecedented success of the first UK and Ireland tour, the original production team reunites to bring the hit musical to a swamp near you. Opening at Edinburgh Playhouse for the festive season this year from 12 December, the production will then tour throughout the country in 2018.

Leading the cast as beloved swamp-dwelling ogre ‘Shrek’ will be Steffan Harri, having previously starred in the original UK tour of SHREK THE MUSICAL®, and Call the Midwife star Laura Main as ‘Princess Fiona’. Due to filming commitments Laura will be performing at selected venues throughout the tour, with full list of dates below*. Also joining the cast will be Marcus Ayton as Shrek’s wisecracking sidekick ‘Donkey’ and Samuel Holmes as pint-sized villain ‘Lord Farquaad’. Further casting to be announced.

The company of fairy-tale characters will include Adam Baker, Ethan Bradshaw, Michael Carolan, Joseph Dockree, Will Hawksworth, Sarah-Louise Jones, Reece Kerridge,Thomas Lee Kidd, Amy Oxley, Jemma Revell, Lucinda Shaw, Sam Stones, Adam Taylor, Jennifer Tierney, Sophie Wallis, Francesca Williams, Laura Wilson andKevin Yates.

Laura Main (Princess Fiona) says:

‘I’ve been waiting a long time for an adventure like this to come along and now that it has I am ready to swap the surgery for the swamp in one of my favourite musicals. Shrek has made a Believer out of me and I can’t wait for this fairytale to take me across the country.’ 

Caro Newling (Co-Producer, Neal Street Productions) says:

‘At Neal Street we take pride in bringing together colleagues from different disciplines in new creative collaborations. For this Shrek tour, we are particularly excited to be bringing together Nigel Harman, with whom we have worked on many successful Neal Street projects, and Laura Main who joined Call The Midwife for the very first series back in 2012. Since Shrek the Musical’s West End debut in 2011 we have opened our doors to nearly 2 million audience members nationwide. It’s great to be out on the road again, ten years after Neal Street co-produced the first incarnation of the show with DreamWorks Animation in Seattle and then on Broadway.’

Nick Salmon (Co-Producer, Playful Productions) says:

‘I am thrilled that the show will be reuniting many of the talented team members who have been involved in the production since day one. Nigel has gone from being Lord Farquaad, in the West End to directing our touring production and Steffan, who was previously one of our hilarious Three Pigs, will be stepping into Shrek’s ogre-sized shoes. We can’t wait to bring this much loved story to audiences across the country once more.’

Opening at Edinburgh Playhouse for the Christmas 2017/18 season from 12 December to 7 January, the production will then tour to Manchester, Sunderland, Birmingham, Aberdeen, Northampton, Sheffield, Cardiff, Stoke, Blackpool, Woking, Liverpool, Canterbury, Milton Keynes, Bristol, Llandudno and Leeds, plus newly added venues in Norwich, Nottingham, Belfast, Dublin, Plymouth and Southampton.

As previously announced, Nigel Harman will return as director, having made his directorial debut on the first ever tour. Since then Nigel has gone on to direct Lunch & The Bow of Ulysses(Trafalgar Studios) and will direct Kelsey Grammer in Big Fish The Musical (The Other Palace) this autumn. Best known for his stage and television work, Nigel originated the role of Lord Farquaad in the West End, winning the Olivier Award for Best Performance in a Supporting Role in a Musical.

Steffan Harri starred in the first ever UK tour of Shrek the Musical, covering the role of Lord Farquaad. West End theatre credits include Les Misérables (Queen’s Theatre), Spamalot(Playhouse Theatre) and Children of Eden (Prince of Wales Theatre). Steffan also played Lyn in Welsh language soap opera Rownd a Rownd.

Laura Main is best known for her role as Shelagh Turner in the award-winning Call the Midwife (BBC/Neal Street Productions). Appearing initially as Sister Bernadette, she left behind her life as a nun to marry Dr Turner. Laura has appeared in all six series to date and will return for this year’s Christmas special and series 7 in 2018. She has also had regular roles as Rebecca Howlett in The Mill (Channel 4) and DC Alison Bain in Murder City (ITV). Stage credits includeCompany (Southwark Playhouse), Me and Juliet (Finborough Theatre) and State Fair (Trafalgar Studios / Finborough Theatre).

Marcus Ayton’s recent credits include Sammy Davis Jr in The Rat Pack Live, Ray Charles in A Tribute to the Brothers Live and Joseph and the Amazing Technicolor Dreamcoat (UK Tour).

Samuel Holmes is currently appearing as George in the UK Tour of The Wedding Singer. Other stage credits include Mrs Henderson Presents (Theatre Royal Bath; Noel Coward Theatre), Water Babies (Curve Theatre), Spamalot (Playhouse Theatre), Kiss Me Kate (Chichester Festival Theatre) and Crazy for You (Regent’s Park Open Air Theatre; Novello Theatre).

