War Horse Review

The Lowry,  Manchester – until Saturday 30th June 2018

Reviewed by Julie Noller

5*****

War Horse is currently celebrating it’s ten year anniverary on stage and shows no sign of being tamed, it should however come with a full mascara warning and a free packet of tissues.

Having read the Michael Morpurgo story of life during World War 1, told from a horses perspective with my children during their primary school days, I was acutely aware of how powerfully his words had impacted and made me weep – however that was in the comfort of my own home and I had scurried the book away to see what all the fuss was about. This was something completely different, a production adapted by the National Theatre; just how thought provoking could a puppet actually be? Oh my, I was about to discover, from the opening lines I was taken on an emotional rollercollster that would have me cheering, laughing, sitting on the edge of my seat, jumping in fright and dabbing my leaking eyes whilst trying not to sob too loudly.

Bob Fox as the Songman, took my breath away, he used folk music to open our hearts as his melodies also soothed us. The Handspring Puppet Company bring our heroes to life as we witness both the love and evil of humanity and the devastating effects of war. I never expected a puppet to show a complete range of emotions, I believed I was seeing Joey on stage, it was amazing, I am totally in awe of each and every person who brought him to life. The skill and timing was utter perfection.

War Horse begins on the eve of World War 1 in rural Devon, a young Albert Narracott (Thomas Dennis) attends a horse auction with his father Arthur (William Ilkley) a misguided drunken brute who despises his brother and seeks to better him no matter what. Ted Narracott (Gwilym Lloyd) see’s a young cross breed foal (part hunter part dray horse) and sets about bidding for his son Billy (Jaspar William Cartwright).  Arthur bids all the money he has, 39 Guineas, to stop his brother even if it is the mortgage money, giving his son a good hiding in the process. Rose (Jo Castleton), Arthur’s long suffering yet amazingly patient wife, tasks her son to train the foal with the intentions of selling him to recoup their money.  Thus we see the beginning of an unbreakable bond between man and beast as they become inseparable and the the lengths some go to in order to protect that bond.

Joey, as Albert affectionately names his new friend, is not just simply a horse, he is not a beast but an intelligent and affectionate creature who works and serves in any way he can. He gives his all despite the cruelty of life on the frontline and he deserved every one of my tears shed in honour of all those horses who gave everything that man asked of them a hundred years ago. War Horse is an extremely clever tale of survival against the odds. It tells us the story of millions of forgotten heroes who served their country well and not only that but the sad demise of old and young, many who like Albert lied about their age for sixteen is far too young to run away to serve in the trenches and battlegrounds of northern France and Belgium.

Albert who without a thought leaves the safety of Blighty and stumbles through the war in search of his best friend, his need to save Joey who had been savagely sold by Arthur for one hundred pounds. Armed with only a drawing by Lieutenant Nichols (Ben Ingles) of his beloved Joey, posted back to England after a Cavalry charge had failed and he’d been cut down too soon. It is a chance encounter with a Sergeant to whom he shows the drawing that ultimately saves Joeys life after Topthorn, his one time enemy but lifelong friend, sadly loses his life. War is an extremely gut-wrenching and sadly unavoidable event in some circumstances but the ultimate loss is innocence. Throughout War Horse there are small pockets of humour, there needs to be. From the little silly comments to the comedic goose who chases and honks. Without these War Horse threatens to be too dark and depressing.

War Horse is simply C’est Magnifique, the ultimate tale of friendships, love and loss. Of grief in an era of gentlemanly conduct of hatred and survival. I cried, my head hurt from trying not to cry, my eyes leaked where I could not contain them. I inhaled and whimpered, hugged myself. Thanking my lucky stars that my life began 60 years after the beginning of a horrendous four years in our history. I felt emotionally drained but would I do it all again? Without a doubt; yes. War Horse needs to be included in everyone’s bucket list of essential views, it will quite easily be the best thing you’ll see all year.

Mathew Bourne’s Cinderella Review

The King’s Theatre Glasgow – until 16 June 2018

Reviewed by Linda McLaughlan

5*****

‘A fresh look at a fairy tale story through the one of the darkest era’s of London’s history’

We all know the fairytale of Cinderella told through the generations by our parents and grandparents. The story of a fairy godmother you rescues Cinderella from her dreary existence and you helps her find her true love in the arms of the her Prince. Well, Mathew Bourne helps us see this fairytale in a new light.

