Month: January 2019

ALEX KINGSTON

stars in

ADMISSIONS

THE ACCLAIMED HIT COMEDY DIRECT FROM NEW YORK’S

LINCOLN CENTER THEATER

“Astonishing and daring”

THE NEW YORK TIMES

“Smart, hilarious and provocative”

THE HOLLYWOOD REPORTER

Winner of the Drama Desk and Outer Critics Circle Awards

for Best Play

Written by JOSHUA HARMON

Author of Bad Jews

TRAFALGAR STUDIOS

28 FEBRUARY – 25 MAY

Alex Kingston (ER, Doctor Who) stars in this award-winning and bitingly funny new comedy from the writer of acclaimed hit Bad Jews, direct from New York’s Lincoln Centre Theater, the producers of Oslo.

Following its hugely successful run at LCT, Admissions will open at London’s Trafalgar Studios on 28 February (Press Night 12 March) for a strictly limited season until 25 May, before embarking on a UK tour.  The production will be directed by Daniel Aukin, further casting will be announced soon.

Following the run at Trafalgar Studios, Admissions will tour the UK playing at the Richmond Theatre (w/c 27 May 2019), the Cambridge Arts Theatre (w/c 3 June), the Malvern Festival Theatre (w/c 10 June 2019) and the Lyric Theatre at The Lowry in Salford (w/c 17 June 2019).

The New York production received huge critical acclaim during its LCT run, with The New York Times describing the show as “astonishing and daring”, The Hollywood Reporter calling the show “smart, hilarious and provocative”. Theatre Mania hailed it “a scorching new drama… lands like a gut-punch“ and Time Out New York raving about it and awarding the show four stars. Admissions also won the Drama Desk and Outer Critics Circle Awards for Best Play.

Sherri (Alex Kingston) is the Head of Admissions at a private school, fighting to diversify the student intake and she wants you to know about it. When her son is deferred from his university of choice, and his best friend – who ‘ticks more boxes’ – is accepted, Sherri’s personal ambition collides with her progressive values. Piercing and provocative, Admissions is 90 minutes long, but the debate will take you through the night.

Alex Kingston is a highly acclaimed, award-winning star of stage and screen.  She is best known for playing Dr. Elizabeth Corday on ER and River Song in BBC’s Doctor Who. Other TV credits include Law & Order, Lost in Austen and most recently A Discovery of Witches. Her varied stage career has included roles in Macbeth opposite Kenneth Branagh and One Flew Over The Cuckoos Nest with Christian Slater, as well as frequent work with the Royal Shakespeare Company.

Admissions is produced by Simon Friend, Trafalgar Theatre Productions and Gavin Kalin in association with Anthology Theatre.

LISTINGS  INFORMATION

TRAFALGAR STUDIOS

Previews: From 28 February 2019

Press Night: 12 March 2019 at 7pm

Tickets: From £15

Box Office: 0844 871 7632

Performances: Monday – Saturday at 7:30pm, Thursday and Saturday matinee at 2:30pm

To book tickets please visit: admissionsplay.com

Twitter @Admissionsplay
Instagram: @Admissionsplay

Facebook: AdmissionsThePlay

Music & Lyrics Productions has announced that its touring production of Doctor Dolittle will close at the end of its run at the New Theatre, Oxford, on Saturday 26 January 2019. It had been planned to tour the UK and Ireland until November 2019.

The company has cited lower than anticipated advance ticket sales for the reason to cancel the tour.

Chair of Music & Lyrics, Robert Sanderson, said in a statement:

“Music & Lyrics was established to create work of scale and imagination for regional presenting venues and over eight years it has met with a high degree of success. On this occasion, Doctor Dolittle has not secured the same degree of support and, sadly, members of the consortium have had no alternative but to foreshorten the planned tour.

“I would like to thank all those involved in creating this breathtaking production, which has been enjoyed by audiences and critics alike. There is still time to see the production in Oxford between 15 and 26 January.”

Members of the public who have purchased tickets for venues across the tour should contact their venue to arrange refunds.

