Month: December 2018

FULL CASTING ANNOUNCED FOR THE HIGHLY-ANTICIPATED

50^TH ANNIVERSARY TOUR

OF THE LEGENDARY ROCK MUSICAL

STARRING JAKE QUICKENDEN, DAISY WOOD-DAVIS & MARCUS COLLINS

PRESENTED BY ARIA ENTERTAINMENT,

HOPE MILL THEATRE & SENBLA

DIRECTED BY JONATHAN O’BOYLE

OPENING MARCH 2019 AT THE NEW WIMBLEDON THEATRE

Full casting has been announced for the critically-acclaimed 50^th anniversary production of Hair – The Musical. Leading the cast in this revolutionary, Grammy award-winning musical is: Dancing on Ice’s 2018 champion Jake Quickenden as Berger, Hollyoaks’ Daisy Wood-Davis as Sheila and X Factor 2011 finalist Marcus Collins as Hud.

The cast is completed by: Alison Arnopp, Tom Bales, Louise Francis, Natalie Green, David Heywood, Bradley Judge, Aiesha Pease, Laura Sillett, Spin, Kelly Sweeney and Paul Wilkins.

After winning a WhatsOnStage award in 2018, this celebrated production will now embark on a journey of peace and love to the New Wimbledon Theatre on 21 March 2019, before visiting Cheltenham, Manchester, Cardiff, Plymouth, Birmingham, Sunderland, Dartford, Liverpool, Portsmouth, Edinburgh, Oxford, Sheffield, Brighton, Milton Keynes, Wolverhampton, Cologne and Glasgow.

Welcome to the ‘Age of Aquarius’. It’s 1967 and HAIR’s hippie ‘tribe’ youngsters in the East Village of New York are yearning to change the world, questioning authority and the American flag. Wild, colourful, sexually liberated and free, they are united in protest and song, under the shadow of the Vietnam War.

Hair, which is adored for its Grammy award-winning score featuring iconic hits such as ‘Aquarius’, ‘Let the Sun Shine In’, ‘I Got Life’ and ‘Good Morning Starshine’ is written by Gerome Ragni (book and lyrics), James Rado (book and lyrics) and Galt MacDermot (music). 

The 50^th anniversary production has been cast by the previous head of BBC casting Jane Deitch andis directed by Jonathan O’Boyle (Pippin, Rain Man, Aspects Of Love), who is reunited with the brilliant creative team from Hope Mill Theatre: Gareth Bretherton (Musical Director), William Whelton (Choreographer), Maeve Black (Designer), Ben M Rogers (Lighting Designer), Calum Robinson (Sound Designer), Max Perryment (Soundscape Designer) and producers Katy Lipson for Aria Entertainment, Joseph Houston & William Whelton for Hope Mill Theatre and Ollie Rosenblatt for Senbla. 

The Epstein Theatre, Liverpool – until Wednesday 2nd January 2018

Reviewed by Julie Noller

5***** 

LHK Productions have brought Christmas to The Epstein Theatre in Liverpool, it’s fun, vibrant and sack full of festive family entertainment. For those who don’t know, The Epstein Theatre is a small older theatre, with a few stairs to climb but is perfectly situated across from the main Liverpool Central train station. It’s cosy feel helps the whole audience gain a true sense of belonging, it was great to see so many excited children and adults alike. Flashing lights from many a pink furry wand would light up their faces along with cheers, boos and hisses; made it a show to remember.

Claire Simmo delights sprinkling us with a dose of glittery fairy dust in her role as The Fairy, sequins galore as she sparkles and tinkles in the bright lights. Lewis Pryor once again sends electrical sparks across the stage as pantos lovable cuddly character, energy abounds and he never lets up as Muddles or Magic Muddles as he informed us he liked us, his new friends, to greet him… every time. His magic trick involving three bins and a balloon is simple but actually quite funny to start the show and I wonder how many balloons will be lost over the shows run. Lovely Mia Molloy is joyful as Snow White, everyone’s friend, talking to the birds. Her solo musical rendition of Wonderful World deserves recognition, it’s a moment of calm and a total contrast to the mayhem unfolding. Alex Patmore is unrecognisable from the last time I saw him on stage as Bobby Willis in Cilla and brings to life Prince Valiant with a wicked twinkle in his eye. As is the case with Panto, are the mistakes ever truly mistakes or scripted? Does anyone including the actors even know, that is what makes it fun. I loved as did the rest of the audience judging by the whoops and squeals and wonder if it was a dare for Prince Valiant to pull off Dame Debbie’s wig. Everyone’s favourite Dame deserves a massive cheer for Michael Chapman is quite easily one of the best, naughty and playing the audience for every laugh, Double D for short had an accent that reminded me of every news article I see with young Londoners, that hint of Vicky Pollard init. You don’t hear people say very often that Panto requires skill but it was there in abundance, easily going off track, engaging the audience and bringing the tale back in line, if I could include a clapping hands emoji in this review then I would.