SHREK THE MUSICAL® is based on the story and characters from William Steig’s book Shrek!and the Oscar®-winning DreamWorks Animations feature film. Originally directed in the West End by Jason Moore and Rob Ashford, the production has book and lyrics by David Lindsay-Abaire, music by Jeanine Tesori with multi award-winning set and costume design by Tim Hatley.

The UK and Ireland tour of the original DreamWorks Production will be presented by the original West End production team Neal Street Productions and Playful Productions with Ron Kastner, Saracen Films, Tulchin/Bartner Productions, Gavin Kalin, Glass Half Full Productions/Just For Laughs Theatricals, Lee Menzies and Mark Cartwright.

*Laura Main is scheduled to play at the following venues; Edinburgh, Manchester, Sunderland, Birmingham, Aberdeen, Northampton, Sheffield, Cardiff, Woking, Liverpool, Milton Keynes, Plymouth, Southampton and Leeds. The producers cannot guarantee the appearance of any particular artists subject to holiday, illness or events beyond the producers’ control.

 

UPDATED LISTINGS INFORMATION

Tuesday 12 December 2017 – Sunday 7 January 2018
EDINBURGH PLAYHOUSE
www.atgtickets.com/edinburgh
0844 871 3014

Tuesday 16 January – Sunday 28 January 2018
PALACE THEATRE, MANCHESTER
www.atgtickets.com/manchester
0844 871 3019

Wednesday 31 January – Sunday 11 February 2018
SUNDERLAND EMPIRE THEATRE
www.atgtickets.com/sunderland
0844 871 3022

Wednesday 14 February – Sunday 25 February 2018
NEW ALEXANDRA THEATRE, BIRMINGHAM 
www.atgtickets.com/birmingham
0844 871 3011

Wednesday 28 February – Sunday 11 March 2018
HIS MAJESTY’S THEATRE, ABERDEEN
www.boxofficeaberdeen.com
01224 641 122

Wednesday 14 March – Sunday 25 March, 2018
ROYAL & DERNGATE, NORTHAMPTON
www.royalandderngate.co.uk
01604 624 811

Wednesday 28 March – Sunday 8 April 2018
SHEFFIELD LYCEUM THEATRE 
www.sheffieldtheatres.co.uk
0114 249 6000

Tuesday 10 April – Sunday 22 April 2018
WALES MILLENNIUM CENTRE, CARDIFF 
www.wmc.org.uk
029 2063 6464

Wednesday 2 May – Sunday 13 May 2018
REGENT THEATRE, STOKE
www.atgtickets.com/stoke
0844 871 7649

Tuesday 15 May – Sunday 27 May 2018
BLACKPOOL WINTER GARDENS THEATRE
www.wintergardensblackpool.co.uk
0844 856 1111

Wednesday 30 May – Sunday 10 June 2018
NEW VICTORIA THEATRE, WOKING 
www.atgtickets.com/woking
0844 871 7645

Tuesday 12 June – Sunday 24 June 2018
LIVERPOOL EMPIRE 
www.atgtickets.com/liverpool
0844 871 3017

Tuesday 26 June – Sunday 8 July 2018                    *On Sale 25 September
NORWICH THEATRE ROYAL
www.theatreroyalnorwich.co.uk
01603 630000

Wednesday 11 July – Sunday 22 July 2018
MARLOWE THEATRE, CANTERBURY
www.marlowetheatre.com
01227 787787

Wednesday 25 July – Sunday 5 August 2018
MILTON KEYNES THEATRE
www.atgtickets.com/miltonkeynes
0844 871 7652

Wednesday 8 August – Sunday 19 August 2018
THE BRISTOL HIPPODROME
www.atgtickets.com/bristol
0844 871 3012

Tuesday 21 August – Sunday 2 September 2018
VENUE CYMRU, LLANDUDNO
www.venuecymru.co.uk
01492 872000

Tuesday 11 September – Sunday 23 September 2018
THEATRE ROYAL NOTTINGHAM
www.trch.co.uk
0115 989 5555

Tuesday 9 October – Sunday 21 October 2018
BELFAST GRAND OPERA HOUSE
www.goh.co.uk
02890 241 919

Tuesday 23 October to Sunday 4 November 2018    *On Sale 27 October
DUBLIN BORD GAIS ENERGY THEATRE 
www.bordgaisenergytheatre.ie
ROI : 0818 719 377 / UK & NI : 0844 847 2455

Tuesday 13 November – Saturday 24 November 2018
THEATRE ROYAL PLYMOUTH
www.theatreroyal.com
01752 267222

Tuesday 27 November – Saturday 8 December 2018
MAYFLOWER THEATRE, SOUTHAMPTON
www.mayflower.org.uk
02380 711811

