Month: December 2017

NEW ADVENTURES ANNOUNCES

MATTHEW BOURNE’S

SWAN LAKE

MUSIC BY TCHAIKOVSKY

TO RETURN TO SADLER’S WELLS

FOR CHRISTMAS 2018

AND ALSO TOUR THE UK

New Adventures is delighted to announce that Matthew Bourne’s legendary “SWAN LAKE” will return to Sadler’s Wells in 2018 for the Christmas season with a fresh look for the 21st Century and will also tour the UK. Tickets go on sale at Sadler’s Wells on Monday 26 February 2018. Dates for Sadler’s Wells and the UK tour will be announced in January 2018.

Retaining all the iconic elements of the original production loved by millions around the world, Matthew Bourne and the creative team will create an exciting re-imagining of the classic production.

Thrilling, audacious, witty and emotional, Matthew Bourne’s “SWAN LAKE” is perhaps still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered conventions, turned tradition upside down and took the dance world by storm.

Collecting over thirty international theatre awards including three Tonys on Broadway, Matthew Bourne’s powerful interpretation of Tchaikovsky’s beloved tale is a passionate and contemporary Swan Lake for our times.

 

New Adventures & Re:Bourne is a national portfolio organisation supported using public funds by Arts Council England.

 

For more information please visit: www.new-adventures.net

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CNC 2018 VAULT Festival shows:

 

Becoming Shades (24^th January – 18^th March)

Chivaree Circus return to VAULT Festival with a brand new and extended version of Becoming Shades – a dark circus production which takes audiences on an immersive underworld journey in the long dark tunnels of Waterloo’s Vaults. Based on the classical myth of Persephone, Becoming Shades is a bold re-imagining that fuses together live music, physical theatre, aerial acrobatics, fire, dance and mime.  Journey down the River Styx and join these lost souls in the underworld.

 

Monster (24^th – 28^th January)

Internationally acclaimed, Fringe First winning Worklight Theatre, present Joe Sellman-Leava’s one man show Monster – a dark but humorous exploration of gender and masculinity. With its examination of male attitudes towards women, and male role models celebrated in society, the play has gained new relevance since its Edinburgh debut in the wake of recent sexual assault allegations against a string of celebrities.  Monsterimportantly sheds light on our perceptions of gender, violence and aggression.

 

Think of England (7^th – 11^th February)

Think of England is a moving tale of love, lust and swing dancing in wartime Waterloo. The war office has employed Bette and Vera to travel the country hosting tea dances to boost morale. But how will the RAF boys react when they discover the women’s real purpose: to send the young men off to fight having experienced all of life’s pleasures? Join the ladies for an unforgettable dance, a rousing song, and a real-life war time scandal that threatens to destroy the women’s lives, shame the community and tear apart one already splintered RCAF crew. Can you save the night?

 

Be Prepared (7^th – 11^th February)

Following its premiere at Edinburgh Fringe 2016, Ian Bonar and Rob Watt collaborate once again to bring the darkly comic one-man show, Be Prepared, to London audiences. This is a heart-breaking and moving yet hilarious play about one man struggling to remember while another finds himself unable to forget. Inspired by Ian Bonar’s own experiences of his father’s death and subsequently finding his grandad’s cherished memoires, Bonar uses his grandad’s words, some verbatim and some embellished to explore memory, grief and how we remember things.

 

If We Got Some More Cocaine I Could Show You How I Love You (14^th – 25^th February)

IARA winner and Offie-nominated If We Got Some More Cocaine I Could Show You How I Love You is a play of small dreams and big hopes.  John O’Donovan’s romantic comedy explores the ways people find love and kindness, even when oppression kicks them from all angles. This raucous and unlikely drama looks at going down roads not laid for you, climbing ladders that weren’t set out for you, never asking permission, and trying not to end up so thick-skinned that you forget how to see the good in things.

 

Das Fest (28^th February – 4^th March)

Crossing between illusion and theatre, Philipp Oberlohr’s thrilling new production Das Fest is the surreal sequel to his interactive Das Spiel, which premiered at Ovalhouse and sold out at VAULT Festival in 2016 winning the People’s Choice Award.  Das Fest is a mindreading experience, celebrating the past and the future of the attendees. Oberlohr could select anyone from the audience – he doesn’t know who will be chosen or what memories they will bring.  It could be anybody.  This mind-blowing production combines new methods of storytelling, live art, clowning, physical theatre and illusions in a way that will knock you off your feet.

 

Ok, Bye (7^th – 11^th March)

Following an award-winning run at VAULT Festival 2017, RedBellyBlack Theatre returns with the world premiere of OK, Bye – a fierce and fresh take on saying goodbye. Using their signature combination of physical theatre and dynamic storytelling, RedBellyBlack explores the very simple premise that saying ‘OK, Bye’ can mean thousands of different things: ‘I love you’, ‘I’m sorry’, ‘I never want to see your stupid face again’ or even just the end of a phone call.  Using live music, lip syncing and puppetry, this production showcases raw, real-life stories from the general public.

 

Thirsty (14^th – 18^th March)

Direct from New York, this hilarious and critically acclaimed autobiographical cabaret is a shameless musical journey of slurred real-life stories, which passionately celebrate poor life choices… Named one of Time Out New York’s Top 10 Cabaret Artists, Tori Scott’s production is set to the music of Aretha Franklin, Judy Garland, Miley Cyrus and more.

Phil McIntyre Entertainments proudly presents

Tickets on sale 9.00am Friday 15^th December

 

Following the huge success of his Channel 4 show, Professor Noel Fitzpatrick, The Supervet, is delighted to be bringing his first ever live stage show Welcome to My World to major arenas and theatres across the UK & Ireland next year.