Daryl Holden takes on the role of evil henceman, carrying out the bidding of Wicked Queen Kim Woodburn. He is Irish and the jokes are slightly un-pc but hilarious, attempts at line dancing, attempts at the accent to blend in, this is Liverpool after all and being half Irish or even a ‘turd’ third Irish are not unheard of. Fair play to Kim Woodburn for playing up her own personality and throwing in those lines we would expect and have even come to love, her silky smooth voice lends itself to the evil Queen perfectly. Then on a huge screen who should appear but the very lovable Man in the Mirror himself (no not Micheal Jackson, yes it was a gag) Derek Acorah. Having explained to my teenage daughter Most Haunted’s greatest gag, Derek himself played on it by exclaiming his sisters favourite panto, was Dick Whittington – Mary Loves Dick he giggled; as did we all, despite it being predictable.

We must mention all the dancers on stage from the local children who warm your heart and envoke memories of watching many school nativities, to the wowzers of incredibly high kicks. Our Seven Dwarfs are actually the tallest characters on stage, local children in massive feltesque costumes. All with local names, If you’re a Scouser you’ll get all the humour if you’re not you will still follow names such as snotty, scally, softlad and woolyback because he’s from the Wirral (being from Cheshire I shrunk into my seat)

I left the theatre after a rousing rendition of I Wish it Could be Christmas Everyday, I’m still smiling from ear to ear, all ready for Christmas and I know all the children in the audience loved it too. Pantomime is a Great British tradition that is as Christmassy as wacky jumpers and pigs in blankets. Why go to The Epstein Theatre this Christmas time? It’s fun, fast and hilarious, from Muddles jumping off stage to land next to us, DD attempting to blend in with us to escape from the fuzz, Prince Valiant taking a large swig of a drink belonging to the lady sitting in front of me. Not to mention being soaked by a water blaster. Because The Epstein is compact and bijou there is no hiding place, the actors up on stage had the most amazing time and I’m so glad I went along for the ride.

JAMIE WILSON

ENTERTAINMENT ONE, RAMIN SABI

AND BELGRADE THEATRE COVENTRY

ARE DELIGHTED TO ANNOUNCE THE RETURN OF

BIRMINGHAM REPERTORY THEATRE’S PRODUCTION OF THE SMASH-HIT

OPENING AT WOLVERHAMPTON GRAND

29 OCTOBER to 2 NOVEMBER 2019

Back by popular demand and after sold out performances this year, the producers of NATIVITY! THE MUSICALare delighted to announce the return of a UK tour for 2019, opening at Wolverhampton Grand Theatre on 29 October 2019.

The tour will then visit, Aylesbury, Waterside Theatre from 6 – 9 November, Canterbury, Marlowe Theatre from13 – 17 November, Wales Millennium Centre from 19 – 23 November, Theatre Royal, Plymouth from 26 – 30 November and Southampton, Mayflower Theatre from 3 – 7 December. Full tour details can be found below and on the website. www.nativitythemusical.com.

Producer, Jamie Wilson said “Nativity! The Musical is currently one of the largest and most logistically challenging shows touring the UK with a cast of adults, live band, over 35 children and a dog. We are so thrilled with the phenomenal success of the show over the last two years and delighted to be bringing it back for a third year running”.