ROSE THEATRE KINGSTON PRESENTS VIENNA 1934 – MUNICH 1938

A WORK IN PROGRESS BY VANESSA REDGRAVE

Rose Theatre Kingston presents

VIENNA 1934 – MUNICH 1938

A Work in Progress

Written and devised by Vanessa Redgrave

Rose Theatre Kingston

7 February – 9 February 2019

Rose Theatre Kingston and Vanessa Redgrave today announce a work in progress, Vienna 1934 – Munich 1938. Vanessa Redgrave performs on stage with Daisy Bevan, Robert Boulter and Paul Hilton. Opening with a limited run as a Work in Progress, atRose Theatre Kingston on 7 February until 9 February. Also announced today is An Evening with Vanessa Redgrave hosted by Roger Michell on Saturday 9 February 7.30pm.

In the late 1930s the famous actor Michael Redgrave became close friends with the celebrated poet Stephen Spender. Through their families’ notebooks, journals and memoirs, and Stephen’s poems, Vanessa Redgrave discovers the love affairs that they remembered, and the hopes and fears of the generation that confronted the fascist seizing of power in Europe. Among these was the German writer Thomas Mann.

As Stephen‘s love and respect for a young American woman studying psychology in Vienna grew deeper, he and his secretary Tony Hyndman tried to assist her in obtaining false visas and passports for socialist Jews and their families to escape from fascist Austria.

Written and devised by Michael’s daughter Vanessa, the play highlights the affectionate and intimate thoughts of individuals during these years of political and social disaster.

Vanessa Redgrave’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), Richard III (Almeida Theatre), The Revisionist (Off Broadway – Cherry Lane Theatre), Driving Miss Daisy (Golden Theatre USA/Wyndham’s Theatre) and The Year of Magical Thinking (Booth Theatre USA/National Theatre). Her television credits include Man in an Orange Shirt, Call the Midwife, The Black Box and The Fever. Vanessa is thewinner of the Academy, Emmy, Tony, Olivier, BAFTA, Cannes, Golden Globe, and the Screen Actors Guild Awards. Vanessa is an advocate for human rights internationally. She has been a UNICEF Goodwill Ambassador since 1995 and is a supporter of Amnesty International and Liberty.

Daisy Bevan’s theatre credits include Dorian Gray (Riverside Studios). Her television credits include The Alienistand The Outcast. Her film credits include Noble Earth, Modern Life is Rubbish, Revolution: New Art For A New World, One Crazy Thing, The Two Faces of January, The Affair of the Necklace and Elizabeth.

Robert Boulter’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), Mercury Fur(Menier Chocolate Factory), Herons (Royal Court Theatre), Revolt. She Said. Revolt Again., The Ant and the Cicada, I You Can Hear (RSC), The Odyssey, Karamazoo, Burn/Citizenship/Chatroom, An Island Far From Here(National Theatre), How to Curse (Bush Theatre) and A Midsummer Night’s Dream (Wirksworth Festival). His television credits include Evidence, Father Brown, Survivors, Waking the Dead and The Long Firm. His film credits include Star Wars Episode IX, Genesis, Mark, Some Things Mean Something, Mercenaries, Donkey Punchand Daylight Robbery.

Paul Hilton’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), The Cherry Orchard, The Daughter-in-Law (Young Vic), Mosquitoes, Peter Pan, wonder.land, The President of an Empty Room, Mourning Becomes Electra, Three Sisters, The Oresteia (National Theatre), Anatomy of a Suicide, Terrorism, Mountain Language (Royal Court Theatre), Rosmersholm, The Storm (Almeida Theatre), All New People, Riflemind, In Celebration (Duke of York’s), Dr Faustus, As You Like It (Shakespeare’s Globe), Polar Bears, The Wild Duck (Donmar Warehouse), The Mysteries and Romeo and Juliet (RSC). His television credits include The Crown, A Very English Scandal, Grantchester, Silk, Twenty Twelve, and True Dare Kiss. His film credits include Lady Macbeth, Wuthering Heights, London Road, Swansong, Edge, Klimt and Eternal Beauty.

