Month: February 2018

AWARD WINNING THEATRICAL CHAOS ON ITS WAY TO DARLINGTON HIPPODROME

The Play That Goes Wrong, the West End’s Olivier Award winning box office smash hit will be making its way to Darlington for a week long run in March.

Winning eleven international awards, including the 2015 Olivier Award for Best New Comedy and a 2017 Tony Award for its Broadway transfer, The Play That Goes Wrong continues to play to sold out houses in the West End, whilst enjoying its new status as Broadway’s longest running play. It is a remarkable rags-to-riches story for a play, which started its life at a London fringe venue with only four paying members of the public at the first performance, and has since played to an audience of almost one and a half million worldwide.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, The Play That Goes Wrong is a highly physical comedy packed with finely-tuned farce and Buster Keaton inspired slapstick delivered with split-second timing and ambitious daring. The play introduces The ‘Cornley Polytechnic Drama Society’ who are attempting to put on a 1920s’ murder mystery, but as the title suggests, everything that can go wrong… does, as the accident prone thespians battle on against all the odds to get to their final curtain call.

The Play That Goes Wrong runs at Darlington Hippodrome from Monday 5 to Saturday 10 March

To book contact the box office on 01325 405405 or visit www.darlingtonhippodrome.co.uk

2018 UK TOUR

GRAND OPERA HOUSE YORK

Friday 20 & Saturday 21 April

 

The 5 world-class illusionists of Champions Of Magic tour the UK from March 25th to May 5th following sold out shows across the globe, five star rave reviews and a run in London’s West End.

With over 30 million online views between them, this cast of Britain’s top magicians includes award winning tricksters presenting daring grand illusions, stunning close-up magic and incredible mind reading. Their skills have been seen around the world with appearances on TV including ITV’s ‘The Next Great Magician’, ‘Good Morning Britain’, ‘Penn & Teller: Fool Us’ and NBC’S ‘Access Hollywood’.

Following a 6 month international tour the show returns to the UK with brand new illusions, huge special effects and more incredible magic. Each performance features ‘blink and you miss it’ disappearances, impossible teleportation across the theatre, impossible escapes and interactive magic.

Broadway World described the cast as “5 of the world’s finest magicians”, Wales Online called the magic “So mind-boggling that I won’t even attempt to describe it” and The List added “Spectacular feats of mindreading, vanishing tricks and close-up magic will have you guessing for weeks”. In the USA NBC called Champions Of Magic “the most incredible show” with FOX saying “Incredible… you guys are rock stars”.

The show’s producer, Alex Jarrett, said “Following a huge tour across North America we’re excited to bring the show home to the UK with some never before seen magic that’s been in development for the last year. With every tour the team add new illusions, bigger special effects and more incredible tricks making the show more unbelievable than ever. Interest in magic has rocketed over the last few years with some brilliant TV programs, but you haven’t seen magic until you’ve seen it live – and this team are the best in the business”.

Champions Of Magic has been seen by thousands across the UK and North America, now is your chance to see why fans return to be amazed by the country’s biggest touring illusion show time and time again.

Tickets:  From £21

Box Office: 0844 871 3024

Online: www.atgtickets.com/york

Presented by M. Green Productions
The Gulf
Tristan Bates Theatre, 1A Tower Street, London WC2H 9NP
Tuesday 17th April – Saturday 5th May 2018

I’m not the answer, baby. I’m not. I’m just me

The European Premiere of The Gulf by Audrey Cefaly is an honest representation of the challenges all relationships can endure, no matter the sexuality. It looks at two women on a small fishing boat in the Gulf of Mexico and what makes their relationship tick

The divide between Kendra, played by Louisa Lytton (Eastenders, BBC1; Strictly Come Dancing, BBC1; A Midsummer Night’s Dream, the British Shakespeare Company), and Betty, played by Anna Acton (Doctors, BBC; Casualty, BBC; Eastenders, BBC; The Caucasian Chalk Circle, Gillotts Theatre; Emmanuelle & Dick, Royal National Theatre), mimics the very world that devours them: a vast and polarizing abyss. Stranded on a boat together, they are forced to confront their differences and untangle the issues they’re faced with

The message in society that a ‘significant other’, preferably of the opposite sex, is the answer to feeling complete and happy, is always present. Through bickering, insults, selfhelp books and physical and emotional game playing the audience discover, along with Betty and Kendra, the substance to their relationship and their future together