Kicking off in Nottingham’s Motorpoint Arena on 29 September, this groundbreaking new show – a must for all animal lovers and fans of the TV show alike – will see Noel enlighten audiences with his incredible life story and explain how he became The Supervet we know and love. Tickets for this 18 date nationwide tour will go on-sale on 15 December 2017 at 09.00am.

When the show began on Channel 4, Noel wanted to tell a story about love, a story about hope, with incredible science in the background. He recognised the important bond humans have with animals, how they really are part of the family and how much families will do for them in return for the unconditional love which they give.

Join Noel on a journey from his early years in Ireland, where he was full of fantastical ideas through to today where the future of medicine is full of incredible promise.  Welcome To My World is a deeply immersive experience, which will transport Noel into a virtual theatre thanks to the very latest in creative technology, allowing him to illustrate some of his remarkable techniques in front of the audience.

This is a unique opportunity to encounter Noel’s pioneering bionic inventions first hand, as he takes to the stage to share how his past has paved the way for a more compassionate future for animals and those who love them.

Welcome To My World is a brand new live experience to really understand all that may be possible in the future within this breathtaking production.

Noel Fitzpatrick said: “Come with me on my journey from a field in Ireland to a fantastical world of bionics and regeneration, where everything becomes possible. I am so excited to bring to you my live show and share with you my story. Welcome to my world.”

 

 

About Channel 4’s The Supervet

Having just completed its 10th series and viewed by millions across the UK and around the world, The Supervet is one of Channel 4’s biggest shows and follows Professor Noel Fitzpatrick and his team at Fitzpatrick Referrals through the highs and lows of a working specialist veterinary practice. The TV show shares the moving stories of animals, their families and the passionate team that strive to find solutions where none seem possible.  

 

UK Tour Dates 2018:

 

DAY	DATE	VENUE	Websites
Saturday	29/09/2018	Nottingham	www.motorpointarenanottingham.com
Sunday	30/09/2018	Cardiff	www.motorpointarenacardiff.co.uk
Saturday	06/10/2018	Dublin 3	www.3arena.ie
Sunday	07/10/2018	Belfast Arena	www.ssearenabelfast.com
Friday	12/10/2018	Liverpool Echo	www.liverpoolecho.co.uk
Saturday	13/10/2018	Sheffield Arena	www.flydsaarena.co.uk
Sunday	14/10/2018	Blackpool Opera House	www.wintergardensblackpool.co.uk
Friday	19/10/2018	Leeds Arena	www.firstdirectarena.com
Saturday	20/10/2018	Newcastle Arena	www.metroradioarena.co.uk
Sunday	21/10/2018	Manchester Arena	www.manchester-arena.com
Friday	09/11/2018	Aberdeen AECC	www.aecc.co.uk
Saturday	10/11/2018	Glasgow Hydro	www.thessehydro.com
Sunday	11/11/2018	Edinburgh Playhouse	www.playhousetheatre.com
Friday	16/11/2018	Wembley Arena	www.ssearena.co.uk
Saturday	17/11/2018	Birmingham Arena	www.arenabham.co.uk
Sunday	18/11/2018	Bournemouth BIC	www.bic.co.uk
Saturday	24/11/2018	Brighton Centre	www.brightoncentre.co.uk
Sunday	25/11/2018	London O2 Arena	www.theo2.co.uk

 

Listings Information:

Website: Supervetlive.com

Priority Booking For O2: Wednesday 13 November

Priority Booking For Ticketmaster: Thursday 14 December

General Booking: Friday 15 December

To book tickets: www.ticketmaster.co.uk 

 

The Lowry, Manchester – until 7 January 2018.  Reviewed by Julie Noller

5*****

I was really looking forward to this performance of the well known story from all our childhoods, except my sons apparently. I was half expecting to see a lion on stage (for those old enough to remember the 1980’s cartoon) claiming to be Phileas Fogg however I felt it was time to change that preconception and challenge it completely.

Over a hundred years earlier, in 1873, Jules Vernes epic adventure story was published. A story about honour amongst gentlemen and a certain wager of £20, 000 – which would see him and his newly employed French valet Passepartout, attempt to circumnavigate the world in just 80 days. By today’s standard 80 days would be a walk in the park. But this story is set in the days of newly fashioned steamer boats and even trains were a rarity. Britain had an Empire that covered many parts of the world, Victoria was Empress of India. To be an Englishman meant everything, a gentleman didn’t work for a living he acquired and amassed his fortune. Phileas Fogg portrayed by Andrew Pollard is quintessentially an English gentleman, never rude by nature yet wholeheartedly reserved. He has a precise timetable each day runs by, after a day gambling at the gentlemen only Reform Club, playing and very often winning the wager with a game of whist. He returns home and is in bed within two minutes exactly. His tea must be the exact temperature and when this fails to be so, he requires a new valet. In today’s society he would be singled out, quite possibly looked upon as having additional needs. Yet then it was the expected normality of being an Englishman, keeping a stiff upper lip and remaining emotionless. He is calm, unfaltering. Each risk is weighed up with mathematical precision. Yet as the story grows we see a different side to his character, a risk taker perhaps? Indeed why else would he risk his fortune on a wager that could see him left destitute. The honour of an Englishman perhaps?

