Month: September 2018

Lyric Hammersmith announces Rachel O’Riordan as new Artistic
Director

Lisa Burger, Chair of the Lyric Hammersmith and Sian Alexander, Executive Director of the Lyric Hammersmith are delighted to announce the appointment of Rachel O’Riordan as the theatre’s new Artistic Director and Joint Chief Executive.

Rachel O’Riordan has been the Artistic Director and CEO of Sherman Theatre since February 2014. During her tenure the theatre has been transformed into a vibrant, exciting and influential producing theatre, winning The Stage Awards’ prestigious Regional Theatre of the Year category in 2018. She was previously
the Artistic Director of Perth Theatre Scotland and Ransom Theatre Company in Northern Ireland. An award-winning director, her recent directing credits include The Cherry Orchard for Sherman Theatre and Come on Home at the Abbey Theatre, Dublin.

Rachel will join Sian Alexander, the Lyric’s Executive Director and Joint Chief Executive since October 2015, to co-lead the theatre.

Rachel O’Riordan said: ‘The Lyric Hammersmith is one of the most exciting theatres in London. It occupies a special place in the theatre ecology; egalitarian, open and bold. I am looking forward to continuing the theatre’s journey and leading a new phase of artistic evolution, working alongside Sian Alexander and the Lyric team. I am honoured to have been chosen to succeed Sean Holmes, and look forward to getting to know new audiences in West London and beyond.’

Lisa Burger said: ‘I’m thrilled that Rachel will be joining the Lyric as our new artistic director. I’m a great admirer of her work at the Sherman in Cardiff and look forward to her bringing her passion for theatre and commitment to excellence, generosity and ambition to Hammersmith.’

Sian Alexander said: ‘I am very much looking forward to working with Rachel. She brings with her a wealth of brilliant experience as a leader and a director. She is an inspiring creative producer. She shares our values and passion for developing talent, creating opportunities for young people and working to ensure the theatre is at the heart of its local community. I’m hugely excited for the future of the Lyric under our joint leadership.’

Current Artistic Director Sean Holmes will step down as Artistic Director in October 2018. His final season of programmed shows begins in January 2019. Rachel will join the Lyric Hammersmith in early February 2019, with her first full season as Artistic Director opening Autumn 2019.

Finborough Theatre – until 29 September

Reviewed by Adam Craddock

3***

In 2018, the year of the centenary events to commemorate the end of the 1st world war, I think Finborough theatre have found the perfect time to revive Tony Harrison’s classic play “Square Rounds”. Square Rounds is based all around the path of how simple scientific experiments and thought led to the discovery of chemical weapons and the havoc it heaped onto the trenches of The Great War. We meet six of the most important scientists and inventors in their fields and through the use of verse and rhyme we discover their thoughts and demons over what is happening and what is to come.

Although I wasn’t the biggest fan of the shows text and the actual book of the piece, there were some exceptional performances within the cast. Letty Thomas gave a great performance as Hiram Maxim/ Sweeper Mawes, showing two very different aspects of her skill as an actor, one more characterful piece and one more of a thinkers part. Mawes was rather funny, with her strong “Cockney Geezer” portrayal and great physicality. Eva Feiler was good as Justus von Liebig, with great energy in her part, although sometimes this did get in the way for me in being able to follow what was going on. Amy Marchant was very strong as Hudson Maxim, with a cocky swagger that well suited this part and some great control of the stage, holding the audience in the palm of her hand as she revelled in the limelight. She bounced well off Thomas as her brother and the relationship between these two characters came across very strongly. Philippa Quinn was good as Fritz Haber, with a great feel of the off their rocker eccentric physicist going on and some really strong subtle mannerisms to aid her part, although like Feiler I think she sometimes let her energy get away with her. Gracy Goldman did well as Haber’s real life wife Clara Immerwahr, showing some great control that balanced beautifully with Quinn’s eccentricity as Haber and fabulously portrating the voice of reason in their confrontation scene. Rujenne Green also did well as Sir William Crookes, with a great control and use of the audience almost as her lecture space, where she would pass on to us the truth of her science and the knowledge she possesses.