The London Blitz was a time of mass destruction during the war with many buildings destroyed by the Ger-man bombing and thousands of lives lost and families torn apart. But still the undercurrent of British strength and determination carried on with many people determined to carry on through the darkest of times and get on with their lives as best they could.

Mathew Bourne’s production takes us through the dreary life of Cinderella at the hands of her step-mother and her equally horrible step brothers and sisters. We get to see the wonderfully talented Ashley Shaw (Cinderella) dream of glamour and escapism from her life when she tries on her step mothers fur wrap and her own sparkly shoes which she keeps hidden in a box by the fireplace. Her father who is ex military and who has been clearly injured plays a lost looking soul who is now wheelchair bound and at the perils of his wife and her children, watches on helplessly as he struggles with his own demons and cannot protect his daughter or ease her unhappiness.

Then our handsome injured Pilot Harry (played by Dominic North) comes on the scene and both his and Cinderella’s lives are changed as they desperately search for each other through the turmoil of London.

The nightlife of London at the time is highlighted and in some keeping with the fairytale the meeting place for Cinderella to see Harry is the Cafe de Paris. However like the fairytale Cinderella does not have an invite to go so in comes her Angel (Played by Liam Mower), who guides her to find Harry again but not before he takes her through a journey of love and loss, lust and desire.

As with all Mathew Bourne’s productions the ‘normal’ storyline is adapted and twisted and takes you own a rollercoaster ride of intrigue and adventure. This is a production that will leave you wanting more and restore your faith in humanity and love even in the darkest of days.

The RSC’s Don Quixote transfers to the West End for a limited season at the Garrick Theatre from 27 October 2018 to 2 February 2019

The Royal Shakespeare Company and Nica Burns present
DON QUIXOTE
Adapted by James Fenton from the novel by Miguel de Cervantes
With songs by James Fenton and Grant Olding

Directed by Angus Jackson

  • The RSC’s joyous, music-filled Don Quixote transfers to the West End for a limited season at the Garrick Theatre from 27 October 2018 to 2 February 2019 with press night on 8 November
  • David Threlfall and Rufus Hound return to reprise their roles as Don Quixote and Sancho Panza in James Fenton’s triumphant adaptation of Cervantes’ classic novel
  • Tickets go on sale to the general public on Monday 25 June at 10am

It is announced today that the Royal Shakespeare Company’s Don Quixote, which originally premiered at the RSC’s Swan Theatre in Stratford-upon-Avon in spring 2016, will transfer to theGarrick Theatre in London’s West End from 27 October 2018 to 2 February 2019.

The award-winning poet, journalist and literary critic James Fenton has adapted Miguel deCervantes’ iconic novel which tells the famous, farcical story of a self-fashioned travelling knight accompanied by his faithful squire.

A labyrinthine world of rogues, merchants, shepherds, galley-slaves and windmills combine to confront the pair with a world of rampant, absurd adventures in this brilliantly energised adaptation of the comic epic.

RSC Artistic Director Gregory Doran said: “We are delighted that Angus Jackson’s joyful production of Don Quixote is going to be shared with West End audiences this autumn, following my production of Imperium playing at the Gielgud Theatre and our regular winter season of Shakespeare plays at the Barbican.  

Don Quixote’s journey with his faithful sidekick is one of the world’s most famous stories, and James Fenton’s glorious adaptation brings Cervantes’ novel wonderfully to life.  

First staged in Stratford-upon-Avon to mark the 400th anniversary of Cervantes’ death, David Threlfall will reprise his mesmerising performance in the title role, with Rufus Hound once again playing his long-suffering companion Sancho Panza. 

London audiences will get the chance to see them recreate their chemistry on stage and I encourage everyone to discover this hilarious, profound and lyrical adaptation of a classic tale.”

Co-producer and theatre owner Nica Burns said: “Having seen this glorious production which premiered at the Swan Theatre in 2016, we are thrilled to be collaborating with the RSC to share this joyous and moving evening with a wider audience at its new home at the Garrick Theatre.”

Don Quixote will again be played by David Threlfall, best known for his leading role as Frank Gallagher in Channel 4’s Shameless. His other recent TV work includes Tommy Cooper: Not Like That, Like This, Black Sea, Housewife 49, What Remains and most recently he appeared in the BBC/Netflix series Troy: Fall of a City. His original appearance in the show in Stratford marked a long-awaited return to the RSC for Threlfall, whose last performance there was in his award-winning role of Smike in the iconic adaptation of Nicholas Nickleby in 1980.

