Month: November 2018

The Theatre Royal Glasgow – until 11 November 2018

Reviewed by Linda McLaughlan

5*****

‘OUTSTANDING COMEDIC PERFORMANCE’

This is the story of a Diamond Robbery (Heist) in the making. Prince Ludwig of Hungary is coming to Minneapolis USA on a state visit and will bring with him the crown of the royal jewels a 300 carat diamond. Which is planning to be stolen by several crooks in Minneapolis!

The stage props take you straight into the setting of a jail cell where the prisoners are planning a jail-break in order to steal the diamond. Mitch Ruscitti (played by Liam Jeavons) a hardened criminal and cell mate who unwittingly enlists the help of a Prison Officer Neil Cooper (played by David Coomber) who has also enlisted other Prison Officers who in turn have enlisted the warden. An argument breaks out in the cell which allows the prisoners and Neil Cooper to escape whilst locking the prison officers and warden in the cell.

As the prisoners escape the backdrop changes to the Minneapolis Bank where we meet Ruth Monaghan (played by Ashley Tucker) who has worked at the bankers a clerk for over 10 Years, Warren Slax (played by Jon Trenchard) who at 67 years old is still an intern at the bank and the Manager, Robin Freeboys (played by Damian Lynch). Mr Freeboys is a skinflint who is reluctant to promote or give his staff a raise. He is in the process of getting the diamond off Prince Ludwig to his bank by having the vault upgraded and approved by the FBI who send Officer Randal Shuck (played by Killian McArdle) who is a bungling idiot.

As the bank is being inspected by the Officer, Sam Monaghan enters (played by Sean Carey). Sam is a small time crook who is the son of Ruth who is trying to get her son a job at the bank but he is busy pick-pocketing the unsuspecting customers.

The production takes the audience through the escapades of the bungling crooks and has us in fits of laughter through out with some tongue in cheek moments.

This is a production I would recommend everyone takes the opportunity to see as you will not be disappointed. The slap stick comedy performances given are outstanding

The King’s Head Theatre, 115 Upper Street, London, N1 1QN
Wednesday 9th January – Saturday 2nd February 2019

I have noticed that something draws us towards outlying islands. Some force pulls…

Following their five-time Offie award nominated production of Steven Berkoff’s East, the awardwinning Atticist return to the King’s Head Theatre with a powerful revival of Scottish playwright David Greig’s Outlying Islands. Directed by Jessica Lazar, Outlying Islands demonstrates the lyricism and humanity that has made David Greig one of the UK’s leading dramatists. The play now returns in its first London revival since the Royal Court in 2002

On the eve of the outbreak of World War II, two young ornithologists are sent to a remote Scottish Island by the government to conduct a survey of the island’s birds. Left to their own devices on an isolated and windswept scrap of land, the only other human inhabitants are Kirk, the aged and authoritarian leaseholder, and his niece Ellen. As their gaze turns inwards, the mainland recedes further into the distance and life on the island ignites desires and creates inescapable tensions

Transporting us to a world where the line between reality and fantasy is blurred, David Greig’s funny, poetic and moving play bravely explores a society on the edge of immense change

Director Jessica Lazar comments, David Greig has created a play that is strange, beautiful and very funny. It brims over with power, hope and grief. In the anarchic magical realism of Outlying Islands, tensions between self and society, and between reason and belief, play out to heightened and extraordinary effect. I am looking forward to bringing it to the King’s Head Theatre

Outlying Islands is inspired by real events, including Robert Atkinson and John Ainslie’s 1935 search for the Leach’s Fork-Tailed Petrel, as recorded in Atkinson’s Island Going. The play also reflects on the the British government’s decision to bomb an Island off the west coast of Scotland with anthrax during World War II, in order to test the efficacy of chemical weapons. Gruinard Island was closed for 50 years and only ‘decontaminated’ in 1990

The first version of Outlying Islands was aired as a radio play broadcast on BBC Radio 3 in 2002 and shortly after, in the same year, a stage production premiered at the Traverse Theatre during the Edinburgh Fringe Festival. Here the show won a Fringe First and Herald Angel, before transferring to an Olivier-nominated run at the Royal Court in September 2002, the last London showing of the play before its upcoming revival in 2019

Darlington Hippodrome – until 10 November 2018

3***

The Touring Consortium Theatre Company return to Darlington with their version Bram Stoker’s Dracula.  Adapted by Jenny King, it’s pretty faithful to the book. However the changes that have been made make for an interesting interpretation.