AN EVENING WITH VANESSA REDGRAVE

Saturday 9 February, 7.30pm

Vanessa Redgrave is one of the world’s most acclaimed actresses and a prominent human rights activist. Join her in this unique evening hosted by director Roger Michell (Notting Hill), as Vanessa shares tales from an extraordinary career spanning seven decades.

All proceeds from the show will support the Rose’s commitment to produce first-class theatre, alongside its Learning and Participation programmes. Although the Rose is the largest producing theatre in South West London, it does not receive regular Arts Council subsidy and must secure additional fundraising income to complement contributions from stakeholders, benefactors and sponsors. This vital funding helps the Rose to advance its artistic and charitable activities.

ROSE THEATRE KINGSTON

Founded by Sir Peter Hall and modelled on the original Elizabethan Rose Theatre on London’s Bankside, Rose Theatre Kingston is the largest producing theatre in South West London.

Since opening in 2008, the Rose has collaborated with a range of directors, playwrights and producing partners to create vibrant, engaging and inspiring productions. Recent works include the world premiere of Hogarth’s Progress by BAFTA Award-winning playwright Nick Dear, the first stage adaptation and world premiere of Elena Ferrante’s My Brilliant Friend adapted by April De Angelis and directed by Melly Still; Zach Helm’s hard-hitting play Good Canary directed by John Malkovich; Peter Hall and John Barton’s adaptation of The Wars of the Rose directed by Trevor Nunn; David Hare’s The Absence of War directed by Jeremy Herrin, and Jacqueline Wilson’sHetty Feather (West End transfer and Olivier Award nominee) directed by Sally Cookson. Future productions include the first major stage adaptation of Louis de Bernières’ best-selling novel Captain Corelli’s Mandolin, a co-production with Neil Laidlaw and Birmingham Repertory Theatre, adapted by Rona Munro and directed by Melly Still.

With over 150,000 visitors a year, the Rose enjoys artistic and critical acclaim from its own productions and co-productions and a reputation as one of the most exciting theatres in the UK.

Vienna 1934 – Munich 1938                                                                                                                 Listings

Rose Theatre Kingston

24-26 High Street, Kingston, KT1 1HL

7 February – 9 February 2019

www.rosetheatrekingston.org

Twitter:                @Rosetheatre

Facebook:           /RoseTheatreKingston

Instagram:          RoseTheatreKingston

Performance Schedule

Vienna 1934 – Munich 1938

Thursday 7 February                       7.30pm

Friday 8 February                             7.30pm

Saturday 9 February                       2.30pm

Band A £30.00                  

Band B £25.00                   

Band C £20.00                   

Band D £15.00

Secret Seats £10.00

Concessions available for Access Bookers/Companions (£10) and for those Under 26 (£8).

Box Office:                        020 8174 0090

                                            Monday – Saturday: 10am – 8pm (6pm non-performance days)

                                            Sun: one hour before the performance

Concessions:                    Only one discount per ticket, subject to availability

Terms and conditions apply – no discounts on Pit Cushion prices.

Over 60, unwaged, entertainment union, children under 16 and Students: £5 off.

Access:                              Patrons with disabilities enjoy half price tickets.

The Rose is a fully accessible organisation and we welcome everyone.

                                            There is Blue Badge parking in High Street and Rose car park.

Sensory Access:               A digital hearing system is available for patrons with a hearing aid, and Sennheiser headsets for patrons without a hearing aid. Guide and hearing dogs are welcome. Please let us know in advance so we can provide a dog-sitter and water bowl.

Learning Disabilities:       Please contact us in advance to discuss how we can help make your visit as comfortable as possible, on 0208 174 0090 or email [email protected].

Priority Booking:

Rose Circle Members – booking opens Fri 11 Jan, 12 noon. 
Friends Loyalty Card holders – booking opens Mon 14 Jan, 12 noon.
General Public – booking opens Wed 16 Jan, 12 noon

FULL CASTING ANNOUNCED FOR

THE FORTHCOMING UK TOUR OF

MICHAEL HARRISON AND DAVID IAN’S PRODUCTION

OF THE MUSICAL

“ANNIE”

STARRING ANITA DOBSON AND CRAIG REVEL HORWOOD

AS ‘MISS HANNIGAN’