Actor and comedian Rufus Hound will return to play Quixote’s squire, Sancho Panza. Hound’s recent work includes the Rose Theatre Kingston’s War of the Roses cycle, Dirty Rotten Scoundrels(Savoy Theatre), One Man Two Guvnors (NT/West End), Wind in the Willows (London Palladium Theatre), What the Butler Saw (Curve Leicester), Present Laughter (Chichester) and the upcoming new musical Dusty (UK tour).

After a lifetime of reading books on chivalry, Don Quixote decides to embark on a quest of his own. Taking up a lance and sword, he sets out to become a wandering knight, defending the helpless and vanquishing the wicked. Hopelessly unprepared and increasingly losing his grip on reality, he travels across Spain accompanied by his faithful and equally ill-suited squire, Sancho Panza.

The production is once again directed by RSC Associate Director Angus Jackson who previously worked on the critically acclaimed production Oppenheimer, which transferred to the West End in 2015 after a sell-out run at the Swan Theatre in Stratford-upon-Avon. Last year, he was season director of the ROME MMXVII season of Shakespeare plays (RST and Barbican).

Don Quixote is designed by Robert Innes Hopkins, with music composed by Grant Olding,lighting by Mark Henderson and sound by Fergus O’Hare. The fight director is Malcolm Ranson. Movement is by Lucy Cullingford.

LISTINGS
Don Quixote
Garrick Theatre
2 Charing Cross Road
London
WC2H 0HH

Saturday 27 October 2018 – Saturday 2 February 2019
Press night: Thursday 8 November 2018

Monday – Saturday at 7:30pm
Wednesday and Saturday at 2:00pm
No matinees between Saturday 27 October and Wednesday 7 November
First matinee will be on Saturday 10 November

Box Office

Website: www.donquixoteplay.com / www.rsc.org.uk/london
Telephone: 0330 333 4811 / 01789 403493
Prices from £10 (Prices from £5 for 16-25 year olds only)

Tickets go on sale to the general public on Monday 25 June at 10am

Titanic The Musical Review

Edinburgh Playhouse – until 16 June 2018

5*****

It has been 106 years since the Titanic sunk, killing more than half its passengers and crews on board. While this famous tragedy is a well-documented and discussed event, Danielle Taranto’s production of  Titanic: The Musical breathes new life into the story, creating a gloriously entertaining show that should not be missed.

Having seen this show at the beginning of the tour in Southampton which was a 5 star production then, I can only say that it has improved on the way.  The cast of 25 are now more familiar with their roles, growing into them and making them their own. The sniffles and sobs throughout the audience are an auditory experience not to be missed, a shared grief almost. Titanic’s characters get to your soul. Their hope and optimism lets you believe things might be okay. But, of course, we know that it won’t be

The story develops elegantly and organically: even with such a large number of characters, every single person has a clear and distinctive story arc or motivation. Whether it be through a song or a short scene to tell their story, they all felt fleshed out, whereupon the emotions felt and reactions experienced with the sinking of the ship are rendered even more heartbreaking to witness. The characters in Titanic: The Musical were based on actually on board the ship, and while a little creative licensing occurs, careful research is evident and pays off marvellously.  The story here is semi-biographical, based on real people, diaries, letters and news articles, and succeeds brilliantly in bringing to life the hopes and aspirations of the passengers. Numerous mentions of the “ship of dreams” alongside musical numbers such as I Must Get On That Ship and Lady’s Maid echo the constant theme of yearning for a better life

Only three actors plays single roles, Greg Castiglioni (designer Mr Andrews) Philip Rham (the well intentioned Captain Edward Smith) and Simon Green (conceited owner Mr Ismay) form a solid core. The men share a strong scene in act two as they argue in vain as to who must shoulder The Blame. Castiglioni  has a powerful role in the finale, vividly describing how the ship he designed will sink as he sings Mr Andrews’ Vision.

Some of the stand out performances included Claire Machin as the second-class passenger with aspirations of first-class grandeur Alice Beane, Dudley Rogers and Judith Street as Isidor and Ida Straus performing Still – a romantic duet reflecting on their life-long relationship – ensured that if you weren’t welling up already, that your tears would come.