Tuesday 18 December 2018 – Sunday 6 January 2019
LEEDS GRAND THEATRE
www.leedsgrandtheatre.com
0844 848 2700
FURTHER TOUR DATES TO BE ANNOUNCED

WEBSITE: www.shrekthemusical.co.uk
TWITTER: www.twitter.com/shrekuktour
FACEBOOK:  www.facebook.com/shrekuktour
INSTAGRAM:  www.instagram.com/shrekuktour
YOUTUBE: www.youtube.com/ShrekLondon

CHILDREN’S TOURING PARTNERSHIP

AND

ROYAL & DERNGATE, NORTHAMPTON

ARE DELIGHTED TO ANNOUNCE

THE UK TOUR OF

 

“THE JUNGLE BOOK”

 

BY JESSICA SWALE

DIRECTED BY MAX WEBSTER

MUSIC BY JOE STILGOE

BASED ON THE STORIES BY RUDYARD KIPLING

 

 

Children’s Touring Partnership and Royal & Derngate, Northampton are delighted to announce a new adaptation of Rudyard Kipling’s family classic, “THE JUNGLE BOOK”. The production will premiere at Royal & Derngate, Northampton from Tuesday 28 November until Sunday 31 December 2017 and will then embark on a UK national tour from Thursday 25 January 2018 beginning at Chichester Festival Theatre.

Originally written in 1894, Kipling’s beloved tale will be reimagined with a brand new score and script, exploring the universal themes of family, belonging and identity.

“THE JUNGLE BOOK” tells of Mowgli the man cub who battles for survival in this heart-warming coming-of-age story about a boy raised by wolves in the jungle. With the help of his animal friends, including Bagheera the panther, Balloo the bear and Kaa the python, Mowgli outwits the cruel and powerful tiger, Shere Khan, and learns the law of the jungle.

Cast includes Rachel Dawson as ‘Kaa Grey’, Lloyd Gorman as ‘Shere Khan’, TJ Holmes as   ‘Hiran’, Avita Jay as ‘Raksha’, Keziah Joseph as ‘Mowgli’, Dyfrig Morris as ‘Balloo’, Deborah Oyelade as ‘Bagheera’ andTripti Tripuraneni as ‘Akala’. They are joined by Ruri James and Chipo Kureya in the ensemble.

The award winning creative team bringing Kipling’s timeless story to the stage includes playwright Jessica Swale, director Max Webster and internationally renowned songwriter Joe Stilgoe.

Playwright Jessica Swale will be adapting the story for the stage. Her previous acclaimed play “Nell Gwynn” won the Olivier Award for Best New Comedy in 2016.

Max Webster directed Dr Seuss’ “The Lorax” at the Old Vic, which was nominated for Best Entertainment and Family Show at the 2016 Olivier Awards.

 

Jessica Swale¸ writer, said “I jumped at the chance to adapt “THE JUNGLE BOOK” because it’s such a vivid world- yet, for a writer, there’s so much opportunity to imagine the jungle afresh. Part of the book’s enduring appeal is that the jungle can be anything we choose. It’s a playground, a school, a hideaway, an adventure, so I’ve enjoyed exploring what sort of place this mysterious, delightful, sometimes scary place might be- and what better way to do that than with Max Webster, one of the most inventive and imaginative directors working today.

‘I loved the characters as Kipling wrote them, but wanted to find new voices which resonate now- funny, bright, dynamic voices, with a little more wit, and greater diversity, in terms of place, tone, gender and culture. It’s a funny, heart-filled roller coaster of a journey which, I hope, will transport the audience right round the world and back again”.

Director, Max Webster, said ““THE JUNGLE BOOK” was an instant classic when it was written over a hundred years ago with its story of Mowgli finding his path through the jungle. Each generation has re imagined this story as their own, and now Jess Swale brings it right up to date in a hilarious and action-packed version for the twenty first century. With wonderful songs by the jazz legend Joe Stilgoe, and packed with adventure, humour and magic this classic tale will tickle the tales of all the family. I am delighted to be working alongside Jessica, Joe, Children’s Touring Partnership and Royal & Derngate to bring this vivid adaptation to the stage”.

Completing the creative team is set and costume designer Peter McKintosh, musical supervision from Paul Herbert, movement direction by Lizzi Gee, lighting design by Charles Balfour, puppetry design and direction byNick Barnes and fight direction by Kate Waters.

Children’s Touring Partnership is led by Fiery Angel and Chichester Festival Theatre. Previous productions include the award winning West End and UK tour production of “Goodnight Mister Tom” and most recently the UK touring production of Michael Morpurgo’s “Running Wild”.