Square Rounds worked fairly well in the very intimate surroundings of Finborough theatre, with a good use of its limited stage space and good use of projection and AV work. There were a few points of direction that I didn’t fully understand why they were done like that but this didn’t hamper the enjoyability of the piece for me. Square Rounds as play is a very heavy watch and, while it was very well received back in it’s day, I think times have changed and theatre is at a different place now. So while I did find it enjoyable, I won’t be rushing to buy another ticket.

“MAMMA MIA!”

ANNOUNCES NEW BOOKING PERIOD

TO SATURDAY 14 SEPTEMBER 2019

AT LONDON’S NOVELLO THEATRE

ON SALE NOW!

The global smash hit musical MAMMA MIA! at London’s Novello Theatre is now extending its booking period from Monday 4 March to Saturday 14 September 2019.  MAMMA MIA! will celebrate its 20^th birthday in London on 6 April 2019.  The box office for the new booking period is now open.

The London cast of MAMMA MIA! stars Sara Poyzer as Donna, Kate Graham as Tanya, Ricky Butt as Rosie, Richard Trinder as Sam, Neil Moors as Harry, Stephen Beckett as Bill, Georgia Louise as Sophie, Alec Porter as Sky, Charlotte O’Rourke as Ali, Leah St Luce as Lisa, Damian Buhagiar as Pepper and Eamonn Cox as Eddie, with Caroline Deverill playing the role of Donna Sheridan at certain performances.

Also in the cast are Chloe Ames, Chloe-Jo Byrnes, Adam Clayton-Smith, Adam Davidson, Luke Hall, Lauren Hampton, Jack Heasman, Jennifer Hepburn, Stuart Hickey, Zoe Humphryes, Mark Isherwood, Tyler Kennington, Robert Knight, Chanel Mian, James Willoughby Moore, Natasha O’Brien, Dean Read, Beth Relf, Annie Southall and Katy Stredder.

From West End to global phenomenon, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with an enchanting tale of family and friendship unfolding on a Greek island paradise.  To date, it has been seen by over 60 million people in 50 productions in 16 different languages grossing more than $2 billion at the box office.  In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China. MAMMA MIA! is also currently playing an International Tour, receiving great critical and public acclaim.

MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012.

 

The London production of MAMMA MIA!  has been seen by over 8.9 million people, played over 8,000 performances and has broken box office records in all three of its London homes.

 

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.

 

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.

MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal.

 

 

LISTINGS INFORMATION

Novello Theatre

Aldwych

London WC2B 4LD

Ticket Prices: From £15.00

A £2.25 per ticket booking fee applies to tickets booked online, and a £2.75 per ticket booking fee applies to tickets booked by phone. No booking fee on tickets purchased in person at the Novello Theatre Box Office.

All prices include £1.25 restoration levy.

Early Bird Pricing – anyone booking four months or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online, in person at the theatre, or by calling the Novello Theatre Box Office.

Performance Times:

Monday – Saturday 7.45pm

Matinees – Thursday & Saturday 3.00pm*

* extra Tuesday matinees 6 & 20 August 2019

Christmas 2018/19 Performance Schedule

Monday 24 December         NO PERFORMANCE

Tuesday 25 December        NO PERFORMANCE

Wednesday 26 December   7.45pm

Thursday 27 December       3.00pm and 7.45pm

Friday 28 December            3.00pm and 7.45pm

Saturday 29th December     3.00pm and 7.45pm

Monday 31 December         3.00pm and 7.45pm

Tuesday 1 January              7.45pm

Wednesday 2 January        3.00pm and 7.45pm

Thursday 3 January            3.00pm and 7.45pm

Friday 4 January                 7.45pm

Saturday 5 January             3.00pm and 7.45pm

Currently booking to 14 September 2019

The performance lasts 2 hours and 35 minutes (including a 15-minute interval)