Every child in every school has one Christmas wish, to star in a Nativity, and at St Bernadette’s School they’ve decided to mount a musical version! Join teacher Mr Maddens and his crazy assistant Mr Poppy as they struggle with hilarious children, and a whole lot of sparkle and shine to make everyone’s Christmas wish come true. Featuring all of your favourite sing-a-long songs from the smash-hit films including Sparkle and Shine, Nazareth and One Night One Moment. NATIVITY! THE MUSICAL promises to be the perfect feel-good comedy for all the family.

NATIVITY! THE MUSICAL is written and directed by the creator and director of the blockbuster film series, Debbie Isitt. Debbie said today “I am so proud of Nativity! The Musical and everything it has achieved over the last two years. We have had over 150 fantastic child actors involved this year, an absolutely stunning adult company (including some terrific celebrities) and the return of the incredibly talented Simon Lipkin as Mr Poppy. The show has brought joy to so many families across the UK in 2018 and we can’t wait to do it all again next year!”

Written and Directed by Debbie Isitt with music and lyrics by Nicky Ager and Debbie Isitt, NATIVITY! THE MUSICAL is choreographed by Andrew Wright, designed by David Woodhead, with lighting design by Tim Mitchell, sound design by Tom Marshall and musical supervision and orchestrations by George Dyer.

Casting to be announced soon.

NATIVITY – THE MUSICAL 2019

29 October – 2 November 2019

Wolverhampton Grand Theatre

www.grandtheatre.co.uk

*On sale 17 December 2018

6 – 9 November 2019

Aylesbury Waterside Theatre

www.atgtickets.com/aylesbury

*On sale soon

13 – 17 November 2019

Canterbury, Marlowe Theatre

www.marlowetheatre.com

*On sale 31 December 2018

19 – 23 November 2019

Wales Millennium Centre

www.wmc.org.uk

*On sale soon

26 – 30 November 2019

Theatre Royal, Plymouth

www.theatreroyal.com

*On sale 14 December

3 – 7 December 2019

Southampton, Mayflower Theatre

www.mayflower.org.uk

FULL CAST ANNOUNCED FOR
2019 NATIONAL TOUR OF
CAROLINE’S KITCHEN
A COMEDY BY TORBEN BETTS
JASMYN BANKS TO PLAY ‘AMANDA’

Jasmyn Banks and Tom England will join the previously announced Caroline Langrishe, Aden Gillett, James Sutton and Elizabeth Boag in the 2019 national tour of Torben Betts’s biting comedy, CAROLINE’S KITCHEN, beginning on 24 January 2019 at Derby Theatre, running through to 13 April 2019 at the Mercury Theatre, Colchester. This will be followed by an off-Broadway season in New York Spring 2019.  There will be a national press night at Cambridge Arts Theatre on Tuesday 29 January 2019.

Caroline Mortimer, the nation’s favourite TV cook, has it all: a sparkling career, a big house in fashionable North London, a (golf) loving husband, smart kids and the best kitchen money can buy. But beneath the immaculate furnishings and studio lighting and away from the glare of the ever-present cameras, Caroline must face the looming collision of living a private life in the public eye. What happens when the cameras turn off and the truth comes out?

Betts’s dark domestic comedy examines how people in the public eye battle with the responsibility and demands of real life and, in true Betts style, it explores the dynamics of age, class, politics and marriage.

Jasmyn Banks’s theatre credits include includes The Wind in the Willows (Royal Shakespeare Company) and One Man Two Guv’nors (National Theatre/UK Tour).  On television, she played Alice Branning for two years in EastEnders and most recently appeared in A Very English Scandal.  Tom England’s theatre credits include Deathtrap (Dundee Repertory Theatre) and The Brothers Karamazov (Tron Theatre).