OPENING AT THE MANCHESTER OPERA HOUSE

ON SATURDAY 2 FEBRUARY 2019

Michael Harrison and David Ian are delighted to announce full casting for the forthcoming UK tour of their smash hit production of the musical “ANNIE” opening at the Manchester Opera House on Saturday 2 February 2019.Joining the previously announced Anita Dobson and Craig Revel Horwood who both star as ‘Miss Hannigan’ (Anita will play the role from 2 February – 27 April 2019 and Craig will play the role from 30 April – 6 July 2019)will be Alex Bourne as ‘Oliver Warbucks’, Richard Meek as ‘Rooster’, Jenny Gayner as ‘Lily’ and Carolyn Maitland as ‘Grace Farrell’. The title role of ‘Annie’ is shared by Faye Katsande, Ava Smith and Freya Yates. They are joined by three teams of young performers who play the girls in Miss Hannigan’s orphanage. 

Completing the cast will be Michael Anderson, Thomas Audibert, Andy Barke, Caroline Bateson, Daisy Boyles, Blaise Colangelo, Gary Davis, Ashleigh Graham, George Rae, Anne Smith, India Thornton, Matt Trevorrow, Amy West and Samuel Wilson Freeman. 

This production recently ran for an extended season in the West End following a sell-out tour of the UK and Ireland in 2015/16 as well as a recent sell-out season in Toronto.

As Angie Watts in EastEnders, Anita Dobson created one of the most popular characters in television winning numerous awards. Her West End theatre credits include ‘Madame Morrible’ in “Wicked”, ‘Mama Morton’ in “Chicago”, ‘Mrs Meers’ in “Thoroughly Modern Mille”, ‘Chris’ in “Calendar Girls”, ‘Joan Crawford’ in “Bette and Joan” and ‘Nancy’ in “Frozen” at the National Theatre for which she was nominated for an Olivier, Evening Standard and London Critics Award. Her film credits include “London Road”.

Craig Revel Horwood is probably best known as a judge on all 16 series of BBC1’s “Strictly Come Dancing”. He returns to the part of ‘Miss Hannigan’ having played the role to critical acclaim in this production in both the West End and on the 2015/16 UK tour. His other West End Theatre credits include ‘Munkustrap’ in “Cats”, “Miss Saigon” at the Theatre Royal, Drury Lane and ‘Harry’ in “Crazy for You” at the Prince Edward Theatre. Craig directed and choreographed the recent tour of “Sister Act The Musical” as well as the “Strictly Come Dancing Live” tour for the past six years. He also choreographed the film “Paddington 2”.

Alex Bourne reprises his performance as ‘Oliver Warbucks’ after playing the role in this  production of “Annie” in the West End, Toronto and on the 2015/16 tour. His many other West End credits include ‘Danny’ in “Grease”, ‘The Beast’ in “Beauty and the Beast”, ‘Billy Flynn’ in “Chicago”, ‘Khashoggi’ in “We Will Rock You” and ‘Fred/Petruchio’ in “Kiss Me, Kate” for which he received an Olivier Award nomination for Best Actor in a Musical. His other credits include ‘Daryl Van Horne’ in “The Witches of Eastwick” and the Watermill Theatre, for which he received a TMA nomination for Best Actor, ‘Sam Michael’ in the national tour of “Mamma Mia!” and ‘Lex Hogan’ in “Eugenius!” at the Other Palace.

Richard Meek’s many credits include ‘Trevor Graydon’ in “Thoroughly Modern Millie”, ‘Brad’, ‘Eddie’ and ‘Dr Scott’ in “The Rocky Horror Show” and ‘Sir Galahad’ in “Spamalot”, all on national tour. He has also appeared as ‘Leo Bloom’ in the international tour of “The Producers” as well as ‘Dustin’ and ‘Greaseball’ in the 25^th anniversary cast of “Starlight Express” in Bochum, Germany.

Jenny Gayner’s West End credits include ‘Miss Wilson’ in the original cast of “The Girls” at the Phoenix Theatre, ‘Hunyak’ in “Chicago” at the Adelphi, Cambridge and Garrick theatres and “Spamalot” at the Palace Theatre. Jenny has also appeared as ‘Lina Lamont’ in “Singin’ in the Rain” and ‘Brooke Windham’ in “Legally Blonde”, both at Kilworth House.