He is quick to aid those less fortunate than himself. Namely his love interest and possibly the only strong main female character. Mrs Aouda played by Kirsten Foster. She brings a sense of protectiveness out in the other characters, adds a calming influence, brings humanity to a somewhat robotic Phileas, after they rescue her from a fate which would lead to her death. Dennis Herdman is the haphazard Inspector Fix of Scotland Yard. Stationed at the outpost port of Suez, he sees a newspaper report about the wager of Phileas Fogg and draws his very own conclusion that he must be the infamous Bank of England robber. He is constantly trying to delay our hero’s journey by apprehending him on British soil, in the days of colonial rule this soil was vast, quite often with disastrous results. He is the only person who believes his own story. The character everyone loves is Passeportout, a lovable French man of many talents – tightrope walker, performer, ukulele player – lets not forget his mini stand up routine at the beginning of Act II. He has the audience eating out of the palm of his hand. The only disapointment I felt anyone have is that he didn’t talk directly to them but chose poor Martin the BT Engineer. Passeportout also has to suffer the indignity of constantly sighing and trying to correct the abysmal attempts to say his name, Parsnip soup amongst others. This becomes an essential part of the play and is delivered everytime with brilliant timing and is guarented to have the audience laughing.

I took my 13 year old son, there were a lot of children in the audience watching both young and old. This may be Jules Verne’s story but this version is fresh, energetic and imaginative. It packs in the slapstick humour, had us all giggling and guffawing. The fight scenes were amazing to watch, the skill and timing adding in the sound effects had me enthralled from start to finish. The inclusion of members of the audience is genius, made all the funnier when they were left on stage, for a prolonged length of time , wondering if they can sneak back to their seats. The set is simple yet you can watch the story being created in front of your eyes, allowing your imagine to run riot if you desired. Amazing what you can do with some boxes, a few railings, a table and chairs. Its extremely clever and produced on a small budget but that’s what makes it so lovable.

The humour manages to cross the age divides, my son laughed from start to finish and loved it, I do believe he would watch it again. I heard a young lady behind me ask her Dad ‘was he in Mr Bean’ for that’s the nature of the silliness. I’m amazed at what you can do with a grey coat, incredible to think when we were children we built dens out of old bed sheets and my Mums clothes airer. These are the times Around the World remind me of and it brought a warm smile to my lips, every child should have those memories and that’s what we got tonight. A great performance by a small professional cast, who brought a great show to Salford. It’s there until January 7th 2018, when it moves on for its last stop in Norwich. The play itself is just over two hours long with a short interval, so comfortable to sit through.

So to find out if Phileas Fogg makes it back to The Reform Club by 8.45 p.m. on December 21st, why not enjoy a family trip to the theatre. You won’t be disappointed and nothing is better than a night of laughs to beat those winter blues. And don’t be afraid to allow yourself to get caught up in the moment, shouts,cheers and jeers are all encouraged. Embrace your inner child, you’ll thank yourself.

CASTING ANNOUNCED FOR THE

WORLD PREMIÈRE OF HOWARD BRENTON’S

THE SHADOW FACTORY

– THE INAUGURAL PRODUCTION IN NST CITY

Nuffield Southampton Theatres present

The Shadow Factory

By Howard Brenton

 

7 February – 3 March 2018

Director of Nuffield Southampton Theatres, Samuel Hodges, today announces casting for the theatres inaugural production at NST City – the world première of Howard Brenton’s The Shadow Factory. Hodges directs David Birrell (Fred/Hugh), Catherine Cusack (Lil/Sylvia), Lorna Fitzgerald (Jackie Dimmock), Hilton McRae (Lord Beaverbrook) and Daniel York (Len Gooch). Further casting to be announced. The Shadow Factory opens on 15 February, with previews from 7 February, and runs until 3 March.

This world première will open Southampton’s brand-new theatre, NST City, conceived by NST’s director Samuel Hodges and 59 Productions – the Tony Award-winning artists behind the video design of the London 2012 Olympic Opening Ceremony.

Alongside the production, the company will mount The Shadow Factory Exhibition, giving audiences the opportunity to step into the stories behind The Shadow Factory in an installation featuring the visually stunning moving set designed by 59 Productions.

NST City is part of Studio 144, Southampton’s new £30m city centre arts venue situated in the heart of the city centre. This new venue will include a flexible 450 seat main house theatre, a 133 seat studio, screening facilities, rehearsal, workshop spaces and bar and restaurant managed by Southampton ‘s 2017 Business of the Year winner, Mettricks. NST City will transform NST’s ability to show high quality professional work from local, national and international artists and allow the programme to include dance, film and music. This includes a new pop-up music collective, The Space Between Collective, to accompany leading rock and pop acts from around the country; a brand-new dance programme will see the world-renowned Hofesh Shechter Company perform in Southampton for the first time and the nascent film programme will feature an event cinema strand, including NT Live screenings. The bar and restaurant, Tyrrell’s, will be themed on the 1950s former department store Tyrrell & Green which occupied the same site. NST will run the new city centre venue alongside its existing theatre on the University of Southampton’s Highfield Campus.

The Shadow Factory tells the story of Southampton’s courage in 1940 during The Battle of Britain. Southampton is home to our only hope of victory: the Spitfire. But when the Luftwaffe drops 2,300 bombs in three devastating raids, the city goes up in flames and the Woolston Supermarine Spitfire factory is destroyed. From the ashes, a story of chaos, courage and community spirit emerges. Lorna Fitzgerald makes her stage debut as Jackie Dimmock.