Box Office: 0844 482 5151

http://www.mamma-mia.com/

http://www.facebook.com/mammamiamusical

http://twitter.com/MammaMiaMusical

CAST ANNOUNCED FOR THE UK AND IRELAND TOUR

 

“MOTOWN THE MUSICAL”

 

OPENING AT THE

BIRMINGHAM ALEXANDRA THEATRE

ON 11 OCTOBER 2018

The producers of “MOTOWN THE MUSICAL” are delighted to announce the cast for the UK and Ireland tour. Edward Baruwa will play the leading role of ‘Berry Gordy’, Karis Anderson will play ‘Diana Ross’, Nathan Lewis will play ‘Smokey Robinson’ and Shak Gabbidon-Williams will play ‘Marvin Gaye’.

The production will open at the Birmingham Alexandra Theatre on 11 October 2018 and will then tour across the UK until autumn 2019. Full tour dates below.

Edward Baruwa’s previous credits include the West End productions of “Motown the Musical” at The Shaftesbury Theatre, “Les Misérables” at the Queen’s Theatre, “Five Guys Named Moe” at the Marble Arch Theatre and the UK Tour of “Sister Act”.

Karis Anderson is best known as being one third of pop band ‘Stooshe’ who celebrated a top five single ‘Black Heart’ in 2012 for which they received a nomination for Best British Single at the 2013 Brit Awards.

Nathan Lewis was a finalist on ITV’s The X Factor in 2016 as part of boyband ‘Five After Midnight’. Nathan makes his stage debut as ‘Smokey Robinson’.

Shak Gabbidon-William’s previous credits include ‘Young Simba’ in “The Lion King” in the West End and most recently starred as ‘Seaweed’ in the UK tour of “Hairspray”.

The ensemble includes, Dayo Adeoye, Scott Armstrong, Simeon Beckett, Natalia Brown, Ethan Davis,Andrew Dillon, Akeem Ellis-Hyman, Christopher Gopaul, Daniel Haswell, Olivia Hibbert, Karis Jack,Michael Jeremiah, Amana Jones, Abz Kareem, Kane Matthews, DeeArna McClean, Matt Mills, Cordell Mosteller, Nicole Nyarambi, Spencer O’Brien, Perry O’Dea, Alex Okoampa, Reece Richards and Emma Robotham-Hunt

Charles Randolph-Wright, Director of “Motown the Musical” said,

“I am so thrilled that we have been able to find this incredible cast of British artists for the UK tour of Motown the Musical. Their talent has astounded us all, as they embody the soul of Motown and capture the energy and essence of those iconic artists. We are so excited to bring this show to cities across the UK and can’t wait to begin. Get ready!

With music and lyrics from the Motown catalogue and book by Motown founder Berry Gordy, Charles Randolph-Wright’s production features a live orchestra playing 50 Motown tracks including Ain’t No Mountain High Enough, I’ll Be There, Dancing In The Street, Stop! In The Name Of Love, My Girl and I Heard It through the Grapevineand tells the story behind the classic hits.

 

With just $800 borrowed from his family, Motown founder Berry Gordy, goes from featherweight boxer to heavyweight music mogul, discovering and launching the careers of Diana Ross, Michael Jackson, Stevie Wonder, Smokey Robinson, Marvin Gaye and many more.  Motown the Musical uncovers the true story of the legendary record label that changed music history and created the soundtrack of a generation.  

Tony nominated “Motown the Musical” received its world premiere in April 2013 in New York and recouped its $18 million investment by the end of 2014.  The first US National Tour opened to critical acclaim in Spring 2014 in Chicago, grossing $20 million dollars during its standing room only sixteen-week run.

The London production of “Motown the Musical” opened on 11 February 2016.  The production continues to play to standing ovations at the Shaftesbury Theatre where it is half way through its third year and is booking until April 2019.