Carolyn Maitland reprises her performance as ‘Grace Farrell’ after playing the role in this production of “Annie” in Toronto. Her West End credits include ‘Ellen’ in “Miss Saigon” at the Prince Edward Theatre, ‘Marian’ in “The Woman in White” at the Charing Cross Theatre and “Groundhog Day” and “Kiss Me, Kate”, both at the Old Vic. Her other credits include ‘Molly’ in the national tour of “Ghost” and ‘Kathy Seldon’ in Singin’ in the Rain at Kilworth House. 

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…

With its award-winning book and score, this stunning new production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.

“ANNIE” has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. “ANNIE” is directed by Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker. “ANNIE” is produced by Michael Harrison and David Ian.

ANNIE – UK TOUR 2019

SATURDAY 2 FEBRUARY – SATURDAY 16 FEBRUARY 2019

MANCHESTER OPERA HOUSE www.atgtickets.com/venues/opera-house-manchester

Anita Dobson as Miss Hannigan

TUESDAY 19 FEBRUARY – SATURDAY 23 FEBRUARY 2019

WOLVERHAMPTON GRAND THEATRE www.grandtheatre.co.uk

Anita Dobson as Miss Hannigan

MONDAY 4 MARCH – SATURDAY 9 MARCH 2019

NEW THEATRE OXFORD www.atgtickets.com/venues/new-theatre-oxford

Anita Dobson as Miss Hannigan

TUESDAY 19 MARCH – SATURDAY 23 MARCH 2019

BRISTOL HIPPODROME www.atgtickets.com/venues/bristol-hippodrome

Anita Dobson as Miss Hannigan

MONDAY 25 MARCH – SATURDAY 30 MARCH 2019

STORYHOUSE THEATRE, CHESTER www.storyhouse.com

Anita Dobson as Miss Hannigan

MONDAY 1 APRIL – SATURDAY 6 APRIL 2019

HULL NEW THEATRE www.hulltheatres.co.uk

Anita Dobson as Miss Hannigan

MONDAY 8 APRIL – SATURDAY 13 APRIL 2019

NEWCASTLE THEATRE ROYAL www.theatreroyal.co.uk

Anita Dobson as Miss Hannigan

MONDAY 15 APRIL – SATURDAY 20 APRIL 2019

KING’S THEATRE GLASGOW  www.atgtickets.com/venues/kings-theatre

Anita Dobson as Miss Hannigan

MONDAY 22 APRIL – SATURDAY 27 APRIL 2019

BRADFORD ALHAMBRA www.bradford-theatres.co.uk

Anita Dobson as Miss Hannigan

TUESDAY 30 APRIL – SATURDAY 4 MAY 2019

MAYFLOWER THEATRE, SOUTHAMPTON www.mayflower.org.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 6 MAY – SATURDAY 11 MAY 2019

THEATRE ROYAL PLYMOUTH www.theatreroyal.com

Craig Revel Horwood as Miss Hannigan

TUESDAY 14 MAY – SATURDAY 18 MAY 2019

LLANDUDNO VENUE CYMRU www.venuecymru.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 20 MAY – SATURDAY 25 MAY 2019

NOTTINGHAM ROYAL CONCERT HALL www.trch.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 27 MAY – SATURDAY 1 JUNE 2019

CLIFFS PAVILION THEATRE, SOUTHEND www.southendtheatres.org.uk

Craig Revel Horwood as Miss Hannigan

TUESDAY 4 JUNE – SATURDAY 8 JUNE 2019

LYCEUM THEATRE SHEFFIELD www.sheffieldtheatres.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 10 JUNE – SATURDAY 15 JUNE 2019

NEW VICTORIA THEATRE, WOKING www.atgtickets.com/venues/new-victoria-theatre

Craig Revel Horwood as Miss Hannigan

MONDAY 17 JUNE – SATURDAY 22 JUNE 2019

THE ORCHARD THEATRE, DARTFORD www.orchardtheatre.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 24 JUNE – SATURDAY 29 JUNE 2019