On the bridge, Rham as Smith, Kieran Brown as William Murdoch and Alistair Barron as Charles Lightoller are powerful men who are painfully aware of their responsibility, these actors working off each other brilliantly. Brown gives passion to Murdoch’s needless suicide and Barron’s Lightoller is powerful in assuming of responsibility as everything around him disintegrates

The three Kates – Kate McGowan (Victoria Serra), Kate Murphy (Devon-Elise Johnson) and Kate Mullins (Emma Harrald) – lead the third class ranks in terms of story development. They convey starry-eyed, poor women determined for a fresh start.

Act One is 80-minutes, followed by a 20-minute interval before a 50-minute Act Two. Titanic is intense from the moment it starts, and most of the actors remain on stage or visible the entire time.  The live band, lead by Mark Aspinall play the score beautifully helping to create the story and build the tension

This beautiful and momentous musical deserves to be seen, and whilst for now we must be content with the UK tour, we can live in hope that it will find its rightful place on the West End stage

Celebrating 30 Years Of Minding the Gap in Yorkshire

STILL MINDING THE GAP 30 YEARS ON

 

“…fiercely proud of being a theatre company and not a box-ticking exercise

                                                                                                                                        JuliaSkelton, Executive Director, Mind the Gap

 

 

Next week is Learning Disability Awareness Week (18th – 24th June) and right in the middle of it Europe’s leading learning disability theatre company, Yorkshire’s own Mind the Gap, will celebrate its 30th birthday.

To mark its 30th year Mind the Gap will spend the next 12 months celebrating its achievements and its artists, touring highly-acclaimed productions, creating new work – including a large-scale, outdoor spectacular – and challenging the current lack of work for learning disabled artists.

We have championed learning disability arts for 30 years – we have theatre company and an academy each with exceptional facilities; we have worked alongside other arts venues to help create more opportunities for both LD audiences and artists,” says Julia Skelton, Executive Director at Mind the Gap.

There are success stories for LD artists and performers as shown by the recent Britain’s Got Talent results, but there is still no room for complacency.”

There are 1.4million people with a learning disability in the UK and Mind the Gap insist that their missing voice is noticeable.

We work with learning disabled artists to give them a voice. MTG’s work is about collaboration – we don’t tell our artists what to say or how to say it. Our work is created by them,” continues Julia.  “We want to see LD Arts respected and heard – at conferences, events and in other people’s productions.”

Mind the Gap’s aim is to create ambition for people to ply their trade elsewhere and it has seen several of its artists independently commissioned; resident artist, Jez Colborne, a highly skilled musician, composer and singer, created a piece for the 2012 Paralympic Games CelebrationsZaraMallinson is currently working on a piece with local writer, Emma Adams; JoAnne Haines had a part in BBC1’s Doctors; Alan Clay has received funding to develop his music project Skip Rap, and Liam Bairstow is a regular to the cobbles of Coronation Street where he plays Alex Warner.

Liam says: “Having a disability is not a bad thing – it’s a good thing because you get to know people inside. I’m very proud to inspire and represent people through my role on Coronation Street and my work with Mind the Gap.”

Later this month Liam is on the celebrity judging panel of Leeds Young Talent, a talent show for young people with a learning disability hosted by People In Action, where he will sit alongside Britain’s Got Talent winner Lee Ridley, aka Lost Voice Guy; dancer Michael Allen will perform at the Stanley and Audrey Burton Theatre in ExpressionsJez Colborne and the Mind the Gap Band play Leeds Wharf Chambers and Mirror Mirror – an outdoor production – plays at the opening ceremony ofGreat Exhibition of the North.

Highly-acclaimed production Mia, a piece about learning disabilities and parenthood that was described by one reviewer as ‘a much-needed middle finger held high in the face of our society’s assumptions about learning disability’ continues to tour, and in the coming months the company is sent make an exciting announcement about a brand-new piece on an epic scale.

Mind the Gap started its life in 1988 and ten years ago moved to its current home in Lister Mills, Bradford, which allowed the company to grow, produce more work and create more opportunities.

If we’d have listened to those that said we couldn’t do it, we’d never have done it,” continues Julia. “But here we are. We’ve achieved so much, and we are incredibly proud, but there is more to do. OurPerforming Arts Academy is oversubscribed, which is great news for us but not so for those who don’t make it in. Mind the Gap should not be the only option for LD artists,” Julia concludes.