The staging of the show is magnificent, the multiple uses of black gothic pillars to make a station, a castle, a bedroom and an asylum is inspired.  Sean Cavanagh’s set design with Ben Cracknell’s lighting, Paul Ewings music and sound and Ben Harts illusions all help to build the atmosphere within the auditorium.  And as the show begins with a loud bang, a flash of light and a body being feasted on you feel that this going to be a very intense performance.

But horror is subjective, done well you should be on the edge of your seat and thinking about the show for days afterwards, done badly and you leave the theatre feeling cheated.  This version of Dracula is stuck in the middle. The bits that were good were superb, but some parts were harder to appreciate than others.

The ladies of the cast were the much stronger performers.  Jessica Webber as Lucy was hypnotising to watch, her movements almost ballet like as she writhed around falling under Dracula’s spell.  Cheryl Campbell’s Lady Renfield, makes for an interesting idea that Renfield is now a woman. Campbell is gloriously insane in her sanity, relishing the eating of flies, spiders and a mouse.  Olivia Swann as Mina is very powerful in her portrayal, her final scenes are intense. The Vixens – Charlotte Gosling, Marina Stoimenova, Ellen Verenieks – like Lucy, have fluidity in their movement.  Gosling shines in her scene as the maid, baring her teeth in a comedic fashion.

Glen Fox’s Dracula, Andrew Horton’s Jonathan Harker, Evan Milton’s Dr Seward and Philip Bretherton’s Van Helsing are less dimensional characters than the females.  Maybe this is because Jenny King wrote strong female characters but the males all seem to have been looked over. Why, for example, did Van Helsing drink from a hip flask?  Was it a crafty nip of something or was it holy water to protect him?

The traditional storytelling is well acted but however good the acting, it fails to match the magnificence of the atmospheric staging.  Nonetheless, this is still a show worth seeing and you may be happily terrified.

In Darlington until Saturday and on tour around the UK

DIRECT FROM MOSCOW, M.ART PRESENTS IVAN VYRYPAEV’S SUN LINE

DIRECTED BY VIKTOR RYZHAKOV

PERFORMED BY YULIA PERESILD AND ANDREY BURKOVSKY

THREE UK PERFORMANCES ONLY

 

LILIAN BAYLIS STUDIO AT SADLER’S WELLS THEATRE

 

SATURDAY 15^TH DECEMBER 2.00PM AND 7.45PM

 

SUNDAY 16^TH DECEMBER 6:00PM

 

Based on Ivan Vyrypaev’s celebrated play, and nominated for 5 Golden Masks, The Meyerhold Theatre Centre’s Sun Line stars celebrated Russian stage and screen stars Yulia Peresild and Andrey Burkovsky. Don’t miss the opportunity to see one of Moscow’s finest theatrical productions, playing in London for three performances only at the Lilian Baylis Studio, Sadler’s Wells Theatre on Saturday 15^th and Sunday 16^th December 2018.

5am. Barbara and Werner have been arguing since 10pm. They are about to pay off the mortgage seven years down the line… but what next? This biting comedy of misperceptions and misunderstandings puts a modern relationship in the dock – will they overcome the seemingly insurmountable barrier that has grown between them?

 

“There is always an invisible border between people that does not allow them to be together. Even if they think they are connected, they do not see the ‘Sun Line’ that always separates them.”

Vyacheslav Surikov – Expert Magazine

 

Considered by many to be Russia’s foremost contemporary playwright, any production based on Ivan Vyrypaev’s work is viewed as an event – especially a new play. Viktor Ryzhakov, the artistic director of Moscow’s Meyerhold Centre directs this intense exploration of 21^st century love and (mis) communication, which has just been nominated for 5 Golden Masks 2019 in the categories of best actress, best actor, best director, best play and best short drama production.