LIVERPOOL EMPIRE THEATRE  www.atgtickets.com/venues/liverpool-empire

Craig Revel Horwood as Miss Hannigan

MONDAY 1 JULY – SATURDAY 6 JULY 2019

MILTON KEYNES THEATRE www.atgtickets.com/venues/milton-keynes-theatre

Craig Revel Horwood as Miss Hannigan

Trafalgar Studios – until 2 February 2019

Reviewed by Claire Roderick

4****

The King’s Head Theatre’s production of Kevin Elyot’s first play transfers to Trafalgar Studios, and the intimate space of Studio 2 is the perfect fit. It feels like we are all sitting in Tony and Greg’s cramped little flat. Even before the action starts, Amanda Mascarenhas’s brilliantly authentic set design whisks you back to the 1980s.

It is 1982, and Tony and Greg live together in Kentish Town. They have been together for five years, and have an open relationship, with the unspoken rule that they don’t sleep with the same man twice. When Tony hires actor Robert as a cleaner, their relationship is put to the test.

I can’t speak knowledgably about gay relationships in the 80s, but I am sure this play will resonate with many of that generation. Replace the discos and bars where Tony and William go cruising with modern social media, and Coming Clean is still topical, with the sexuality of the characters irrelevant to the emotional core of the story. Fidelity and monogamy, love or sexual gratification, domestic bliss or exciting and possibly dangerous encounters – what choices and compromises would you make in the name of love? Elyot’s writing still feels fresh, and even the darkest moments in the play are shot through with wit and warmth.

Adam Spreadbury-Maher’s direction is spot on, with superb sound and light design choices, and brings out the best from a fine cast, with superb timing and chemistry – especially between best mates Tony and William. Lee Knight’s Tony and Elliot Hadley’s William are a scream together, with a wonderfully written relationship that provides the biggest laughs of the night. Hadley steals the show as William, revelling in the flirtatious and outrageous role, but allowing the underlying vulnerability to trickle through, and Knight is fantastic as catty but sensitive Tony. Tom Lambert is suitably wide eyed and seemingly innocent as Robert, and Stanton Plummer-Cambridge is imposing in the difficult role of Greg. At first it is very unclear what Tony sees in the gruff and slightly staid Greg, but Plummer-Cambridge reveals his softer, almost paternal side – ensuring that he doesn’t become the villain of the play, just a man who can’t give Tony the relationship he longs for.

Coming Clean just works on every level – a fascinating and very funny story about relationships with superb writing and acting in a brilliant production that will enthral audiences, whatever their age, gender or sexuality.

Old Red Lion Theatre – until 2 February 2019

Reviewed by Claire Roderick

3***

Liv Warden’s debut play examines the media’s (and public’s) seemingly insatiable appetite for salacious details when the abusive behaviour of powerful men is exposed. We never see Phillip Preston, an internationally-known film producer. Instead the scandal unfolds through the eyes of his three daughters, focussing much more intriguingly on their family dynamic. As soon as any news like this breaks, fingers are pointed at the women close to the abuser, accusing them of betraying their sex, moralising and speculating about how much they knew, and their motive for protecting such a vile man, without considering the dynamics and intricacies of their relationships.

Warden slowly unpicks and reveals the three women’s experiences with their father through a series of monologues that gradually explain their public reaction to the scandal. The daughters are stereotypical mogul offspring: the oldest, Piper (Natasha Cowley) is Preston’s business heir, running the company and dealing with family problems with a cool head at the expense of her own marriage. Middle daughter Penny (Katherine Samuelson0 is a successful film actor, playing the Hollywood publicity game, and youngest daughter Polly (Alice Handoll) is the family disaster, described by the press as a mentally unstable cokehead.

The sisters’ resigned reaction to their father being arrested for GBH soon changes when they hear that his victim is their mother. With photos splashed over the media, this is one scandal that can’t be covered up or the victim paid off, and the family are set adrift by former allies and protectors. The women all talk of their parents’ mantra of family first and learning about loyalty and resilience – “weathering the storm”. The damage this loyalty has done to the women is shown in flashes as Piper’s no-nonsense professionalism melts into frightened isolation and Penny’s Hollywood smile can’t hide her tears. The sexism the two women face daily is shown brutally and succinctly in two short scenes in the boardroom and a TV chat show, and highlight their inner strength and resilience clearly, even though their damaged childhoods have coloured their choices. Polly talks openly in her monologues about a long list of affairs and abuse with sardonic resignation and gleeful disdain for the media circus.