Howard Brenton has written over 50 plays. His most recent credits include Miss Julie (The Theatre By The Lake & The Jermyn Street Theatre), Paul (National Theatre), In Extremis (Shakespeare’s Globe and tour retitled Eternal Love), Never So Good (National Theatre), Anne Boleyn (Shakespeare’s Globe, plus revival and tour, winner of the WhatsOnStage Best Play Award and UK Theatre Awards Best Touring Production), 55 Days (Hampstead Theatre), #aiww: The Arrest of Ai Weiwei (Hampstead Theatre), The Guffin (one act play, NT Connections), Drawing The Line (Hampstead Theatre), Doctor Scroggy’s War (Shakespeare’s Globe), Ransomed (one act play, Salisbury Playhouse), Lawrence After Arabia (Hampstead Theatre) and The Blinding Light (Jermyn Street Theatre). Versions of classics include The Life of Galileo and Danton’s Death (National Theatre) and Goethe’s Faust (RSC). Other adaptations include The Ragged Trousered Philanthropists (Liverpool Everyman and Chichester Festival Theatre) and Dances of Death (Gate Theatre). For television, he wrote 13 episodes of the first four series of the BBC Television Drama Spooks (winner of the BAFTA Best Television Drama Series 2003).

David Birrell plays Fred/Hugh. His theatre credits include Wind in the Willows (UK tour), Sweeney Todd (West Yorkshire Playhouse/Royal Exchange Theatre), The Death of King Arthur (Sam Wanamaker Playhouse),Peter Pan, A Midsummer Night’s Dream, Ragtime (Regent’s Park Open Air Theatre), The Last Days of Troy(Royal Exchange/Shakespeare’s Globe), Company (Sheffield Crucible), Passion, Grand Hotel (Donmar Warehouse), Spamalot (West End), Oh! What A Lovely War (National Theatre), The Gates of Paradise, The Jewess of Toledo, The Venetian Twins, Love’s Labour’s Lost, Moby Dick, The Tempest, Murder in the Cathedral, Hamlet, Columbus, Romeo and Juliet (RSC); and for television, Holy Flying Circus, Buried and Angels.

 

Catherine Cusack plays Lil/Sylvia. For theatre her credits include A Parting from the Body, Fragile, Factory Girls (Arcola Theatre), The Seagull (UK tour), All That Fall (Jermyn Street Theatre and New York), Bingo (Chichester Festival Theatre/revived Young Vic), The Two Character Play (Jermyn Street Theatre/USA), The Early Bird, The Gigli Concert (Finborough Theatre), What Fatima Did (Hampstead Theatre), Uncle Vanya (Wilton’s Music Hall), The Venetian Twins (Watermill Theatre) Our Lady of Sligo (National Theatre), Measure for Measure (ETT), Prayers of Sherkin (The Old Vic), Mrs Warren’s Profession (Lyric Hammersmith) and Phaedra’s Love (Gate Theatre). For television her credits include The Last Days of Anne Boleyn, Jonathan Creek, Ballykissangel and Cadfael; and for film, Finding Neverland, Conspiracy of Silence, Boxed and The Lonely Passion of Judith Hearne.

Lorna Fitzgerald plays Jackie Dimmock. She is perhaps best known for her role as Abi Branning in EastEnders. Having played this role since 1996, Fitzgerald makes her final screen appearance as Abi this Christmas. Other credits for television include The Golden Hour, According to Bex and Cherished. This production marks her professional stage debut.

 

Hilton McRae plays Lord Beaverbrook. Theatre credits in the West End include Les Liaisons Dangereuses (Ambassadors Theatre and Broadway), 1984 (Playhouse Theatre), End of the Rainbow(Trafalgar Studios, Olivier Award nominee for Best Supporting Actor), My One and Only (Piccadilly Theatre), Mamma Mia! (Prince Edward Theatre), Les Miserables (Palace Theatre) Miss Saigon(Theatre Royal, Drury Lane) Rabbit (Trafalgar Studios) and Piaf (Piccadilly Theatre). Other theatre credits include Uncle Vanya (Almeida Theatre), The Cocktail Party (The Print Room), The Kreutzer Sonata (The Gate/La MaMa New York), Timon of Athens, Caroline or Change (National Theatre), The Danton Affair, Troilus and Cressida, As You Like It, Total Eclipse, Much Ado About Nothing, The Innocent, Anthony and Cleopatra, Captain Swing, The Churchill Play, The Merchant of Venice, Factory Birds and Bandits (RSC) The Oresteia Trilogy (Fisher Centre, New York) and The Front Page(Donmar Warehouse). For television, credits include Injustice, Zen, Red Riding Trilogy – 1983, The Execution of Gary Glitter, Frances Tuesday, Murder City, Baby Father, Serious & Organised, Deacon Brodie, King of Hearts, First Take, To Each His Own, Roll Over Beethoven, Poppyland, Forever Young.For film, credits include Darkest Hour, Denial, The Sense of an Ending, Macbeth, Far From the Madding Crowd, Mansfield Park, Return of the Jedi, Secret Rapture, Greystoke and The French Lieutenant’s Woman.

Daniel York plays Len Gooch. Theatre includes The Merchant of Venice, The Country Wife, Moby Dick, Snow In Midsummer, Dido Queen of Carthage (RSC) Welcome Home Captain Fox! (Donmar Warehouse) The World of Extreme Happiness (National Theatre), Our American Cousin, We Know Where You Live, P’yongyang (Finborough), Une Tempete (Gate Theatre), Porcelain (Royal Court), The Magic Fundoshi (Lyric Studio, Hammersmith), Hamlet (Riverside Studios), Sun is Shining (King’s Head/Battersea Arts Centre/off Broadway), The Changeling (Southwark Playhouse), Branded (Old Vic Theatre) and Turandot (Hampstead Theatre). For television his credits include Whitechapel, Moving On, Waking the Dead, Peggy Su!, Chambers,Supper at Emmaus, A Fish Named Tao; and for film, Scarborough, The Receptionist, Rogue Trader, The Beach, Faraway, Act of Grace and Doom.