*Suitable for ages 6+

“THE JUNGLE BOOK” 2017/18

28 NOVEMBER – 31 DECEMBER 2017

Northampton, Royal & Derngate

https://www.royalandderngate.co.uk/

25 JANUARY – 3 FEBRUARY 2018

Chichester Festival Theatre

https://www.cft.org.uk/

TUESDAY 6 –  SATURDAY 10 FEBRUARY 2018

Richmond Theatre

www.atgtickets.com/richmond

TUESDAY 13 –  SATURDAY 17 FEBRUARY 2018

Liverpool Playhouse

https://www.everymanplayhouse.com/

TUESDAY 20 –  SATURDAY 24 FEBRUARY 2018

Wycombe Swan

https://wycombeswan.co.uk/Online/

TUESDAY 27 FEBRUARY –  SUNDAY 4 MARCH 2018

Bromley Churchill Theatre

https://churchilltheatre.co.uk/Online/

TUESDAY 13 – SATURDAY 17 MARCH 2018

Malvern Festival Theatre

http://www.malvern-theatres.co.uk/

TUESDAY 20 – SATURDAY 24 MARCH 2018

Cambridge Arts Theatre

https://www.cambridgeartstheatre.com/

TUESDAY 27 – SATURDAY 31 MARCH 2018

Newcastle Theatre Royal

https://www.theatreroyal.co.uk/whats-on

TUESDAY 3 – SATURDAY 7 APRIL 2018

Plymouth Theatre Royal

https://www.theatreroyal.com/

TUESDAY 10 – SATURDAY 14 APRIL 2018

Norwich Theatre Royal

https://secure.theatreroyalnorwich.co.uk/Online/

TUESDAY 17 – SATURDAY 21 APRIL 2018

Nottingham Theatre Royal

https://trch.co.uk/

WEDNESDAY 25 – SATURDAY 28 APRIL 2018

Canterbury Marlowe Theatre

https://marlowetheatre.com/

WEDNESDAY 2 – SUNDAY 6 MAY

Salford, Lowry Theatre

https://www.thelowry.com/events

TUESDAY 8 – SATURDAY 12 MAY

Blackpool Grand Theatre

https://www.blackpoolgrand.co.uk/

Grand Opera House York – until 16 September.  Reviewed by Michelle Richardson

4****

York Stage Musicals brings the camp classic Priscilla, Queen of the Desert, to the Grand Opera House, York in a brand new production.

Based on the 1994 movie, this musical follows the adventures of two drag queens and a transsexual, Tick (Joe Wawrzyniak), Adam/Felicia (Jacob Husband) and Bernadette (Alex Weatherhill), through the Australian outback on a bus they christen Priscilla. The ulterior motive of Tick is to finally meet his son. He persuades Bernadette to come on the road trip in order to get over her grief over losing her partner Trumpet, and as for Adam, he is just along for the ride, with the ultimate prize of performing their drag act at a casino in Alice Springs. Along the way they have engine troubles, meet unforgiving locals and get to sing the cult gay anthems we remember from the film, with even more Kylie thrown in.

Whilst on the road poor Priscilla breaks down in the back of beyond. They manage to put out a mayday, not knowing if anyone will come to their rescue, but then along comes Bob (Craig Kirby) the mechanic. He befriends the girls and forms a special bond with Bernadette, even though he does have a mail order bride, Cynthia, a dancer with a unique party trick with ping pong balls! We get to see the relationship between Bernadette and Bob blossoming and I really found it quite touching, played beautifully by Weatherhill and Kirby.

Wawrzynaik portrayed Tick with a vulnerability and his performance during MacArthur Park, and the cake out in the rain, was hilarious. Weatherhill plays a softer Bernadette, just looking to be loved, portraying her with style and sensitivity. Husband as Adam is the young whipper snapper of the piece, with attitude to match. He plays the role with just the right amount of sass.

Priscilla uses three divas, singing the vocals for the lip synching drag queens. Jacqueline Bell, Lauren Sheriston and Joanne Theaker. They all looked fabulous and sounded every inch the stage sirens belting out some of the disco greats in the show.

The ensemble worked really hard through it all, and with some really impressive costume changes. Talking about the costumes, they were impressive with all their glitz and glamour and outrageousness, I especially loved the cupcakes. The time and effort gone into producing all the costumes, let alone the costume changes, doesn’t bare thinking about.

York Stage Musicals, under the direction of Nik Briggs, have yet again put on another great show. Every time I see a performance stage by York Stage Musicals I am blown away. To think that their shows are all done on a voluntary basis by local performers and production staff, and again they have managed to pull off a really professional production. Well done and congratulations to such a talented cast!

This show is a great feel good musical with some great disco tunes, even though it was missing most of the song Finally by CeCe Peniston, which is the song that I most associate with the film, and the song that was in my head when I knew I was going to watch the show.

A definite for anyone wishing to have a good night of feel good fun, playing in York until Saturday 16th September.