 

“Motown the Musical” has music supervision, orchestrations and arrangements by Ethan Popp, co-orchestrations and additional arrangements by Bryan Cook, dance arrangements by Zane Mark.  Choreography is by Patricia Wilcox and Warren Adams, scenic design by David Korins, costumes by Emilio Sosa, lighting design by Natasha Katz, sound design by Peter Hylenski, video by Daniel Brodie and Wig design by Charles Lapointe. “Motown the Musical” is produced in the UK by Kevin McCollum, Doug Morris, Adam Spiegel andBerry Gordy.

The original Broadway cast recording of “Motown the Musical” is available via Motown Records, a label of UMG Recordings – www.classicmotown.com

 

MOTOWN THE MUSICAL – UK and Ireland tour 2018/2019

11 OCTOBER – 3 NOVEMBER 2018

BIRMINGHAM ALEXANDRA THEATRE

ATGTICKETS.COM/Birmingham – 0844 871 3011

6 – 17 NOVEMBER 2018

LEEDS GRAND THEATRE

leedsgrandtheatre.com – 0844 848 2700

20 NOVEMBER – 8 DECEMBER 2018

EDINBURGH PLAYHOUSE

ATGTICKETS.COM/Edinburgh – 0844 871 3014

10 JANUARY – 2 FEBRUARY 2019

BRISTOL HIPPODROME

ATGTICKETS.COM/Bristol – 0844 871 3012

5 – 23 FEBRUARY 2019

BORD GAIS ENERGY THEATRE DUBLIN

bordgaisenergytheatre.ie –  +353 1 677 7999

26 FEBRUARY – 23 MARCH 2019

MANCHESTER OPERA HOUSE

ATGTICKETS.COM/Manchester – 0844 871 3018

26 MARCH – 6 APRIL 2019

WALES MILLENNIUM CENTRE, CARDIFF

wmc.org.uk – 02920 63 64 64

6 – 22 JUNE 2019

NEWCASTLE THEATRE ROYAL

www.theatreroyal.co.uk – 08448 11 21 21

 

3 – 14 SEPTEMBER 2019

THE MARLOWE CANTERBURY

marlowetheatre.com – 01227 787787

ON SALE SOON

1 – 12 OCTOBER 2019

MAYFLOWER THEATRE, SOUTHAMPTON

Mayflower.org.uk – 02380 711 811

Avant Garde Dance and The Place present
Tony Adigun’s Fagin’s Twist
UK Tour: Tuesday 25th September – Monday 12th November 2018

Following the critically-acclaimed 2016 premiere of Fagin’s Twist and last year’s highly successful tour, Avant Garde Dance and The Place collaborate once again to present the 2018 UK autumn tour. The story unravels and explodes into a captivating performance and ambitious dance show, based on Charles Dickens’ much-loved classic. Fagin’s Twist is the untold story of a notorious and complex villain with a mischievous twist

This explosive retelling throws a less sympathetic spotlight on orphan Oliver. Fagin’s Twist follows the gang leader in his youth, driven by greed and ambition in the face of overwhelming poverty. The dark Victorian streets are a place of little comfort and fairy-tale endings are hard to find in this poignant coming-of-age tale

Tony Adigun’s dynamic choreography uses dance motifs taken from the streets to bring to life this adaptation set on the streets themselves, flipping the audience’s expectations of the five familiar characters – Oliver, Fagin, Nancy, Bill Sykes and the Artful Dodger – with an unmatched hip-hop contemporary style

Tony Adigun comments, I’m excited to be bringing back Fagin’s Twist this autumn with new cast members, new energies, new spirit. I can’t wait to share this show with new audiences and surprise those who have seen it before. I’m motivated to bring hip-hop and physical theatre to inspire a new generation

Fagin’s Twist is a daring, dynamic and hugely enjoyable rethink of a much-loved Victorian tale seen through the eyes of its infamous villain. (★★★★ The Times)