Unfortunately, the three women never interact physically, instead speaking to characters that we only hear. This heightens their isolation in the glare of the media to great effect, but the sisterly dynamic is sadly missing. Although that is possibly what Warden and director Adam Small are aiming for, to show the damage done by a father like that. The stark white set, with a slash of blood red newsprint scarring the floor adds to the uncomfortable feeling of voyeurism and the final scene leaves the audience craving to see what happens next, making us complicit in the insensitive clamour for details of other people’s misery that fuels, and is fuelled by, the media.

Anomaly is a fine debut – uncomfortable viewing, but engaging and perceptive

New Diorama Theatre – until 9 February 2019

Reviewed by Antonia Hebbert

3***

Soon after 8pm on Sunday October 30th, 1938, Americans tuning into the Columbia Broadcasting radio network were startled to hear of a strange object landing at Grover’s Mill, New Jersey. A panicky reporter described aliens emerging from it, and then the line went ominously dead.

What they were hearing was a live broadcast of Orson Welles’s play The War of the Worlds. Updating the novel by H.G. Wells, it reports a Martian invasion as breaking news, and became famous because it caused mass panic among listeners… or did it? The boring reality is that not many people thought Martians had invaded. It’s just such an entertaining idea that it developed a life of its own.

This tangle of fact and fiction-making is the starting point for Rhum and Clay Theatre Company’s exploration of fake news, written by Isley Lynn and developed, we are told, by the whole creative team. Matthew Wells and Julian Spooner direct and also act, together with Mona Goodwin and Amalia Vitale. The cast of four take us straight back to the original broadcast, with minimal props (a radio, a microphone, and pipes, as smoked by Orson Welles). They then take on multiple roles as the story moves to the present day, with a would-be influencer going to Grover’s Mill to make a podcast about a child abandoned in the alleged panic. She finds a town where fact and fiction are blurred, and while claiming to seek the truth, she tells lies to trick her way into a family that isn’t as straightforward as it seems. All the cast are fun to watch, and Amalia Vitale has an especially lovely flexible voice for this kind of shapeshifting show. Fake news, it seems, isn’t just something that’s imposed on people – we reinforce and believe the stories we want to hear. A cool grey mesh-like backdrop (Bethany Wells) and hazy lighting add to the sense of blurred boundaries.

This is a play about ideas rather than an emotionally engaging piece – somehow it was difficult to care very much about any of the characters. There is a sort of reconciliation at the end, but one of the characters is virtually a stranger to us, so it doesn’t have much impact. A clever, energetic and entertaining show nonetheless.

Southwark Playhouse – until 9 February 2019

Reviewed by Alex Sykes

4****

There are aspects of a success with this new production from the very successful Aria Entertainment. After enjoying a run at Hope Mill in Manchester, the show is now at Southwark Playhouse for a limited run

Set over 17 years in France, Aspects of Love tells the story of Alex (Felix Mosse) as he falls in love with Rose (Kelly Price).

The entire plot is sung through, with the well-known Love Changes Everything the first song in the show.

The set is simple, with tables and chair being moved around to represent different places such as Paris and Pau, the front row of the audience are on stage due to layout of the theatre and the little tables being used as props for the cast. The costumes are simple yet appropriate and the casts ability to change quickly is impressive, I think Kelly Price has a different outfitting every scene.

The aspects of love the title refer to are the love between Alex and Rose – constantly falling in and out of love with each other. The love Rose has for George when she is both his mistress and his wife, Jerome Pradon however plays a wonderful George and earned his standing ovation. The love of a family between Rose, George and their daughter Jenny and the forbidden love between Alex and Jenny. A special mention must be given to Madalena Alberto for her portrayal of Giulietta Trapani, George’s Italian “friend” who helps Alex see the light in regards to his love for 15 year old Jenny.