Director Matthew Gould comments, The Gulf is an exploration of relationships but it happens to be between two women in a boat on a fishing trip in Alabama and that is the importance of The Gulf… it’s characters are women. The presence of drama that has women, let alone lesbians, as their leading characters is minimal. As the shifting sands of the rights of LGBTQ+ people fluctuate from country to country, to then have such a strong drama featuring lesbian characters and set in the deep south of America is a testament to the talent of the writer Audrey Cefaly and her understanding of the need for Kendra and Betty’s voices to be heard. I hope that whoever comes to the play will see that whatever sexes a relationship is made up of the issues are the same the world over

Originally a short play in August 2010 as part of the Silver Spring Stage One-Act Festival in Silver Spring, MD under the direction of Chris Curtis. This production won the Samuel French Off-Off-Broadway Short Play Festival Award

Since the 2010 production Audrey developed the play into a full-length play which premiered at Signature Theatre in Alexandria, VA in October 2016 under the direction of Joe Calarco. It received incredible reviews and amazing audience reaction. This production won the 2016 Edgerton Foundation New American Play Award and was nominated for The Charles McArthur Award for Outstanding New Play (Helen Hayes Award)

Candid, honest and damn real (★★★★★ DC Metro Theatre Arts)

IAN HISLOP AND NICK NEWMAN’S SATIRICAL PLAY

A TRADEMARK TOURING & WATERMILL THEATRE PRODUCTION

 

ACCLAIMED PRODUCTION WILL TOUR THE UK IN 2018 BEFORE RETURNING TO THE WEST END IN OCTOBER FOR A LIMITED SEASON

Following sold-out UK tours in 2016 and 2017, and a critically acclaimed hit run at the Arts Theatre in the West End in 2017, The Wipers Times will once again tour the UK this Autumn.  It opens at Nottingham Theatre Royal  on 28 August 2018, and visits Oxford, Exeter, Malvern, Leicester, Eastbourne and Birmingham before returning to the Arts Theatre in London for a 7 week season. Full tour dates at www.wiperstimesplay.co.uk with casting to be announced.

 

Ian Hislop and Nick Newman’s The Wipers Times – a stage adaptation of their award-winning BBC film – tells the true and extraordinary story of the satirical newspaper created in the mud and mayhem of the Somme, interspersed with comic sketches and spoofs from the vivid imagination of those on the front line.

 

Ian Hislop and Nick Newman said:

“The Wipers Times is on manoeuvres again around Britain. We look forward to sharing the remarkable trench humour of the Wipers Times with new theatre-goers around the country. We are delighted it is not Journey’s End but the tour will all be over by Christmas. “

 

In a bombed out building during the First World War in the Belgian town of Ypres (mispronounced Wipers by British soldiers), two officers discover a printing press and create a newspaper for the troops. Far from being a somber journal about life in the trenches they produced a resolutely cheerful, subversive and very funny newspaper designed to lift the spirits of the men on the frontline.

 

Defying enemy bombardment, gas attacks and the disapproval of many of the top Brass, The Wipers Times rolled off the press for two years and was an extraordinary tribute to the resilience of the human spirit in the face of overwhelming adversity.

 

The production originally launched one hundred years after the Battle of the Somme and publication of The Wipers Times. This current run coincides with the commemoration of the end of WW1.

 

The Wipers Times is directed by Caroline Leslie, designed by Dora Schweitzer, with lighting design by James Smith, sound design by Steve Mayo. The composer is Nick Green, and Musical Director Paul Herbert. It is produced by Bob Benton & David Parfitt.

 

THE WIPERS TIMES – FULL TOUR DATES AND LISTINGS INFORMATION

Tuesday 28 August – Saturday 1 September                                                Nottingham Theatre Royal

Monday 3 – Saturday 8 September                                                                Oxford Playhouse

Monday 10 – Saturday 15 September                                                           Exeter Northcott Theatre

Monday 17 – Saturday 22 September                                                           Malvern Festival Theatre

Monday 24 – Saturday 29 September                                                           Leicester Curve

Monday 1 – Saturday 6 October                                                                     Devonshire Park Theatre, Eastbourne

Monday 8 – Saturday 13 October                                                                   Birmingham Rep

w/c 15 October – Saturday 1 December                                                       Arts Theatre, London

 

Cast announced for Plastic by Kenneth Emson
Old Red Lion Theatre, 418 St John Street, London EC1V 4NJ
Tuesday 3rd – Saturday 21st April 2018