It’s hugely important to all at Mind the Gap that we shout about the great theatre we create; theatre as it should be – bold, challenging, funny, emotive and thought-provoking. We are fiercely proud of being a theatre company and not a box-ticking exercise.”

For more information about Mind the Gap, its artists, productions and academy visit

www.mind-the-gap.org.uk

 

Follow Mind the Gap on Twitter @MtGstudios

 

“Son of a Preacher Man” review

The Alhambra Theatre, Bradford – until 16th June 2018.

Reviewed by Sally Richmond

5*****

‘Fabulous darling!’ and ‘A ten from Len’ are two most definitely deserved comments that one could say about the new musical, Son of a Preacher Man, which is directed and musically staged by Strictly’s very own bad boy, Craig Revel Horwood. If you think this show is a story about Dusty Springfield’s life then you’re wrong and when asked about the use of the icon’s songs and show’s title, the writer Warner Brown, said ‘The story came first, and then I thought this has got to be as if those (Dusty) songs were written for a musical. You come to a point where you need to go into song, and there was a Dusty song to fit it.’ Son of a Preacher Man may not be about Dusty but what it is about is love, a subject most of her legendary songs covered. Long-lost love, unrequited and lustful are but a few amongst loves many multifaceted mysteries and this musical extravaganza explores them all.

The show, which has now come to The Alhambra Theatre, the jewel in Bradford’s crown, is about three strangers from three different generations, who describe themselves as ‘a mess’ and ‘looking for direction’. They all find themselves at Dean Street in London’s Soho, searching for a record shop called Preacher Man, a place from the past where vinyl and Dusty were once at the forefront of a young hipster’s life. What the trio want from the Preacher Man is answers, solutions, wisdom and guidance to help them sort out their disastrous love lives.

Paul (Michael Howe), the oldest of the three, used to frequent the shop back in the day when the Preacher Man was actually there in the flesh during the Swinging 60s and it was here he fell for Jack (Jon Bonner). As Paul reflects, we the audience are invited to quietly watch a private moment between a young Paul and Jack, exploring the possibilities of their relationship in a moving and sensual dance performance. Sadly, nothing transpired between the two young men due to ‘things being different back then’ and Paul never really got over what could have been. In contrast to the sentimentality of love in the past, we also meet Kat (Alice Barlow), who is young, fresh and unsuccessfully trying to find love via internet dating websites. Barlow’s performance throughout the show is first class with her spectacular voice (which leads many of the show’s songs) and her brilliant acting skills which give an amusing and comedic performance of the kooky Kat. The third hapless lover is Alison (Michelle Gayle), who has sadly lost her husband but is now finding herself dangerously drawn to an eighteen-year old student. On arrival, finding out that The Preacher Man has passed away, the three characters decide to pursue his son, Simon (Nigel Richards), in hope that he will help them by giving the advice that they desperately seek.

Since the death of his father, Simon has sold the shop, above which he still lives, and it is now a café that he manages along with the Cappuccino Sisters (Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong), waitresses who send up the other characters brilliantly but with much affection and with a great energy of the 1960s. Simon tries to emulate his father and help these lonely, troubled souls but with many misunderstandings and lots of soul searching along way.

The show has a really clever balance of nostalgia for the 1960s coupled with the present day and how ‘dating’ plays out today with the use of modern technology. A stand out element to the show is that several of the multi-talented actors are also among the musicians, playing their instruments on the stage as well as acting and singing their parts. The choreography directed by Craig Revel Horwood is spot on, as it flows from high energy to soft and romantic, which helps to develop the character’s and our understanding of them. All of the cast gave an excellent performance as an actor, singer, and dancer and some, as I have already mentioned, were also highly competent instrumentalists.

In the second half of the show, the energy just keeps growing and the harmonies begin to sound even more up-lifting as the characters, who the audience have begun to fall in love with by this point, begin to find love themselves and finally sort out their issues. By the closing number the whole of the audience were on their feet, dancing, singing and clapping along to sound of the beat of the sensational sixties and celebrating an awesome feel-good performance with the cast and each other. Son of a Preacher Man is a truly joyful experience and one that will have you grooving in the aisles!