Fagin’s Twist was originally commissioned by Theatre Bristol, East London Dance, Pavilion Dance South West, Dance East and The Place, and co-produced by The Place. Fagin’s Twist has already performed around the country to critical and audience acclaim, including a run at leading London contemporary dance venue The Place and was performed in August 2017 at Edinburgh Fringe as part of the British Council Showcase

Continuing to push the boundaries of Hip-Hop Contemporary dance, Avant Garde provides an intensive participation model for people all around the country to give easy access to dance industry

Fagin’s Twist is generously supported by Arts Council England

York Theatre Royal – until 8 September 2018

Reviewed by Marcus Richardson

4****

Alan Bennett’s ‘The Habit of Art’ is at the York Theatre Royal. A rehearsal of a show about W.H. Auden and Benjamin Britton, within the play itself. The play explores the character of Auden and how he deals with his poetry, sexuality and age. Through the rehearsal we see the cast braking in and out of the scene and discussing issues they have with the play such as a rent-boy not carrying a bag filled with a towel and lotion. There are various comical elements to the play, Auden’s crude character gives a tongue-in-cheek humour and the cast arguing on the script also lends funny arguments to the show.

Matthew Kelly plays the character of Fitz, a hilarious actor who has a problem learning the lines of Auden’s character. Kelly does a terrific job of creating both the comedy in both characters of Auden and Fitz.  John Wark plays Donald, an actor struggling to find the essence of Humphrey Carpenter. Through his persistence of having a monologue in the play and blaming the script for not giving justice to Carpenter, leading up to the point where he dresses up in a dress and plays the trombone and reciting poetry, one of the more farcical moments of the play. Veronica Roberts and Alexandra Guelff play the stage managers and lend their skill into the performance filling in for two minor actors missing from rehearsal, coming on during certain scenes as cleaners, beds and mirrors. The scene with them being household objects reciting poetry is definitely surreal and wacky, needless to say I found it hilarious. The whole cast  gave a performance that was both thought provoking and funny.

Throughout the play we learn things about Auden and Britton, that I certainly didn’t know, the look into their lives give a whole new aspect to how I read Auden’s poems. Bennett captures the complex issue of sexuality in the 1930’s and 1970’s, with Auden having no regard to society at the time. The play doesn’t really have a climax or a battle to overcome, rather than the audience watching an everyday rehearsal and the process creating a show. I would say you do have to go into the show with a little bit of knowledge of Auden to understand a lot of the play, however if you go in blindly there is still a lot to appreciate and to laugh at. Although the lack of action, I still found it to be entertaining and insightful.

 

Salisbury Playhouse – until 8 September 2018

Reviewed By Jo Gordon 

5*****
I hold my hands up in admittance to not really having much knowledge when it comes to The Goon Show. However, I am aware of the three very funny men that are Harry Secombe, Spike Milligan and Peter Sellers. On mentioning the show to older friends and family many a quote and chortling began to head my way and great intrigue into how a radio show would be portrayed upon the stage ….. I was not left disappointed!

The Apollo Theatre Company have produced an absolute gem in the stage version of The Goon Show. A very simple but effective set that shows behind the scenes of  the BBC radio broadcasting’s that ran from 1951 to 1960 right down to the ON AIR sign. Julian Howard McDowell (Peter Sellers), Colin Elmer (Spike Milligan), Clive Greenwood (Harry Secombe) and their announcer Tom Capper (Wallace Greenslade) bring to life original scripts from the radio show in the style of The Goons and much hilarity ensues. Colin is on the mark with his Spike , full of boundless energy, silly voices and mischief  alongside Julian’s cool, dry Sellers and Clive’s jolly Secombe. Not only do we get to enjoy surreal characters like Neddie Seagoon, Bluebottle and Eccles we also get to hear the wonderful singing voices of Rachel Davies and Anthony Coote and their very clever use of sound props.