Caroline Langrishe is best known for her television roles as Charlotte Cavendish in Lovejoy, Georgina Channing in Judge John Deed, Marilyn Fox in Casualty and Judith Leicester in Doctors. Caroline’s recent theatre credits include the UK tour of How the Other Half Loves, the Mercury Theatre Colchester production of Feydeau’s Bang Bang adapted by John Cleese, and Countess Lovel/Rose Trollope in Lady Anna: All at Sea at Park Theatre, London. Aden Gillett can be seen playing Scrooge in Rachel Kavanaugh’s new production of A Christmas Carol adapted by David Edgar for the Royal Shakespeare Company this Christmas.  His other recent theatre credits include Arthur Winslow in Rachel Kavanaugh’s production of The Winslow Boy (UK Tour), Theseus/Oberon in Dominic Dromgoole’s production of A Midsummer Night’s Dream (Shakespeare’s Globe) and Sir Colenso Ridgeon in Nadia Fall’s production of The Doctor’s Dilemma (National Theatre).  He is probably best known for his television roles as Jack Maddox in The House of Eliott and Edward Campbell in Holby City.  He will be appearing in series three of The Crown. James Sutton is best known for playing John Paul McQueen in Hollyoaks from 2006 to 2017, and Ryan Lamb in Emmerdale from 2009 to 2011.

Torben Betts was born in Lincolnshire and studied at Liverpool University.  He became the resident dramatist at Scarborough’s Stephen Joseph Theatre in 1999.  Poet and dramatist Liz Lochhead said Betts “is just about the most original and extraordinary writer of drama we have.”  His play The Unconquered won Best New Play 2006/07 at the Critics’ Awards for Theatre in Scotland.  2015 saw a revival of his acclaimed 2012 play Muswell Hill at London’s Park Theatre, What Falls Apart opened at Newcastle’s Live Theatre, and his version of Chekhov’s The Seagull was staged at Regent’s Park Open Air Theatre.  In February 2016, Betts adapted Get Carter for Northern Stage in Newcastle, running in tandem with The Original Theatre Company’s UK tour of his critically acclaimed Invincible, which had a month-long run at the 13th annual Brits Off Broadway festival in New York City.

CAROLINE’S KITCHEN is directed by Alastair Whatley, with design by James Perkins and lighting by Chris Withers.  The national tour is produced by Tom Hackney for The Original Theatre Company, Ghost Light Theatre Productions and Eilene Davidson.       Website: www.originaltheatre.com
Facebook: OriginalTheatre #CarolinesKitchen 
Twitter: @OriginalTheatre #CarolinesKitchen
Age Guidance: 12+

2019 SCHEDULE
24 – 26 January                         Derby Theatre                                                     on sale
www.derbytheatre.co.uk                                       01332 593939

29 January – 2 February           Cambridge Arts Theatre                                     on sale
www.cambridgeartstheatre.com                           01223 503333

5 – 9 February                         Assembly Hall Theatre, Tunbridge Wells             on sale
www.assemblyhalltheatre.co.uk                           01892 530613

11 – 16 February                      Royal & Derngate, Northampton                          on sale
www.royalandderngate.co.uk                               01604 624811

19 – 23 February                      Everyman Theatre, Liverpool                               on sale
www.everymanplayhouse.com                             0151 709 4776

25 February – 3 March            Everyman Theatre, Cheltenham                           on sale 
www.everymantheatre.org.uk                                01242 572573

12 – 16 March                         Devonshire Park Theatre, Eastbourne                  on sale
www.eastbournetheatres.co.uk                             01323 412 000

25 – 30 March                          Theatre Royal Bath                                               on sale
www.theatreroyal.org.uk                                        01225 448844

3 – 6 April                               Connaught Theatre, Worthing                                 on sale
www.worthingtheatres.co.uk                                   01903 206206

9 – 13 April                              Mercury Theatre, Colchester                                 on sale
www.mercurytheatre.co.uk                                    01206 573948

The Majestic Theatre in Darlington is pleased to announce it has teamed up again with national charity Cash for Kids.

On Sunday 16 December, the Majestic is throwing open its doors for a charity performance of the pantomime Peter Pan.  Working in conjunction with Cash for Kids it has given away all the tickets for the performance to children and families in the local area who come from disadvantaged backgrounds to make sure they have a Christmas they can truly remember.

Hayley Thompson, Director of the Majestic commented We have had a fabulous response from the people of Darlington since we opened in July, so this is our way of giving something back to the community

The Majestic runs a Stage School on a Saturday, and the children are appearing in Peter Pan.  Collette Howe’s son Kai (9) is appearing in the show, she said It’s nerve racking but also very exciting that he has the opportunity to do it, because he is getting to do Peter Pan with all his friends at stage school

Cash for Kids is currently running its annual Mission Christmas Appeal – The largest annual Christmas toy appeal in the UK.