Louis Greatorex (Safe, Netflix; The Last Post, BBC1; Last Tango In Halifax, BBC1), Madison Clare (The Dark Things, Linbury Studio Theatre; War Whores, Courtyard Theatre; Close, Landor Space), Mark Weinman (Captain Amazing, Soho Theatre/Live/UK Tour; The Gamechangers, BBC2; Press, BBC1) and Thomas Coombes (Barbarians, Tooting Arts Club – winner of Best Male Performance at
the Off West End Theatre Awards; Hatton Garden, ITV; Him & Her, BBC Three) will star in Plastic by BAFTA-nominated playwright Kenneth Emson. This powerful new play explores how the insecurities of childhood can follow us into later life in this unflinchingly honest drama about time, memory and escape.
Directed by JMK 2017

Directed by JMK 2017 award winner Josh Roche (My Name Is Rachel Corrie), this poetic and unflinching production is an extraordinary mix of drama and performance poetry set in an Essex school which tells the story of four young people who are forced into adulthood. Through its innovative verse, Plastic examines the creation of urban folklore and the sealed world of adolescence with all its unique pressures – how hard it can be to survive, and how hard it is to be left behind

Remember the moment you became an adult? Or did you miss it? Kev used to have a girlfriend called Lisa – she wore a fitted blazer and reebok classics and lit up the school yard. Kev used to be the captain of the school football team and he scored the winner in the All-Essex schools cup final. Ben used to get beaten up most days. He stole money from his mum’s purse to pay off ‘Wicksy’. Now he’s an accountant. But Ben always had Jack. His loyal, unbreakable mate Jack. Adults are the kids that survive school right? But what if some kids don’t?

Essex playwright Emson comments, I’m delighted to bring Plastic to the Old Red Lion. It’s a theatre with a rich history of new writing and produces some of the most exciting and idiosyncratic voices in theatre. I’m proud to be added to that list. Plastic is a play that means a great deal to me personally, it’s set within the community I grew up in and the characters formed from the people I knew there.
For this story and those characters to occupy a London stage is incredibly exciting

Plastic is generously supported by Arts Council England, Royal Victoria Hall Foundation, Blyth Watson Charitable Trust and The Old Vic Theatre.

Plastic will also be touring to the Mercury Theatre in Essex from 26th – 28th April 2018

Rumours of Fleetwood Mac, the world’s finest tribute to Fleetwood Mac, returns to the stage in 2018 with a brand new show celebrating 40 years of the iconic Rumours album.

Encompassing nearly five decades of legendary music and channeling the spirit of Fleetwood Mac at their very best, Rumours of Fleetwood Mac offer a unique opportunity for fans, both old and new, to rediscover the songs and performances that have ensured Fleetwood Mac’s place as one of the most loved bands of all time.

Anyone who loves music from the past 40 years will have no doubt enjoyed at least a handful of Fleetwood Mac’s songs; from their first hit Albatross right through to the 80’s smashes Big Love and Little Lies. Likewise their albums have always managed to deliver on every occasion but the history books will show that it was their eponymous ‘Rumours’ album that does, and will continue to, stand the test of time as a true classic. The songs are masterpieces in their own right but when the story surrounding the band (the in-fighting, love triangles and months of silence) are added there is more than a frisson of extra edge and pathos to the words.

This tour will bring alive mega hits such as Don’t Stop, Dreams, Go your Own Way and The Chain as well as much much more from the band’s whole catalogue.

If you look in any music press listings you will find many tribute bands covering almost all the big name acts from the 60’s and 70’s – The Counterfeit Stones, The Bootleg Beatles, Abba-esque, the Pink Floyd Experience but I challenge any of them to be as good as Rumours; in fact I will go so far as to say they rival the original Fleetwood Mac even after their recent reunion tour.

Personally endorsed by Fleetwood Mac founding member, Mick Fleetwood, Rumours of Fleetwood Mac is the ultimate tribute to one of rock and roll’s most remarkable groups.

“An extraordinary emotive performance of Fleetwood Mac”

MICK FLEETWOOD

“A stunning and incredibly accurate snapshot of the World’s first Super Group”

SUNDAY TIMES

“They do Fleetwood Mac better than Fleetwood Mac.”