A fully deserved five star show where I left being the Goons newest fan and laughed so much my face ached!

Stellar Cast and Creative team announced for World Premiere of Clear White Light at Live Theatre

Written by Paul Sirett
With the songs of Alan Hull of Lindisfarne
Musical Direction and performed live by Ray Laidlaw and Billy Mitchell

Directed by Joe Douglas
Designed by Neil Warmington
Dramaturgy by Max Roberts
Lighting Design by Ali Hunter
Sound Design by Dave Flynn

 

Clear White Light, a modern Gothic story set at St. Nicholas’ hospital in Gosforth, written by Olivier Award nominated writer Paul Sirett has its World Premiere at Live Theatre between Thursday 18 October and Saturday 10 November.

Inspired by Alan Hull’s time working as a psychiatric nurse at St. Nick’s and set against the backdrop of cuts to the 70-year-old NHS, the play features many of the hit songs he wrote for Lindisfarne at that time, including Winter Song, Lady Eleanor and Clear White Light that will be played by a live band on stage including Ray Laidlaw and Billy Mitchell of Lindisfarne.

The cast includes Charlie Hardwick, who makes her return to Live Theatre’s stage after starring in Emmerdale, Live Theatre regular Joe Caffrey who was most recently seen in Live Theatre productions Iris and Cooking with Elvis, and Bryony Corrigan who recently starred in Live Theatre’s popular romantic comedy, My Romantic History, alongside newcomers to Live Theatre, actor Dale Jewitt, and actors and musicians Phil Adèle and Alice Blundell.

Actor Charlie Hardwick said:

“I am over the moon to be performing at Live Theatre after 16 long years away.  Clear White Light is a belter of a play and I get to sing the brilliant songs of Lindisfarne’s Alan Hull.  How could I resist?  I first saw Live Theatre in my home town of Wallsend in 1980 and they inspired me to become an actor.  In 1988 I landed my first job with Live and went on to perform in over twenty glorious productions.  Some of my happiest times have been working in that intimate little jewel of a theatre on the Quayside.  I can’t wait to be there again.”

Clear White Light is a modern interpretation of Edgar Allan Poe’s short story The Fall of the House of Usher. Originally commissioned by Max Roberts, Live Theatre’s Emeritus Artistic Director, it is the first play at Live Theatre to be directed by its new Artistic Director, Joe Douglas with Max and Joe working closely together to bring the play to life.

 

Also on board are designer Neil Warmington and Lighting Designer Ali Hunter who has previously worked on the lighting for Rattle Snake at Live Theatre and on tour earlier this year.

 

Max Roberts, Emeritus Artistic Director said:

 

“This play has been in development for a number of years, as I have worked with Ray to find the right story to bring the life and music of Lindisfarne’s Alan Hull to the stage. Working with Olivier Award nominated writer Paul Sirett enabled us to combine the elements into a play that has drama, suspense and of course the fabulous music of Lindisfarne, which we hope will be appreciated by those that already love their music and by a whole new generation.”

 

Joe Douglas, Artistic Director said:

 

“It is an honour to be able to work with Max in such an in-depth, creative way on Paul Sirett’s new play – a poignant, contemporary story set at St. Nick’s hospital in the year which marks the 70^th birthday of our NHS. For me, it exemplifies what a Live Theatre play should be: funny, moving, entertaining and a bit political. It’s pretty eerie too, in time for Halloween, and we are echoing that gothic feel in the set design. We have a cracking team of actors and creatives to realise this fantastic play, as my first full length production here at Live Theatre.” 

 

Ray Laidlaw said:

‘’We’ve been working with the wonderfully creative team at Live Theatre for a long time, searching for the perfect vehicle for Alan’s great songs which doesn’t rely on cliché. Clear White Light is just that – it’s fresh and inventive, and I’m sure it’ll introduce Alan’s music to a whole new audience.”