In 2017 the appeal generated upwards of £2 million in gifts and donations which were distributed to more than 47,000 disadvantaged kids across the North East.

With 1 in 4 children across the North East living in poverty this December, for many families Christmas is simply a luxury they can’t afford. This year’s Mission Christmas aims to beat last year’s fundraising total and help make sure it can help as many children as possible.

If you’d like to donate to support Mission Christmas you can contact the charity on www.tfmradio.co.uk/cashforkids or by texting HAPPY to 70808 to donate £5

And if you’d like to see Peter Pan or find out more about the Stage School http://www.majestictheatre-lee.com/

Darlington Hippodrome – until 6 January 2019

5*****

Pantomime has a reputation for being cheesy and chaotic family entertainment and Aladdin at Darlington is just that.  I don’t want my panto to be perfect and this offering from QDOS Entertainment is perfectly imperfect from start to finish.

With many of the songs specially set in Darlington (the Petula Clark classic changes from Downtown to In Darlo) and many mentions of the area this is a very local affair, even if it is set in old Peking!

Eric Potts directs as well as starring as Widow Twankey, the mother of Aladdin (Carl Douglas) and Wishee Washee (Liam Mellor).  The comedic interaction between Potts and Mellor is fantastic and the scene about a “Short Sleeve Shirt Shortage” involving Potts, Mellor and The Spirit of the Ring (Louie Spence) was side splittingly hysterical, while you waited to see if there would be mistake.  Spence has a self-deprecating sense of humour and knew he was going to go wrong which caused a lot of ad libbing and corpsing all round. Of course with Louie Spence we also got lots of amazing dance moves and some shocking innuendos – hilarious for the adults and innocent for the children

Robin Askwith stomped around the stage dressed like a reject from the Matrix, sticking out his tongue and evil enough to get booed by the audience.  Musical theatre star Rachel Izen was funny as Empress Ming who got her words mixed up.

Darling of Darlington, Zoe Birkett was phenomenal as the fearless Princess Jasmine – no helpless heroine here, when Aladdin was knocked unconscious it was Jasmine who saved the day with a sword fight.  I loved that it showed future generations that sisters can do it for themselves.

With some excellent costumes, incredible special effects courtesy of The Twins FX; subtle but effective pyrotechnics by Le Maitre and fabulous music from the live band (Chris Pugh, Peter Brent, Sophie Hastings) this is a pantomime as magical as the impressive flying carpet.

For the best pantomime I have seen in a long time, get yourself along to Darlington Hippodrome but not until I’ve managed to sort myself a ticket to see this outstanding production again!

Menier Chocolate Factory – until 9th March

Reviewed by Claire Roderick

5*****

If I were a rich man… I would buy a ticket for every week of Fiddler on the Roof’s London run. Trevor Nunn has created a production that follows tradition but still feels very modern.

The intimate space of the Menier is ideal for staging the claustrophobia of shtetl life. Robert Jones’ set is sublime – a rickety and ramshackle row of wooden houses with an intricate series of doors for the inhabitants to appear through. Using just planks and crates, the cast set up different sites in the shtetl that are instantly recognisable.

Fiddler on the Roof is one of those musicals that even people who hate musical theatre can hum at least one tune from, and Jerry Boch and Sheldon Harnick’s music and lyrics just sweep you away from the moment the fiddler puts his bow to the strings. Joseph Stein’s book becomes a little episodic, but that is completely forgivable to reach the show’s lowkey ending. The story of Tevye, the poor dairyman, struggling to marry off his five daughters and the whole community clinging to tradition as a shield against the rapidly changing world is full of humour and emotion; and in the hands of this incredible cast, every word is heartfelt without being corny.

Andy Nyman is a phenomenal Tevye – capturing the frustration, sadness and love of the character in a multi-layered performance that will just blow you away. He is well matched by Judy Kuhn as Golde his long-suffering wife and their scenes together are extraordinary, conveying so much emotion effortlessly, and making familiar songs seem fresh and new. Molly Osborne, Harriet Bunton and Kirsty MacLaren give each of the tentatively rebellious daughters a beautifully subtle strength and Joshua Gannon, Stewart Clarke and Matt Corner are quirky and charming as their imperfect suitors. The whole cast is sublime, with tight vocals and excelling in Matt Cole’s choreography. The production keeps Jerome Robbins’ choreography for the raucous celebrations of To Life and The Wedding/Bottle Dance, with Matt Corner, James Hameed, Miles Barrow, Matthew Hawksley and Adam Margilewski bringing the house down with their insane dancing.