 

Ivan Vyrypaev, Playwright, says of Sun Line:

 

“I wanted to explore the ways in which people are prevented from making real contact with one another. Sun Line explores 5 or 6 of these means. Some are banal; when we don’t hear, and constantly interrupt each other. Others are more significant; when we experience reality in a completely different way. The purpose of the play is therapeutic in that a couple watching the play might themselves identify and see these struggles worked through for themselves.

 

Sun Line – Production Credits

Viktor Ryzhakov – Director

Ivan Vyrypaev – Playwright

Nikolay Simonov – Stage Design

Vladimir Gusev – Videography

Yan Kuzmichev – Sound Design

Nikita Vladimirov and Ekaterina Feoktistova – Producers

Please note that this play will be performed in Russian with English surtitles

 

The next M.ART event in London is on the 12 March – the first UK CONTEXT Festival, established by Diana Vishneva and featuring the very best in contemporary Russian choreography.

For hi res images, please visit: https://www.flickr.com/photos/123415694@N07/sets/72157690020746384

More details can be found here: https://www.sadlerswells.com/whats-on/2018/context-festival/

 

ADDRESS

Lilian Baylis Studio at Sadler’s Wells Theatre

Rosebery Avenue

London

EC1R 4TN

BOOKING DETAILS

(w) www.sadlerswells.com

(t) 0207 863 8000

 

PERFORMANCE TIMES

Saturday 15^th December: 2:00 and 7:45

Sunday 16^th December: 6:00

TICKETS

Full Price £35

Concessions £20

Transaction fee applies: £3 for telephone bookings and £1.95 for online bookings.

No charge in person at Ticket Office

SOCIAL MEDIA

Facebook: @mart.foundation

Instagram: @mart.foundation

StoryHouse Live! Chester – Tuesday November 6th 2018

Reviewed by Julie Noller

4**** 

Sometimes you read the synopsis of a show and it couldn’t be written any better than for Stopgap Dance Company’s The Enormous Room, it is indeed a thoughtful, moving and uplifting show, it does exactly what it says on the tin. It was a shame more people didn’t join us but a small intimate audience tonight witnessed Lucy Bennett’s wonderful concept and direction up on stage, it’s touching and bewitching.

Mesmerised by the whole first act; I didn’t know where to gaze first, for anyone touched by grief, it’s those small fine details you notice, the old black and white romantic movies playing in the background that chase away any thoughts that may replay over and over again in your head.

Stopgap have put together an eclectic group of artists, this performance is about two things Grief and Disability, what occurred to me is that both touch everyone in so many ways and quite often it’s heartbreaking, ultimately human resilience helps us to continue on our path. Some disabilities are obvious, acknowledged in everyday struggles yet grief is equal to any physical and mental disability in that it can be debilitating and often misunderstood. Choosing to acknowledge both a disability and grief can be for many the way to recovery and acceptance.

The set of The Enormous Room, well it’s confusing and oversized, cabinets tipped on their side, doors as tables and tables as beds. You have to think as you sit and stare; how many people sleep where they sit, simply because they can’t face life alone? David Toole is Dave, widower and father to Sam, the brilliant Hannah Simpson. Those few words spoken by Dave in the torment of his grief are highly emotive and displayed across the room on the doors of those cabinets. Those few people around us are catching their breaths and the silence is almost unbearable. The first act centres around that one room, how the world has come crashing in on this family, a husband has lost his beloved wife and a daughter has lost her fun loving mother. Sam could also face the prospect of losing her father to his grief, at a time she needs him the most. There are surreal moments, when Jackie appears almost as in negative format choppy and as a double; Meritxell Checa and Elia Lopez portray Jackie together and mirroring each other. Of course interpretation could have us talking all night, firstly Jackie the wife and secondly as Jackie the mother perhaps? Dressed the same with identical movements we realise she is one in the same, often breathing the same as the other characters a simple movement that highlights the fact that Jackie is a mere memory. Her photographs are missing from the bare walls, Sam can touch and hug those same walls her mother used to grace. Nadenh Poan is Chock or deaths servant, whizzing around the furniture with amazing grace and elegance, or twirling in his wheel chair, he strikes a chord as the insanity of grief, the confusion of how time stands still as we listen to the music playing affecting us further, pulling our senses apart with the tick tock of an old clock.