FURTHER CASTING ANNOUNCED FOR THE HEIGHT OF THE STORM – ANNA MADELEY, AMANDA DREW & LUCY COHU

FURTHER CASTING ANNOUNCED

FOR THE UK PREMIERE OF FLORIAN ZELLER’S

 

THE HEIGHT OF THE STORM

 

PATRICK MELROSE STAR ANNA MADELEY

AMANDA DREW AND LUCY COHU

TO JOIN JONATHAN PRYCE & DAME EILEEN ATKINS

ON TOUR AND IN THE WEST END THIS AUTUMN

 

Multi award-winning star of screen and stage Jonathan Pryce will star as ‘André’, and three-time Olivier award-winning Dame Eileen Atkins will star as ‘Madeleine’ in The Height of the Storm, in the UK premiere of a new compelling family drama by Florian Zeller, the internationally acclaimed writer of The Father.

Directed by Jonathan KentThe Height of the Storm will open at Richmond Theatre on Saturday 1 September and play Cambridge Arts Theatre and Bath Theatre Royal, before transferring to London, opening at Wyndham’s Theatre on Tuesday 2 October, with a press night on Tuesday 9 October.

André and Madeleine have been in love for over fifty years. This weekend, as their daughters visit, something feels unusual. A bunch of flowers arrives, but who sent them? A woman from the past turns up, but who is she? And why does André feel like he isn’t there at all?

Anna Madeley will play the couple’s daughter, ‘Elise’. She most recently starred as ‘Mary’ opposite Benedict Cumberbatch in Sky’s Patrick Melrose, and her other screen credits include The Crown (Netflix), Dr Foster (BBC), A Child in Time (BBC) and Secret State (Channel 4). Recent stage credits include A Midsummer Night’s Dream(Young Vic), Les Blancs (National Theatre), The Crucible (Old Vic), and The Turn of the Screw (Almeida).

Amanda Drew, who starred in Florian Zeller’s The Father, and whose extensive stage credits include Enron(Royal Court/West End), Three Days in the Country (NT), The Events (ATC/Tour) and The Curious Incident of the Dog in the Nighttime (West End), will play the other daughter, ‘Anne’. Her screen credits include Broadchurch(ITV), EastEnders (BBC), HBO’s forthcoming series Chernobyl and Black Mirror for Netflix.

Lucy Cohu, who won a BAFTA and Emmy for her portrayal of Princess Margaret in The Queen’s Sister, and an Emmy for Forgiven (Channel 4), will play ‘The Woman’. Cohu has recently starred opposite Rowan Atkinson in ITV’s Maigret, and other screen credits include Ripper Street (Amazon), Broadchurch (ITV), and films Gosford Park and Becoming Jane.

Jonathan Pryce is an internationally acclaimed, award-winning actor on stage and screen. His diverse film work includes lauded performances in Terry Gilliam’s Brazil, James Foley’s Glengarry Glen RossCarrington for which Pryce won the Best Actor award at both Cannes Film Festival and Evening Standard Awards, Evita and successful blockbusters such as Tomorrow Never Dies, the Pirates of the Caribbean series and the G.I. Joe films.

His extensive theatre work includes Comedians in London and on Broadway, for which he won a Tony Award; The Royal Court production of Hamlet, for which he received an Olivier Award; and Miss Saigon in which he starred on both sides of the Atlantic, winning further Olivier and Tony awards.

Pryce’s recent work includes Terry Gilliam’s The Man Who Killed Don Quixote alongside Adam Driver; The Man Who Invented Christmas alongside Dan Stevens and Christopher Plummer, and The Wife opposite Glenn Close. He is currently filming upcoming Netflix feature The Pope alongside Anthony Hopkins, directed by Fernando Meirelles.

Pryce’s television work includes Taboo for FX and BBC, alongside Tom Hardy, and Sally Wainwright’s one-off film for BBC television To Walk Invisible. He also starred in Cranford: Return to Cranford, for which he received an Emmy Nomination for Outstanding Supporting Actor in a Drama. His other recent television roles include Cardinal Wolsey in the award-winning adaptation of Hilary Mantel’s Wolf Hall and High Sparrow in the hugely successful series Game of Thrones.

Dame Eileen Atkins is a three-time Olivier award-winning actress, and four-time Tony Award nominee. She is known for her BAFTA and Emmy award-winning performance in Cranford and major roles in Upstairs Downstairs and Doc Martin. Film roles include Gosford ParkThe Hours and Paddington 2.