MAIL ON SUNDAY

2018 North East Dates

March

Tue 27th Harrogate Royal Hall

Thu 29th Gateshead The Sage

April

Thur 5th Darlington Hippodrome

May

Sat 19th Gateshead Sage

For full tour details and more insight on the best Fleetwood Mac go to

https://www.rumoursoffleetwoodmac.com/ https://www.facebook.com/rofmofficial/ https://twitter.com/rumoursfm

Jack Studio Theatre – until 3 March 2018.  Reviewed by Claire Roderick

3***

Controlled Chaos’ all female production of The Tempest begins with a simple but effective representation of the storm that traps Prospero’s enemies on his island, and this low-tech, whimsical approach continues throughout Dylan Lincoln’s solid production.

Prospero’s dreams of revenge on those who have wronged him are effectively portrayed as characters silently parade during the (very) long exposition to Miranda which must be endured before the action gets started. With the help of spirit Ariel, Prospero’s retribution begins as Ariel leads groups of survivors on a merry dance around the island as Prospero engineers the meeting of Ferdinand, heir of Milan, with Miranda. Meanwhile his slave Caliban comes across two drunken members of Alonso’s household, and takes them for gods.

In some productions the “comedy” of drunken Trinculo and Stephano can be painful, but here Kimberley Capero and Ceri Ashe keep it broad but unforced and very funny. Drawing even bigger laughs are Shereener Browne and Afsana Sayyed as duplicitous and ambitious Antonio and Sebastian. Carmella Brown is an ethereal mischievous Ariel and Kate Sketchley gives Caliban an animalistic naivety that is spellbinding, while Michelle Pittoni and Hannah Jessop are an innocent delight as Miranda and Ferdinand. I think Jo Bartlett will grow into her role as Prospero, at the moment her mystical, reflective moments are impressive, but there is a slight hesitancy about the anger and bitterness in early scenes that doesn’t quite convince yet. The whole cast give committed performances, but too often their breathing isn’t quite right, resulting in lines ending in a garbled rush, or choking on words mid-line.

The music is charming, with a circular hypnotic, sometimes soporific melody that enhances the feeling of enchantment, complimented by a lighting design that, although predictable, matches the mood of the piece.

This is a production full of natural charm and humour – well worth a look.

Waterloo East Theatre Fridays until 16th March.  Reviewed by Claire Roderick

4****

Planning your own funeral is taken to the next level in Tempest Rose’s spectacular burlesque show. Tempest Rose is hosting her own wake every Friday throughout the Vault Festival, and this is one congregation you want to be a part of.

Filing into the theatre, and handed the order of service, the open coffin and the portrait of the deceased strike a sombre tone, until you realise exactly what tunes the organ is playing, and are instructed to stand for the opening hymn – a George Michael classic!

Structured like a legitimate funeral, with guest stars performing instead of eulogising, this is a clever, life-affirming and thoughtful show, with lots of filthy fun. Last night saw Trixie Kixx giving Catholics heart attacks, Storm Hooper stunning with her hula hoop tricks and Bootsy Belafonte performing one of the most brilliantly bizarre and topical routines imaginable as Ariel the little mermaid.

Tempest Rose hosts with impeccably wicked panache, charming and terrifying the audience in equal measure – her Gypsy routine, echoing Gypsy Rose Lee’s strip with a modern take on female empowerment and sexuality is fantastic and inspiring – and she can belt out a tune too.

Audience participation is obligatory, whether it’s joining in with the “hymns”, or sorting out Tempest Rose’s will – a mass pass the parcel game that proves that grown ups just can’t play nicely.

If you’re looking for a fantastic night out, then this feel-good funeral is a must see. You’ll leave singing, dancing… and trying to choose your own burlesque name.

StoryHouse, Chester.  Friday 16th February, with Saturday – Sunday 18th February Swan Lake.  Reviewed by Julie Noller

5***** 

I do not pretend to be an expert in Ballet, but I have discovered a love and respect for the extreme talent and professionalism I am always privileged to watch. Chester’s StoryHouse Theatre may not be the biggest stage in theatre land but it’s modern build and cleverly spaced seating was perfect for watching Giselle, my eyes missed no action, each twirl, each spin, my eyes were completely level with the stage and those dazzling dancers.

Giselle is one of the most classical romantic of ballets first performed in Paris in 1841, it is amazing that it survives to be performed intact. Dancers are by nature interpreters, showcasing skills and feelings. By such we should be thrilled to be witnessing this classic and so close to Valentines Day, a love story indeed. Romanticism in ballet apparently originated in Germany and is traditionally danced in long tutus. Those twirls en-pointe in long tutus fascinated me, the skill, the technique is remarkable.