Poor Dave can’t touch or look at Sam his daughter, he attempts to shut Jackie and his feelings in a drawer, where she remains, he is simply overwhelmed and unable to deal with, wrapped up in his self absorbed sorrow. David Toole has a strength of character I can’t help but watch and be drawn to, his speed and nimbleness around that stage is incredible. Hannah Sampson you know is enjoying herself on stage, she’s a young girl in torment. Missing both her mother and father, she’s alone trying to keep the memories of her mother alive. Turning to her friend for comfort and attention, her intimate dances with Tom, Christian Brinklow are somewhat sad. Yet powerfully energetic. Heading into the second act this is her time to shine, Clinging to her mother we witness the tussle with Chock, for death touches all around including Tom. It affects us in so many ways. How easily Tom picks up and twists both Jackie and Sam as characters intertwine and confuse each other. I’m glad to say there is a somewhat happy ending, Sam and Dave sit together reconciled after Jackie has found her peace and left father and daughter to be together as they sit with backs to the audience, breathing simply mirroring each other as one.

Grief and Disability are hard subjects to tackle, quite often taboo, not talked about; hard to deal with. The Enormous Room not only highlights both with a group of highly talented entertainers/dancers but there is so much content that will have anyone touched by either feeling every emotion intended. No one should ever feel lost or ashamed for everyone has something to offer.

KATY LIPSON , JOSEPH HOUSTON

& WILLIAM WHELTON

LAUNCH HOPE ARIA ACADEMY

IN MANCHESTER

 

Katy Lipson, Joseph Houston and William Whelton are delighted to announce the launch of Hope Aria Academy, a new and exciting part-time drama course situated in Manchester.  Founders Katy, Joseph and William recognised a need for more opportunities for Northern-based performers to specialise in musical theatre.  All three founders have backgrounds in musical theatre training and are currently full-time producers and theatre owners, actively working in the industry:

 

“Having produced 10 musicals in the North West, we have seen the demand for more opportunities for specialist training in musical theatre.  Hope Aria Academy is filling a gap within the musical theatre training available in the North West.  With so much of the current focus being London-centric, we hope to offer a boutique, personable and professional course which allows performers to strengthen skills, learn new ones and challenge themselves whilst staying close to home.  We will create a safe working environment which will provide guidance and mentorship for its students as they enter or re-enter the musical theatre industry.”

 

The course is tailored for individuals who have already trained professionally and are looking for a fresh approach to training within a smaller, more focused atmosphere, for individuals who are not yet ready to make the leap to full-time drama training and require further tuition, and for mature students who have experience in musical theatre and want to re-train to return to the industry.

 

Students will also be introduced to the wider creative industry, with regular guest teachers in all three disciplines of acting, singing and dance, and opportunities for casting directors and agents to come and view a final term piece.

 

The first 12-week course will run from 22 April to 19 July 2019 (half term 27-31 May) on Monday, Tuesday and Wednesday evenings between 6.30pm and 9.30pm at Hope Aria House, Unit 15 Wellington House, Manchester, M40 7FS at a cost of £150 per week.  Applications are now open for students through the Academy’s website.  One scholarship place for the course will be available, for which details will be released in the New Year.  Later in 2019, the plan is to offer a full-time course as well.

 

The core faculty will comprise of Katy Lipson, Joseph Houston and William Whelton, who were together ranked in The Stage’s Top 100 Most Influential People in Theatre.  In 2016, Joseph and William joined forces with Katy of Aria Entertainment to spearhead Hope Mill Theatre as a home for new musicals, musical premieres and musical revivals.  Hope Aria productions since 2016 include Parade, Hair, the European Premiere of Yank!, Pippin, the European Premiere of Little Women, the World Premiere of Toyboy Diaries, Spring Awakening, Andrew Lloyd Webber’s Aspects of Love, new musical The Return of the Soldier and Stephen Sondheim’s Putting It Together.  London transfers include Yank! at Charing Cross Theatre, Pippin at Southwark Playhouse and Hair at The Vaults.  Their award-winning 50^th anniversary production of Hair is about to embark on a UK Tour and Aspects of Love will be transferring to Southwark Playhouse in January 2019.