Atkins’ many stage appearances in the West End include HonourEllen Terry, Three Tall Women and The Female of the Species. She has also played starring roles on Broadway in Retreat from Moscow with John Lithgow, and All that Fall with Michael Gambon, Indiscretions with Jude Law, The Killing of Sister George and Vivat! Vivat! Regina!, all of which she received Tony Award nominations for Best Actress. She can be seen most recently as Queen Mary in Netflix’s The Crown.

The Height of the Storm is a beautifully compelling family drama by Florian Zeller, “the most exciting playwright of our time” (The Guardian). Starring two of the greatest actors of their generation on stage together for the first time, this major new play from the writer of Olivier Award-Winning The Father is a searing exploration of love, family and the fragility of life.

 

The Height of the Storm is translated by Christopher Hampton, directed by Jonathan Kent (GypsyLong Day’s Journey into Night) and produced by Simon Friend, Mark Goucher and Howard Panter. Co-producers will be Gavin Kalin, Act Productions and Scott Landis.

One Flew Over The Cuckoo’s Nest Review

Sheffield Crucible – until 23 June

Reviewed byLottie Davis-Browne

3***

“One flew east, one flew west….one flew over the cuckoo’s nest”….

Set in Oregon, 1963, adapted from the 1962 Ken Kesey novel and 1975 movie adaptation, “One Flew Over The Cuckoo’s Nest” tells the story of recidivist criminal Randle P. McMurphy and his transfer to a psychiatric ward institution following serving a short sentence on a prison farm for statutory rape of a fifteen year old. Although McMurphy isn’t mentally ill, he is attempting to fake mental illness in the hopes to avoid hard labour, believing life on the ward will be more relaxed with less rules and regulations. He soon realises he is not in for an easy ride when he meets the strict uptight Nurse Ratched and sets out to defy the rules regardless of consequences.

The stage set comprises of the secure unit with the typical high windows – with just the top of tree being visible through it; the faint sound of birds singing in the distance. The story opens with the assumed “deaf mute” Chief Bromden (Jeremy Proulx) acting as a somewhat narrator (this is the case throughout the storyline, done in freeze frame to retain the belief that he is indeed a mute). In the background in the two storey offices – manned with CCTV screens (CCTV and panic buttons and tannoys are in clear patient view, the patients being continuously monitored by a team of Nurses and a Doctor) we see Ratched with a new patient – Randle McMurphy (Joel Gillman) who she soon introduces to the rest of the “acute” patients (the wards are named on severity of mental illness, the acutes being those who are most likely able to be “cured”.

From the moment Randle is introduced to the other patients, it becomes apparent he’s going to be defiant towards the strict patient rules; refusing the “admission shower” is just the start of his rebel against life in the institution which Gillman really brings the loveable side of the character out through humour making it hard not to love him, despite him being a danger to himself and other patients which results in tragedy.

The other patients are what really brings this production together, from stuttering virgin Billy Bibbit (Arthur Hughes), (Charlie) Cheswick (Shaun Mason) – who is prone to childish tantrums to the delusional Martini (Nathan Amzi), Randle soon has the others under his charm and it isn’t long before they are turning the tables on staff when it comes to rules and regulations, from bribing a security guard to get the office keys, gambling on sports and card games and organising a ward party complete with drugs, booze and prositutes. It isn’t long until Randle discovers the wards methods of “treating” the most difficult of patients – using electro shock treatment that things go from bad to worse.

Gillman delivers an exceptional performance as the small time criminal McMurphy; however it is some of the supporting cast members which really made this performance work. I was delighted to see not one but two cast members with physical disabilities – it is rare to see a disabled actor/actress playing such roles and as a disabled person myself it was a delight to see two cast members breaking down barriers which often come with disability and to give recognition to the often under-represented array of talented disabled actors.

Following a cast members injury, Jenny Livesy has stepped in at the last moment to take over the role of Nurse Ratched, although Livsey was still reading from a script for the majority of tonights performance, it was done in such a subtle way (as a Nurse in a Mental Asylum it was easy to make it look as if she was reading patient notes whilst talking) but towards the end it was less subtle but added a certain flair to the character portrayed – this hard-faced no nonsense Nurse, whilst making the audience feel empathy towards Livsey for doing such a smashing job at the last minute, thus saving the show from impending doom. The audience (myself included) most definitely let Livsey know at the bows just how grateful we were for this; she certainly gave an outstanding notable performance for someone who has had less than 48 hours rehearsal time to prepare for such an important role.