Samuel Hodges is Director of The Shadow Factory and of Nuffield Southampton Theatres (NST). His productions for NST includes Dedication – Shakespeare and Southampton, following The Glass Menagerie in 2015. Previously he founded the HighTide Festival Theatre in 2007 and was the Artistic Director for five years, during which time he produced over 25 new plays, co-producing with the National Theatre, The Old Vic and the Bush Theatre, amongst others. Between 2012 and 2014, he ran the Criterion Theatre in London’s West End, for whom he curated a late-night programme and a one-off summer season of new work to celebrate the London Olympics.

 

59 Productions is the multi award-winning company of artists behind the video design of the Opening Ceremony of the London 2012 Olympic Games and War Horse, the design and creative direction of the record-breaking David Bowie is exhibition, and video design of Christopher Wheeldon’s celebrated stage adaptation of An American in Paris (Tony Award in 2015). Led by directors Leo Warner, Mark Grimmer, Lysander Ashton and Richard Slaney, 59 Productions are world-leading specialists in design for stage and live events. They are the go-to team for generating creative and technical ideas to realise ambitious artistic projects across a range of disciplines: from architectural projection mapping to exhibition design, VR experiences to events, theatrical design to technical consultancy. In 2017, 59 Productions began producing its own theatrical work, opening its first full scale production, Paul Auster’s City of Glass (HOME, Manchester, Lyric, Hammersmith).  Current and upcoming projects also include, Oslo (Lincoln Center, National Theatre and currently Harold Pinter Theatre), The (R)evolution of Steve Jobs (Santa Fe Opera), Marnie (The Met Opera & ENO), Reflections (a four-day projection-mapping event to mark the twentieth anniversary of the Guggenheim Museum Bilbao) and A Perfect Harmony(specially-commissioned as the centrepiece of the weekend-long celebrations for the re-opening of Washington’s Freer|Sackler museums in October 2017).

Studio 144, Southampton’s ambitious new venue for theatre, visual art and film brings two world-class arts organisations – Nuffield Southampton Theatres and John Hansard Gallery, part of the University of Southampton – into the heart of the city centre for the first time, together with media and film specialists City Eye.

#ShadowFactory

@NSTheatres

www.nstheatres.co.uk

 

The Shadow Factory Listings

Studio 144, Above Bar, Southampton SO14 7DU

 

Box Office: 023 8067 1771 / ww.nstheatres.co.uk

Monday – Friday: 10am – 6pm

Saturday: 10am – 4pm

THE SHADOW FACTORY EXHIBITION 

16 Feb -2 Mar 11am -4pm (excluding matinee performance days and Sundays)

Step into the stories behind The Shadow Factory in this installation featuring the visually stunning moving set designed by 59 Productions, the Tony Award-winning design team behind the London 2012 Opening Ceremony. FREE

Palace Theatre, Manchester – until 9 December 2017.  Reviewed by Julie Noller

5*****

If I ever had a theatre bucket list, then Evita would be on it. I’m in my 40’s I know the songs, I watched the film, I cried, I sang into my hairbrush thinking I was Elaine Page. So to say I was excited to see Evita – I didn’t think twice about saying yes to reviewing it, I juggled my childcare in order to drive in the beating rain for over an hour into rush hour Manchester – well excited is an understatement.

Evita would be welcomed I’m sure into any theatre never mind one such as the Palace with it’s old school charm of historical façade. The glittering gold paint of bygone years seamed to rub against the story unfurling in front of us, a tale of determination against all odds, of people breaking free from one oppression and poverty into another rule of oppression and poverty and amongst all this we have the ray of sunshine that was “Santa” Evita to the Argentines.

Evita is the work of two of our greatest musical collaborators, Tim Rice (lyrics) and Andrew Lloyd Webber (music), 40 years later it hasn’t dated the songs still fresh and when delivered with such a polished performance that nears perfection for me then you are left with hairs tingling and a big dopey smile from start to finish.

The set is simple yet striking, visually it’s clever picking the most important eye catching pieces in what is essentially a historical story. We see Evita’s coffin, with a huge portrait above, behind which we first see Evita as a heavenly white dressed saintly angel, whilst her people cry and wail, traipsing past her coffin in despair. I wondered as I watched those people in the background paying their respects would a character walk past twice? They must have done but somehow I never noticed.

Mark Howett is the original lighting designer but its Tim Oliver who uses the stage lights to bring life as this tale is unfurling. The characters we are supposed to be concentrating on are hi-light, lit up, whilst those in the background are dull in comparison. This is Latin America and a time where emotions play a huge role in rebuilding a post war world. Reds of different shades help portray a young Eva driven by emotion, wanting so much more from life to escape her poverty. Madalena Alberto is simply divine, beautiful with a voice to match. She sang each song perfectly with an understanding of her character that was totally believable. I know Evita was a huge fashionista, her costumes were superb, that white diamante dress was stunning, I wish I could dress just like Evita. Cristina Hoey during her solo song as the mistress wears a coat that also had me wishing I could find one just like it. Our story teller for the night is Che (Gian Marco Schiaretti) his cheeky face lit up the stage, essentially we the audience know hes there, yet on stage he blends into the background, just another Argentinian. I bet I wasn’t the only lady (or gent) to swoon when he took his shirt off. Each song is an explanation of 1950s Argentina, Evita and hinting slightly at the politics surrounding those times.

Jeremy Secomb is Peron, the army General who rose to be President, to some he was a dictator to others a saviour. But those events are glossed over for this isn’t a story of politics this is the story of Evita. Her support and love for Peron as well as the people of her Argentina shine out. She understood the masses, despised the upper classes, yet longed to belong and be accepted. That understanding and her support pushed Peron to the top, yet we all know as with all coups it is only a matter of time before they fall and the next dictator comes along. Peron is a dynamic character yet as much as Evita supports him, for this story he is her supporting actor. Evita is the ultimate ‘it’ girl, the original and quite possibly hard to beat. If reality TV had been such a thing in 1950’s Argentina then she would’ve been the brightest star of all. She knew her way to the top was a path laid with rocks and stones and she clambered over every one in the form of various singers, actors, directors and finally military men until she found Peron and there was no one higher. She captivated him body and soul in the same way she captivated the masses she adored as much as they adored her.