Website               www.hopeariaacademy.com

Facebook            www.facebook.com/pg/HopeAriaAcademy

Twitter                 @HopeAriaAcademy

Instagram            @HopeAriaAcademy

 

• Regent’s Park Open Air Theatre’s multi award-winning production of Tim Rice and Andrew Lloyd Webber’s JESUS CHRIST SUPERSTAR transfers to the Barbican Theatre for just 60 performances in 2019

 

• The production won the Olivier Award for Best Musical Revival and the Evening Standard Award for Best Musical, and played two sell-out runs at the Open Air Theatre before playing the Lyric Opera of Chicago in 2018

 

Regent’s Park Open Air Theatre and the Barbican Theatre have today announced that, following its overwhelming sell-out success in 2016 and 2017 at the Open Air Theatre, Jesus Christ Superstar transfers to the Barbican Theatre for just 60 performances in 2019 (4 July – 24 August). Earlier this year the production played the Lyric Opera of Chicago, and it embarks on a North American Tour in the Autumn of 2019.

With direction by Timothy Sheader, design by Tom Scutt, choreography by Drew McOnie, musical direction by Tom Deering, lighting design by Lee Curran and sound design by Nick Lidster for Autograph, the production won the Olivier Award for Best Musical Revival and the Evening Standard Award for Best Musical.

Casting information will be announced in due course.

Jesus Christ Superstar is produced by William Village and Timothy Sheader for Regent’s Park Theatre Ltd by special arrangement with The Really Useful Group Limited.

 

Public booking opens at 11am on Friday 16 November 2018.

Regent’s Park Open Air Theatre’s 2019 season will be announced later this month.

www.jcsuperstar.co.uk

www.barbican.org.uk

Social Media

Twitter: @JCS_London #JesusChristSuperstar

Sheffield Lyceum – until 10 November 2018

Reviewed by Lottie Davis-Browne

4****

The Messiah is an hilarious new play – actually it’s a play-within-a play, featuring a cast of three – comedian and impressionist Hugh Dennis, actor John Marquez (best known for his role as PC Joe Penhale in ITV’s “Doc Martin”) and opera singer Lesley Garrett (ironically playing the role of an Opera Singer), in this unique and highly addictive rendition of “the greatest story ever told” (nope not Harry Potter – the OTHER greatest story ever told – the one of the birth of Jesus!….although personally I think Harry Potter makes more sense than the immaculate conception of Mary!)

The Christmas production by The Maurice Rose Players, a theatre company with just three remaining members – the groups creator – Maurice Rose (Hugh Dennis), Ronald Bream (John Marquez) and the diva of an opera singer, Mrs Leonora Fflyte (Lesley Garrett).

Group leader Maurice is the typical self worshipping, patronising company director (I’m sure we have all met a boss or coach like Maurice – my own being the ballet schools’ owner who would sit and watch my teachers classes, demoralising and putting fear in people’s abilities – including my poor wonderful teachers), who despite Ronald’s loyalty to the Company still makes Ronald doubt his acting abilities. Ronald is shy and rather dim but loveable with it. Despite only three remaining members, the group are still in full swing for their take on the famous Christmas nativity, even when diva “Mrs F” doesn’t make her appearance on time…!

Playing everything from Herod, the three wise men, Angel Gabriel and of course Mary and Joseph, the three theatre company members take us on the journey to Bethlehem with plenty of slapstick comedy, audience participation, play on words, deliberate mis-pronunciation of words, the show is virgin on the ridiculous…(see what I did there?!)

John Marquez provides laughs a plenty, in fact there’s so many jokes and gags it’s hard not to miss any, but the most memorable side spitting gags include Marquez cycling across the stage on a vintage bike dressed as a member of Midwife team from “Call The Midwife” as Mary and Joseph realise it’s time to “call the Midwife” as Mary is having her “main attractions” (contractions).