Billy Mitchell added:

“Alan was profoundly touched by his time at St. Nick’s, caring for people with mental health issues. The music he wrote around then – often while on duty – has stood the test of time. Unfortunately the NHS hasn’t fared so well, something Clear White Light addresses head-on.”

Clear White Light is at Live Theatre from Thursday 18 October to Saturday 10 November. Writer paul Sirett will give a free post show talk after the 2pm show on Saturday 20 October and Musical Directors Ray Laidlaw and Billy Mitchell will take part in a post show talk after the 7.30pm performance on Wednesday 24 October. Both talks are free for ticket holders for that performance and will be recorded and available to listen again at www.live.org.uk/talks. There will also be a number of additional talks and events linked to the play.

 

For more information or to book tickets which are between £12 and £26, and concessions from £10 call Live Theatre’s Box Office on (0191) 232 1232 or see www.live.org.uk

Degrees of Error & Something for the Weekend present:

MURDER, SHE DIDN’T WRITE:

THE IMPROVISED MURDER MYSTERY

NEW WEST END RESIDENCY

AT LECIESTER SQUARE THEATRE

FOLLOWING SUCCESSFUL SUMMER RUN

 

“Hilarious, interactive improv show…the show is a riot” Scottish Daily Mail (Edinburgh Festival 2018)

“This is a fascinating take on the classic murder mystery genre that keeps all of the intrigue while adding humour and farce” ***** The Student Newspaper

 “Outstanding performances delivered by a seriously talented cast” ***** ThreeWeeks

“Sleuth! – an improvisation style mystery play that totally hits the spot!” ***** Theatre Bubble

“A hilarious and incredibly take on the classic murder mystery” ***** Voice Magazine

“An incredibly impressive feat. A funny and outrageous show” ***** Fringe Explosion

 

“a show that people of all ages will find hilarious” **** Theatre Weekly

Fresh from yet another successful Edinburgh Fringe run in August, Degrees of Error’s hilarious and innovative Murder, She Didn’t Write heads back to the Leicester Square Theatre for an extended residency where they will in September, October and November. In this riotous show, the audience becomes both author and sleuth as they are invited to help to create their very own Agatha Christie-inspired masterpiece – and to watch it unfold on stage.

 

Every night, the extraordinarily talented company create a unique space where audiences can unleash their literary prowess and create an original and extremely comical improvised murder-mystery. Miss Crimson poisoned in the parlour? Mr Gold exploded by cannon in Sainsbury’s? You decide! But will you guess whodunit?

 

Using audience suggestions, evidence and ideas, the team create a bespoke world – and one lucky audience member gets to play god, choosing both the murderer and victim.

 

Founded in 2010, Degrees of Error have recently been appointed as the first resident theatre company at the brand new Bristol Improv Theatre – the first theatre in Britain dedicated to the art of improv – where they rehearse and perform regularly. Their improvised murder mystery play Murder, She Didn’t Write has toured the UK and enjoyed sell-out runs at the Fringe since 2013.

 

Degrees of Error invite audiences to take up their magnifying glasses, and don their deerstalkers for a never-before-seen (and never-to-be-seen-again), unscripted murder-mystery, which promises to dazzle, enthral and delight.

 

A unique format and an even more unique experience that will thrill all lovers of both classic crime fiction and top level on-the-hoof comedy.

 

“The combination of clever comedy and suspense keeps the audience excited, satisfied and

guessing until the end.” **** The Skinny

“Everything a fringe comedy should be: original, professional, and very, very funny” **** Ed Fringe Review

 

“Unrestrained bursts of joy.” ***** Bristol Theatre Review

 

“Remarkably intricate and engaging… the incredibly sharp company spin out the intrigue

over an hour with wit and skill.” **** Broadway Baby

 

“Full of surprises for both audience and cast members…most definitely worth seeing more than once.”

**** Edinburgh Festivals Magazine

 

“A live action game of Cluedo, but with far more laughs…” **** Fringe Guru

 

“Marvellously silly scenes” **** Mumble