I found the dancing invigorating and really wanted to climb up on stage, I came away singing and humming as if I was indeed up on stage singing alongside as part of the choir. When the aristocrats turned to look towards us the audience you had the feeling of those masses stood, waiting, cheering for Evita –”Santa” Evita their self proclaimed Saint. There maybe only one Evita but in a musical with so many solo performances its hard to single one out as each and every one is wonderful. One person however deserved her standing ovation, she doesn’t however have her name in the programme which is unfortunate. She is the child who sang her solo piece and delivered it so beautifully, I’m sure her parents were brimming with pride. So I will name all the children in the programme who are students of Stagecoach Chester (my home city – so I can be proud too) Nicole Owen, Charlie Goodwin, Daisy Cooper, John Brocklebank, Olivia Cooper, Rhys Owen, Rebecca Guy, Rory Flynn, Lily Rackham, Oliver Somauroo, Freya Watson and Jack Golding. Well done I guess we’ll be seeing your names in lights in the future.

We left the theatre and I listened to the conversations, all the same, how fantastic, loved Evita, that dress, that voice. One things for sure I will be seeing Evita again and I know I will be as excited the next time as I was this time. By the sounds of it so will a lot of other people – you should too.

53two, Manchester – until 9 December.  Reviewed by Marcus Richardson

5*****

Eight is a Play by Ella Hickson comprised up of eight character who give eight monologues. Each of which gives insight into what people’s lives are like, from Soldiers to teenage boys in France. But there is a catch the audience has to vote on whose story they hear and only 4 stories can be heard a night. As audience members we are not used to this power and as someone who can’t make their mind up it proved to be a way of torturing me as I didn’t get to see the whole body of the show. But then again will anyone, with it being different each night. Fun fact it could go through 40320 shows with each night being different.

 

Three of the characters I voted for were chosen and I felt sad that my 4th had to sit and watch, yes all the characters were on stage watching and waiting for their moment uncertain if they were going to be chosen. Only when a small light came on the character would they know their fate. First character Jude, one I voted for, a teenage boy sent to France by his father to become a man, played by Simon Hallman. The character falls in love and we are given this quirky way on how a seventeen deals with these urges. I’ve always found that actors can struggle playing the late teen years as teenagers tend to be very unique but Hallman gave this character life and a good flow. The second character was Miles. The other actor who stood out was Charlie Young who played the character of Bobby a Scottish mum who is struggling to make Christmas work. She controlled the room both with humour and with sorrow, she found that fine line between the two and struck the mother-load having this lasting crying one second and laughing the next. The whole cast (well half of the cast) all gave a stellar performance.

 

This is the second show that the Manchester Actors Platform have been involved in that I have seen as I was not let down by the cast and the company have gone in my good books giving current and relevant material that you enjoy watching and you take unfounded knowledge of social issues home, proving that contemporary material is engaging to watch.

JAMES GRAHAM’S CRITICALLY ACCLAIMED PLAY QUIZ

TRANSFERS TO THE WEST END

 

James Graham, theatre’s golden boy, has hit the jack-pot again.

Daily Telegraph

 

William Village, Playful Productions and Chichester Festival Theatre present

the Chichester Festival Theatre production of

QUIZ

By James Graham

 

Director: Daniel Evans; Designer: Robert Jones; Lighting Designer: Tim Lutkin

Music and Sound: Ben and Max Ringham; Video Designer: Tim Reid

Movement Director: Naomi Said; Casting Director: Charlotte Sutton CDG

 

With Labour of Love and Ink currently running in the West End, James Graham achieves a hat trick as his sell-out ‘major coughing hit’, Quiz, transfers to the Noël Coward Theatre. A provocative re-examination of the conviction of Charles Ingram for cheating on Who Wants To Be A Millionaire?, Quiz ‘highlights the dangerous blending of entertainment, politics and justice today.’ (Sunday Times). Quiz opens on 10 April 2018, with previews from 31 March, and runs for a strictly limited London season until 16 June.

Daniel Evans’ production marks the second London transfer for Chichester Festival Theatre – and the first to the West End – under the tenure of Daniel Evans as Artistic Director and Rachel Tackley as Executive Director.

James Graham commented, “Being given the chance to share Quiz with more people – and with the opportunity to develop and push our gameshow-meets-theatre concept even further – is beyond exciting for all of us.

“I would never have imagined years ago I’d get a chance to put any of my new plays into the West End. So to be able to return so quickly to the Noël Coward – which has been the happiest of homes for Labour of Love – feels surprising, and properly humbling to have the trust, belief, and support in the show from our producers, the amazing Daniel Evans, and the team of actors and creators who help me tell this gobsmacking story of the so-called Coughing Major and the most successful game show of all time.”

 

Daniel Evans said today, “It’s been an enormous privilege to have presented James Graham’s Quiz as part of our inaugural season at Chichester.  James is an exceptional writer with a knack for examining our recent history through an alternative lens. We’re thrilled to be able to revisit the production for the West End, and share Chichester’s work with a wider audience.”