If you’re looking for a production that can pull your heartstrings but keep you laughing out loud and tapping your feet to its irresistible rhythms, then Fiddler on the Roof is the one to see. Simply glorious.

Park Theatre – until 5th January

Reviewed by Claire Roderick

5*****

Park Theatre’s production of J.M. Barrie’s Peter Pan is everything your family needs this Christmas – innocent, charming fun that sparks the imagination of all ages.

The story of Wendy, Michael and John Darling flying away with Peter Pan to Neverland and finding mermaids, Tiger Lily and her tribe, pirates and THAT crocodile is a firm family favourite. The joy of childhood innocence and the celebration of imagination and fantasy in Barrie’s play is embraced wholeheartedly by director Jonathan O’Boyle and designer Gregor Donnelly. The stage never fully transforms from the Darling’s bedroom – the wooden floors are never disguised, and the dresser and the dresser and chest are never removed. Instead Nic Farman’s lighting picks up glowing strange luminescent formations and creepers/stalactites under UV to denote the lagoon, and the tiniest of ship’s wheels appears as a Jolly Roger is hoisted to let everyone know that we are now on the pirate ship. Even Nana seems to be conjured up from a pile of Autumn leaves by the children’s imagination. It’s one of the most sophisticated game of Let’s Pretend you’ll ever see. Yes, the flying is determinedly old school, but that is all part of the charm.

Although O’Boyle sticks closely to the original text, there are some delightful modern touches that fit seamlessly into the play. Mr Darling pulls out his mobile phone, modern slang pops up to great effect, and the boardgame Guess Who? Keeps getting pulled off the dresser shelf. Most of the props are items any child could find around their house, and the Lost Boys eating an imaginary meal with the Darlings is pitched perfectly. There are no real weapons, making the climactic fight between Hook and Peter a nugget of comedy gold that is instantly recognisable to any parents.

The talented cast of adults capture the leaps of imagination of the children they portray wonderfully, without any patronising or knowing glances. In modern dress, with lovely nods to the narrative – especially John and Michael’s pyjamas, this doesn’t look like a traditional production. In fact, it is Peter who is the “captain” of the Lost Boys in a green dress uniform jacket (with green Converse), while Hook is more like a demonic fisherman in black oilskins. Nickcolia King-N’da is full of cocky confidence as Peter, and Alexander Vlahos is phenomenal as Hook. This Welsh pirate rolls his R’s like Richard Burton on crack, and channels Victor Spinetti at his OTT best, with a delicious touch of Gloria Swanson, in a performance that paints a character who is dark and bonkers enough to be a threat, but supremely silly and useless enough to be a joke. The perfect villain for any brave and clever child to defeat.

Barrie’s mourning of the loss of innocence is captured beautifully in the performances of Rosemary Boyle and Natalie Grady as Wendy and Mrs Darling as they provide care, stability and a touch of common sense for the reckless male characters who throw themselves into danger without a care, and Peter’s choice at the end of the play is handled without sentimentality by King N’da and Boyle.

The joy of this show is sharing the thrill of fantasy with the actors and the children in the audience. There is so much in the production for adults to enjoy, but hearing a little, uninhibited voice shouting out to the characters on stage to help or warn them both warms your heart and fills you with regret that adults aren’t supposed to do that. But, of course, every adult in the theatre claps like a demented seal to save Tink!

Second star to the right, and straight up the Victoria line for a magical feast of fantasy that will thrill the whole family.

tiata fahodzi and Tara Finney Productions in association with Watford Palace Theatre present
good dog by Arinzé Kene
UK Tour: January – March 2019
Press night: Friday 1st February, Watford Palace Theatre

Kwaku Mills (End of Eddy, UK Tour; Urban Myths: The Trial of Joan Collins, Sky Atlantic) has been cast in this exciting revival of Arinzé Kene’s good dog – he will bring to life this true epic, retelling the stories of multiple characters, families and years. Directed by tiata fahodzi’s Artistic Director Natalie Ibu, good dog will open at Watford Palace Theatre before touring to venues including Sheffield Theatres, Northern Stage, Stephen Joseph Theatre, Birmingham REP, North Wall Arts Centre and Salisbury Playhouse.