Dennis also provides bags of comedy, and moments of madness as Maurice has a meltdown. With audience participation (yes I was chosen by Marquez along with several other audience members, to do some of the callouts and plenty of sensational singing from Garrett including a soothing and hypnotic “Silent Night”.

Usually the thought of watching anything remotely biblical is enough to send me to sleep, however, The Messiah brings the same kind of humour to the stage as the likes of “The Play That Goes Wrong” and “The Comedy About A Bank Robbery”, making it perfect comedy for an adults only festive night out. (Not suitable for children!)

 

Richmond Theatre, London – until Saturday 10th November 2018

Reviewed by Lisa Harlow

5*****

Rain Man is brought to the stage courtesy of Bill Kenwright Productions’ Classic Screen to Stage Company. A reminder that this film is now thirty years old and is a classic!

Originally featuring Tom Cruise and Dustin Hoffman, this film focused on two brothers rediscovering not just each other, but an ability to grow outside of their own shell, created by different circumstances but ultimately firmly shaped by the same hard-hearted father. Raymond Babbitt (Mathew Horne) is the autistic older brother, or ‘savant’, who exhibits extraordinary abilities and becomes the beneficiary of the will on the passing of the father but who had been left at an Institute since a young age.

The younger brother Charlie (Ed Speleers) is your classic 80’s American car dealer hustler stereotype: self-obsessed, unable to emotionally express himself, preoccupied with getting himself out of the latest financial scrape and making money, all whilst wearing chinos, loafers and a very flamboyant hairdo. He cannot remember the presence of a brother, and is estranged from his father (following the stealing of his father’s 1949 Buick convertible resulting in a prison stay). His eye is firmly on the financial prize. When he discovers that there is a trust fund and it is in fact in the name of his brother, he begins a crude attempt to use him as leverage by kidnapping him from the hospital.

The outset is loud and brash, as was the true raging heart of the 80’s, and the dialogue flies at the audience at top speed, almost not allowing digestion. By the time the brothers are introduced, the pace begins to drop and the audience are immersed in the content completely. Mathew Horne as Raymond is compelling from the moment he sets foot on stage. Even every departure he makes from stage demands attention. His mastery of the character, his ticks, traits, vulnerabilities, superpowers – however you may label them – prompts an overwhelming feeling of nurturance and compassion. Ed Speleers meets this quality in turn, and as a pair their energy fills the stage in a powerful, funny and, at times, raw manner.

People may wonder if today’s lens allows this content, written in the eighties, to be palatable, to be laughed at and to be truly enjoyed. It is. And this is a tribute to all the cast as it is so intensely and beautifully held and performed. The emotion in the end scenes was palpable as a chorus of gulps could be heard through the audience, restraining their tears. There is a tenderness and eventual spiritual breakthrough for Charlie that is not cliché or cringeworthy. A truly moving and evocative performance.

Mayflower Southampton – until 10th November

Reviewed by Jo Gordon

5*****

Following on from the hugely popular, ten series TV sitcom Benidorm, Benidorm Live has hit the stage running and seems to certainly be pulling in the fans. Sticking to the same format of being set at the Salerno Hotel with some very familiar faces it felt like catching up with an old friend.

There are several story lines intertwining to keep us entertained. A couple who have been sent to the Salerno after their posh hotel overbooked are struggling to adapt to a less decedent  establishment, there is rumour of a hotel inspector lurking around, gay swingers, randy Spanish waiters, family reunions, romances and big musical show numbers!   Ditsy Joyce Temple-Savage (Sherrie Hewson), lothario Mateo (Jake Canuso), Blow and Go duo Liam (Adam Gillen) and Kenneth (Tony Maudsley), ageing swinger Jacqueline (Janine Duvitski) and holiday maker turned staff Sam (Shelley Longworth) provide us with the saucy postcard humour and slapstick comedy we all love Benidorm for .

The set is simple but works well with set changes providing a chance for the cast to impress us with some rather splendid dance moves and vocal acrobatics that will get your toes tapping and hands clapping. The entire audience were beaming from ear to ear and laughter from all ages filled the theatre. Benidorm Live is a large throbbing shaft of light at the end of a dark moist tunnel, much needed in our current climate!