 

James Graham’s theatre work includes Labour of Love (Noël Coward Theatre), Ink (Almeida Theatre and Duke of York’s Theatre – nominated for Best Play at the Evening Standard Theatre Awards), This House (National Theatre – Olivier Award nomination for Best New Play, and Garrick Theatre – Olivier Award nomination for Best Revival), Monster Raving Loony (Theatre Royal Plymouth and Soho Theatre), The Vote (Donmar Warehouse, broadcast live on More4 on election night and nominated for Best Live Event at the BAFTA TV awards), The Angry Brigade (Theatre Royal Plymouth and Paines Plough), the Broadway musical Finding Neverland, written with Gary Barlow and Eliot Kennedy, Privacy (Donmar Warehouse), The Man (Finborough Theatre and on tour), The Whisky Taster (Bush Theatre) and Tory Boyz (Soho Theatre). As Writer in Residence at the Finborough Theatre his plays include Albert’s Boy, Eden’s Empire and Sons of York. His television writing includes political drama Coalition (Channel 4), Prisoner’s Wives (BBC1) andCaught in a Trap (ITV1). His first feature film X+Y was released in 2015 after being selected at the Toronto International Film Festival and London Film Festival, winner of the Writer’s Guild Award for Best Debut Screenplay. His forthcoming work includes The Culture – A Farce in Two Acts (Hull Truck as part of Hull UK City of Culture 2017), and the film Gypsy Boy.

Artistic Director of Chichester Festival Theatre Daniel Evans directs. His work for the company includes Forty Years On and Fiddler on the Roof. He was previously Artistic Director of Sheffield Theatres, where he directed Flowers for Mrs Harris,  Show Boat (also West End), The Effect, Anything Goes (also UK tour), The Sheffield Mysteries, Oliver! (Best Musical Production, WhatsOnStage Awards 2015), This Is My Family (UK Theatre Award for Best Musical Production – also on tour), The Full Monty (UK Theatre Award for Best Touring Production – also national tour and West End), My Fair Lady (Best Musical Production, WhatsOnStage Awards 2014), Macbeth, Othello, Racing Demon as part of The David Hare Season, and An Enemy of the People – the opening production of his inaugural season. He also recently directed American Buffalo in the West End. As an actor, his work for Sheffield Theatres includes Company, The Pride, Cloud Nine and The Tempest. An award-winning actor and director, Evans’ work includes Sunday in the Park with George (Menier Chocolate Factory, Wyndham’s Theatre and Broadway) – a role for which he won the Olivier Award for Best Actor in a Musical (his second Olivier Award, the first being for Merrily We Roll Along in 2001) and a Tony Award nomination.  His extensive credits include work with the Donmar Warehouse, RSC, Royal Court Theatre and National Theatre.  Evans is a Fellow of the Guildhall School of Music and Drama.

Quiz is a fictional imagination based on real events which took place in 2001 following an episode ofWho Wants To Be A Millionaire? It is not in any way connected with the makers of the programme or any of the individuals portrayed.

Quiz  LISTINGS

Noël Coward Theatre

St Martin’s Lane, London WC2H 9LX

 

www.quiztheplay.com 

www.delfontmackintosh.co.uk

Twitter @quiztheplay

Box Office:                         0844 482 5141(no booking fee)

                                             Personal callers Mon-Sat 10am-curtain up (No booking fee)

                                             Telephone Mon-Sat 9am-8pm

31 March – 16 June

Press night: 10 April at 7pm

Performance times:

Monday – Saturday at 7.30pm

Saturday matinees at 2.30pm (from 7 April)

Wednesday matinees at 2.30pm (from 4 April, except 11 April)

Thursday matinee at 2:30pm on 12 April only

 

Seat Prices

£15, £27.50, £42.50 & £67.50 with £95 Premium (no booking fee when booked via DMT)

Day Seats

A limited number of tickets will be available daily from 10.30am, to be purchased in person, from the Box Office. Maximum 2 tickets per person. Excludes certain performances.

 

Standing

£15 tickets available on the day once the performance is sold out

 

Groups – subject to availability.

Groups 8+ at £45 valid Monday – Thursday

Tel for groups: 0844 482 5100 / Tel for schools: 0844 482 5165

Transport & Parking

Tubes: Covent Garden, Leicester Sq, Charing Cross, Tottenham Court Road

Buses: Destination Leicester Sq.14, 19, 24, 29, 38, 176

Parking:  Masterpark

FULL CAST ANNOUNCED FOR

THE 2018 UK TOUR OF

OSCAR WILDE’S

“THE IMPORTANCE OF BEING EARNEST”

FROM 24 JANUARY 2018

 

Kerry Ellis will star as Gwendolen, her first non-singing role, in the 2018 UK tour of Oscar Wilde’s THE IMPORTANCE OF BEING EARNEST at the Yvonne Arnaud Theatre Guildford, Courtyard Theatre Hereford, Theatre Royal Plymouth, Belfast Grand Opera House, Theatre Royal Bath and Manchester Opera House. Hannah Louise Howell will play Gwendolen at all other venues. They will be joined by Geoff Aymer, Louise Coulthard, Thomas Howes, Peter Sandys-Clarke and Simon Shackleton, playing Chasuble, Cecily, Algernon, Jack and Lane/Merrimanrespectively.

 

They join the previously announced Gwen Taylor as Lady Bracknell and Susan Penhaligon as Miss Prism. The tour will begin on 24 January at the Yvonne Arnaud Theatre in Guildford, ending on 28 April in Eastbourne.