The music and lights add a slight horror/thriller movie feel to the story – at times I was genuinely clinging to the edge of my seat in fear and had to stop myself covering my eyes. I cant’ say I’ve seen the movie version nor have I read the novel, therefore I was unsure what to expect.

Although it covers some dark themes, the cast bring such humour to the array of eccentric characters making this a must see production.

 

MAMMA MIA Review

The Kings Theatre. Southsea – until 23 June

Review by Nicky Wyatt

5*****

Quite simply the best feel good, funny and uplifting night out. F ABBA ULOUS

A little bit of Greece comes to Southsea. Most girls want their dad to walk them down the aisle on their big day, Sophie (Lucy May Barker) is no different. Brought up in a Greek paradise by her mum the brilliant Donna (Shona White), not knowing her dad and her mum not telling she decides she wants to find him and does some research. She finds not one but three possible dads! They all get an invite to the wedding of her and Sky (Phillip Ryan) and they all arrive on the island thinking they are the guest of Donna, she of course knows nothing about it nor does Sky it’s Sophie’s secret.

It’s a funny fast paced story with some great characters.

Dads to be all suddenly realising they could be the one, switching between panic and pride mixed with the nostalgia of their time spent on the island with Donna making each one a plausible dad.

Sam (Tamlyn Henderson) the architect that stole Donnas heart and sketched the plan for the taverna before he left to go back to the states.

Bill (Matthew Rutherford) the travel writer and adventurer that back in the day was the headbanger

Harry (Daniel Crowder) the banker that was on a backpacking trip when he fell for Donna

We are treated to so many well known and loved ABBA songs with fantastic dance routines and more than a bit of comedy.

Tanya (Helen Anker) is hilarious in her rendition of ‘Does Your Mother Know’ some great moves. I have to say the male ensemble in the Wetsuit stag night were fab as were their Abs!

A hugely talented cast with some fantastic voices for me Donna, Sophie and Sam stand out.

Clever scenery and scene changes really capture the essence of a Greek taverna along with fab costumes and the music from ABBA played by the extremely talented band there was a whole of foot tapping going on and you could tell that the audience wanted to join in and boogie. This is show is 2 and half hours long and it goes by in a flash culminating in a well deserved standing ovation from many in the audience. The only good bit of it ending was the whole cast doing 3 encores that allowed us all to have a boogie to Mamma Mia, Dancing Queen and Waterloo.

Benny Anderson and Bjorn Ulvaeus did an amazing job writing this, the cast delivered it beautifully . We played the CD all the way home so only thing left to say is ‘Thank you for the music’

84 Charing Cross Road Review

Richmond Theatre  – until  Saturday 16th June 2018

Reviewed by Lisa Harlow

3***

This is a revival of the play adapted from the book of the same name. The lead character Helene Hanff, played by Stefanie Powers, was herself a script writer. It was not until she documented her true life 20 year relationship between herself, based in New York, and the staff of an antiquated second-hand bookshop in London after the Second World War, that she found the success she had sought with her script writing.

Clive Francis, as the bookshop’s Frank Doel, smoothly delivers his role with charm and poise throughout. Stefanie Powers holds court as the engaging and, at times, acerbic and gravelly voiced Hanff. The setting remains in place throughout with the passing of time portrayed through musical seasonal celebrations of the supporting cast.

In all, it truly is the essence of the word ‘quaint’. It conjures up a time of deep restraint and modesty, where instant gratification was not possible and delight remained in anticipation and eventual receipt. Hanff discovers an advert for the store in a paper, and her search for a range of literature classics from across the ocean begins in earnest. The beauty of corresponding in the old fashioned form of letter writing is gently held aloft and the appreciation for the topic and memories was evident from the audience.

For myself, the pace and content was too leisurely to truly hold the depth of my attention for most of the first Act. By the second, the turn of events and growing bitter sweetness began to capture my heart. It seems that the phrase ‘time flies’ remains applicable in any era, and experiencing the familiar story of allowing life events to overtake spoken hopes, dreams and promises is guaranteed to tug on the heartstrings. A gently enjoyable show.