If you do not know the story of Giselle then I suggest reading through the programme, it helps to understand the story unfurling on stage. You sense what is happening although I found Giselle and The Saint Petersburg Ballet to not only be technically gifted but almost perfect mime masters, over exaggerated arm movements yet so graceful, facial features were so clear and shone out across the auditorium. You could see the love, the distress the power of emotions filling the theatre.

Prima Ballerina Natalia Romanova is dazzling and electric as the young teenager Giselle who as in all fairytales falls in love with the debonair dashing Duke Albrecht Premiere Vadim Lolenko who has disguised himself as a huntsman named Loys. Despite Giselles Mother worrying that her passion for dancing will kill her and she will fall under the spell of Wilis Marina Burliai and Viktoriya Bogomazova, you sense the foreboding and fear for what may be about to happen, Giselle follows her passions as only a young teenager will. Unfortunately and unnoticed by Giselle is that she has another suitor Hilarion First Soloist Evgeniy

Silakov the local Gamekeeper, obviously driven by jealousy he discovers Albrechts secret and informs Giselle when Bathilde visits the local area that she is Albrechts Fiancee. In a heart breaking moment of madness Giselle dances away collapsing from exhaustion, he mother distraught begs her daughter to stop, each man so deeply in love with Giselle attempts to woo her away. Yet driven by despair and shock of this so recent revelation, she loses her mind, dancing and ultimately she dies. All this dancing delight in only the first Act, I couldn’t wait for the second Act. Beautiful costumes floating across the stage, delicate and graceful perfection conclude the story of Giselle. It is not a powerful muscular wow ballet but just simply stunning, you understand the story telling, you respect each and every dancer on stage, each movement is slow and precise. Both men visit Giselle’s grave to repent their part in her tragic death, unable or unwilling to aid Hilarion he is caught and dies. But that deep teenage love so pure she felt for Albrecht protects him from the Wilis and after spending a last night dancing together, I sat mesmerised by the high throws and spins. You see the dedication each member of The Saint Petersburg Ballet brings to the stage. Wonderful.

Regan de Wynter Williams Productions present
Sasha Regan’s Iolanthe
By W.S. Gilbert and Arthur Sullivan
UK Tour: April – July 2018

Having wooed audiences in the UK and Australia with the award-winning Pirates of Penzance, H.M.S. Pinafore and The Mikado, Sasha Regan returns with her most critically acclaimed production, Iolanthe, which broke all box office records on its transfer to Wilton’s Music Hall in 2011.

Torches flash in the darkness as a party of naughty schoolboys adventure into the magical surroundings of an old theatre. Amid all the backstage paraphernalia they discover a Narnia-like wardrobe and a dusty copy of Gilbert and Sullivan’s Iolanthe. What follows is pure magic!

Universally regarded as Sir Arthur Sullivan’s most beautiful score, Iolanthe is a topsy-turvy love story between the most unlikely of couples… fairies and members of the House of Lord’s! Sasha Regan’s all male, award-winning company return with their best received production. Her inimitable inventiveness combined with Gilbert and Sullivan’s inherent barminess make for an unmissable night out.

Iolanthe became the fourth consecutive major success for Gilbert and Sullivan. It was the first work to premiere at the Savoy and first new theatre production in the world to be illuminated entirely with electric lights!

Sasha Regan comments, I am thrilled that Iolanthe will be touring once again! These all-male productions stem from my memories of performing Gilbert and Sullivan’s productions when I was at a single-sex school and I’ve always loved the innocence attached to these productions.  The laughter and playfulness afforded by setting it in this all-male environment allows the audience to really tap into the ‘topsy turvy’ world without being detached from it.

When it premiered in 2011 Iolanthe was nominated for numerous Off West End Awards – Best Director, Best Choreographer, Best Production, Best Costume Design and Best Male Performance.

Brought to you by the same team who created the award winning, all-male The Pirates of Penzance, this absurdly silly but sweetly touching version of Iolanthe is a comic pleasure. If there is a message, it is that everyone needs to release their inner fairy… Irresistible (* * * * The Guardian)

Sasha Regan and her boys are doing something just as gloriously fresh and inventive as Matthew Bourne did with Swan Lake (* * * * The Independent).