Mum’s promised him that bike so even when school or homelife bites, he knows to keep his chin up, his head down and his shirt clean. No harsh word, no sudden push to the ground will distract him from growing up to be a good man. Because in the end, everyone who’s good gets what they deserve. Don’t they?

Set during the early noughties, good dog tells the story of growing up in a multi-cultural community, and the everyday injustices that drive people to take back control. When prejudiced voices are amplified, the arts must remind us of the humans obscured within the propaganda storm.

The inspiration for Kene’s delicately observed and fearlessly-told play stemmed from a desire to imagine what drove his friends and community to riot in the summer of 2011 – in London and beyond – but it has become a chronicle of a community struggling to survive and fighting back.

Kwaku Mills comments, I’m beyond excited to be joining good dog. I’ve admired Arinze‘s work for a while now, so it’s a real honour to get to perform his words. It’s such a vibrant, intelligent urgent play, and a gift of a character to work on. It’ll be my first time performing at all the venues on the tour so I look forward to getting the show on the road along with Natalie and the rest of the team!

Commenting on reviving good dog for 2019, Natalie Ibu says, It’s a real thrill to be able to bring back Arinzé’s play – an astonishing love letter to the people and places that leave their mark on your life – and tour it to more places, meeting more people. In the wake of the Brexit vote, it was a troubling thesis about what happens when you are unseen and unheard, and this only gets louder as time goes on. At tiata fahodzi we pride ourselves in seeking out stories that see those who sit outside the singular narrative. We refuse to oversimplify the African diaspora and, instead, relish the complexity. We want to multiply the narratives – about ourselves and each other – and debate the mixed experience of Britain today and tomorrow.

The 2019 national tour of good dog is supported by Arts Council England.

King’s Theatre, Edinburgh – Until 20^th January

Reviewed by James Knight

4****

There’s lights, massive costumes, colourful sets and laughs galore. Get ready folks, panto season is in full swing.

And it’s a tale as old as time at the King’s this year, as Beauty and the Beast gets the panto treatment. We all know the story by now – a prince is cursed to live out his days as a hideous beast unless he learns to love and that love is returned. Chris Cowley is on great form as the Beast, as is Gillian Parkhouse as Belle, the young woman from the village who captures his heart.

But as much work as they put in, it’s really Allan Stewart as Mrs Potty and Grant Stott as Flash Boaby that steal the show. Missing the third member of their usual comedy trio, Andy Gray, who’s taken leave of this year’s panto due to illness, Stewart and Stott gamely carry on. And carry on they do. The jokes fire across the stage like the many pyros, barbs are traded with the audience, and audience plants are used to great effect (this contributed to possibly one of my most favourite gags that I’ve ever seen in a panto, or any show, but to spoil it ruin the surprise – let’s just say it happens during the traditional ‘cloot’ segment). And of course, no panto would be complete without a little bit of improvisation (Flash Boaby noted after Mrs Potty made fun of his singing that he was getting brave on only ‘day five’), or a few mistakes here and there (a missing trumpet as part of a running gag, a couple of accidents when talking about Shirley Shaw sitting and shining shoes – what’s the bets there’s a tally in the green room for whoever mucks up the worst?), which of course only adds to the hilarity.

The emphasis on the gags, as is typical with most big budget pantos, tends to mean that story only occasionally makes an appearance, and because everyone knows the story, sometimes this can be treated as ‘the plot sections need something flashy to keep the audience interested’, which in in turn leads to some rather odd moments. For example, Belle asks Beast to dance, cue Ed Sheeran’s ‘Thinking Out Loud’, which they then sing to each other, centre stage, while the ensemble does the actual dancing so the audience can admire the extravagant costumes everyone’s wearing.

Overall though, it’s a great night out, and only the most beastly of people would leave without a smile on their faces.