 

Renowned theatre star and recording artist, Kerry Ellis is best known for originating the role of Meat, in Queen’s We Will Rock You and was the first British actress to play Elphaba in Wicked, for which Kerry won the 2008 What’s on Stage Award for ‘Best Takeover in a Role’. She then played the role at the Gershwin Theatre on Broadway for six months, where she won the Broadway.com Audience Award for ‘Favourite Female Breakthrough Performance’. Her other West End theatre work includes Sara in Murder Ballad at The Arts Theatre, Nancy in Oliver!, Eliza Doolittle in My Fair Lady, Ellen in Miss Saigon, Fantine in Les Misérables and she took over from Nicole Scherzinger in the role of Grizabella in Cats. Kerry has achieved chart-topping success as a recording artist, releasing four albums and touring the UK and Europe with Brian May of Queen.

 

Hannah Louise Howell’s theatre credits include The Importance of Being Earnest, directed by Alastair Whatley earlier this year at South Hill Park Arts Centre, Engineers Blue (Brass Works Theatre, Bristol), Juliet in Romeo and Juliet (Ludlow Assembly Rooms), Mermaid (Swan Theatre, Worcester), Much Ado About Nothing (The Regal, Tenbury Wells) and Ghosts (Courtyard Theatre). 

 

Geoff Aymer most recently appeared in A Midsummer Night’s Dream at The Young Vic. His other theatre credits include To Kill A Mockingbird(Regents Park Open Air, National Tour, Barbican), The Lightning Child and MacBeth (Shakespeare’s Globe) and Driving Miss Daisy (The Canal Cafe and Frinton Summer Theatre). Geoff’s Television credits include Guerilla (Sky Atlantic and Showtime) and Eastenders (BBC 1).

 

Louise Coulthard won the Lustrum Award at this year’s Edinburgh Fringe for her play, Cockamamy. Her theatre credits include House and Garden (The Watermill Theatre), The Late Wedding (Theatre Royal Stratford East) and Dreams of Home (Theatre Royal Stratford East).

 

Thomas Howes is best known for playing William Mason in ITV’s Downton Abbey. He has since appeared as Yashvin in the 2012 film adaptation of Anna Karenina and played Winston Churchill in Murdoch Mysteries (ITV). His theatre credits include Ratty in The Wind in the Willows: The Musical (UK Tour), The Mousetrap (Original UK Tour), The Winslow Boy (Theatre Royal Bath) and The History Boys (National Theatre/ West End).

Peter Sandys-Clarke’s theatre credits include Ronald Storrs in Ross (Chichester Festival Theatre), Peter Gilbert in The Browning Version (Theatre Royal Bath and tour), Gerald in When We Are Married (Garrick Theatre), Jerry in A Daughter’s a Daughter (Trafalgar Studios), Withers in The Letter (Wyndham’s Theatre and tour) and Raleigh in Journey’s End (Playhouse Theatre and Duke of York’s Theatre). His TV work includes The Royals (E!), The Crown (Netflix) and Indian Summers (Channel 4).

 

Simon Shackleton most recently played Professor Christopher Riley in the UK tour of Shadowlands, directed by Alastair Whatley. His other theatre credits include Journey’s End (West End and UK tour), An Ideal Husband (Northampton Repertory Theatre), As You Like It (Bridewell Theatre), Blithe Spirit (Chichester Festival Theatre). Simon has appeared in EastEnders (BBC), Silk (BBC), The Queen (Blast Films), Lewis (ITV) and Torchwood (BBC).

 

Oscar Wilde’s greatly admired and much loved comedy THE IMPORTANCE OF BEING EARNEST follows Jack Worthing’s endeavours to marry Algernon’s cousin, the beautiful Gwendolen. But first he must convince the fearsome Lady Bracknell of his respectability. Wilde’s classic play looks at the clash of town and country in a story of romance, identity, perambulators and capacious handbags.

 

THE IMPORTANCE OF BEING EARNEST will be directed by The Original Theatre Company’s Artistic Director, Alastair Whatley, with set and costume designs by Gabriella Slade, sound and music by Giles Thomas and lighting by Alan Valentine. The UK tour is produced by Tom Hackney for The Original Theatre Company.

 

Website: www.theimportanceofbeingearnest.co.uk

Facebook: TheOriginalTheatre 

Twitter: @OriginalTheatre

 

 

2018 TOUR SCHEDULE

24 January – 3 February          Yvonne Arnaud, Guildford                       01483 440000
www.yvonne-arnaud.co.uk

5 – 10 February                       Courtyard Theatre, Hereford                     01432 340555

                                                 www.courtyard.org.uk                                     

 

13 – 17 February                     Theatre Royal Plymouth                            01752 267222

                                                 www.theatreroyal.com                                     

 

20 – 24 February                      Belfast Grand Opera House                       028 9024 1919                                                                                                                        goh.org.uk                                                      

 

27 February – 3 March            Bath Theatre Royal                                      01225 448844

                                                www.theatreroyal.org.uk                                 

 

5 – 10 March                           Theatre Royal Winchester                            01962 840440

                                                www.theatreroyalwinchester.co.uk                  

 

13 – 17 March                         Manchester Opera House                             0844 871 3018

                                                www.atgtickets.com/manchester                     

 

20 – 24 March                         Salisbury Playhouse                                      01722 320333                                                                                                                    www.salisburyplayhouse.com                         

 

27 – 31 March                          Lichfield Garrick Theatre                             01543 412121

                                                 www.lichfieldgarrick.com                                

 

3 – 7 April                                Churchill Theatre, Bromley                           020 3285 6000                                                                                                                    www.churchilltheatre.co.uk                             

 

9 – 14 April                              Cambridge Arts Theatre                                01223 503333

                                                www.cambridgeartstheatre.com

 

17 – 21 April                            York Theatre Royal                                        01904 623568                                                                                                                       www.yorktheatreroyal.co.uk                            On sale soon

24 – 28 April                            Devonshire Park Theatre, Eastbourne        01323 412000
www.eastbournetheatres.co.uk