The show finishes with Mosse once again singing Love Changes Everything as the audience are brought up to date with the story and Alex leaving with Giulieta after George’s funeral.

One of Andrew Lloyd Webber’s lesser shown works, its had a breath of fresh air breathed into it by Katy Lipson. See it at Southwark while you can

Hull New Theatre – until 19th January 2019

Reviewed by Catherine McWilliams

5*****

Wow, wow, wow! How lucky am I (and the other members of the packed audience) to have seen such an amazing performance of The Bodyguard at Hull New Theatre last night. Inevitably the audience was on their feet at the end to give Alexandra Burke (Rachel Marron) and the rest of the stunning cast a standing ovation but something I have never heard is the volume of cheering when the curtain went down for the interval. Choose a superlative, dazzling, glorious, brilliant or magnificent, no make that all of these, one would just be inadequate for this show. It has everything, a cracking story line, superb performances, stunning scenery and lighting, fabulous dancing, and of course amazing music.

The story follows the hiring of a bodyguard (Benoît Maréchal) to protect a Grammy award winning singer Rachel Marron (Alexandra Burke) from a stalker who is threatening her and her family. He is a fish out of water in this world but gradually falls for the singer resulting in him not concentrating on his job as well as he should. The songs (and what an amazing list of songs) are used very cleverly to add to and enhance the storyline.

Alexandra Burke is outstanding as Rachel Marron showing the tender side of the character as well as the singer as diva. Every one of her songs was beautiful whether the upbeat I Wanna Dance with Somebody or the slower ballad Greatest Love of All. I constantly changed my mind about which was my favourite, and if pushed would say – all of them! Her costumes were superb and so many costume changes carried out so quickly – a good job backstage.

However Alexandra Burke could only dazzle us because of the immensely talented supporting cast.

Benoît Maréchal made a very convincing introverted bodyguard and he played beautifully against Alexandra Burke. His karaoke rendition was er…different! I can’t have been the only one at the end of the show willing him not to walk away.

Micha Richardson was excellent as Nicki Marron, Rachel’s sister, her voice is beautiful and the duets with Alexandra Burke were heartbreaking.

Jesse Oniha is a young man with amazing talent, playing Rachel’s son Fletcher with skill. What a singer and dancer and such maturity.

Now to The Stalker played with sufficient creepiness by Phil Atkinson, a nasty piece of work. I was a little alarmed though that some of the audience couldn’t initially see the evilness beyond the six-pack, but the enormous boo he received at the end of the show told of a part well performed!

The ensemble cast of singers and dancers were a very talented bunch producing some jaw dropping routines.

Scenery and lighting took us from nightclubs to a mansion to bedrooms to a log cabin, with often amazing speed and such incredibly realistic sets.

Lastly the music, the Musical Director Michael Riley did a fabulous job leading his orchestra well. It made a lovely change at the end of the show when a shot of all the musicians playing was projected onto the backdrop of the stage – good to see who these talented guys were.

I doubt there are many seats to be had for the remaining performances – but if you have to, buy yourself a single seat and sit next to a stranger rather than missing simply the best show ever at Hull New Theatre.

FULL CAST ANNOUNCED FOR

HOWARD BRENTON’S THE SHADOW FACTORY

A Nuffield Southampton Theatres production

THE SHADOW FACTORY

by Howard Brenton

Director: Samuel Hodges;Associate Director: Anthony Lau; Designer: 59 Productions

Casting: Annelie Powell CDG

Nuffield Southampton Theatres – NST City

30 January – 2 March 2019

Director of Nuffield Southampton Theatres, Sam Hodges today announces the full cast for his production ofHoward Brenton’s The Shadow Factory which returns to celebrate NST City’s first anniversary after opening the space with a sell-out run last year. The cast includes Denise Black (Lady Cooper/Ma Dimmock), Bethan Cullinane (Jackie Dimmock), Joe Tracini (Len Gooch) and Michael Fenton Stevens (Lord Beaverbrook) joining returning cast members David Birrell (Fred Dimmock/Hugh Downing), Catherine Cusack (Lil Dimmock/Sylvia Meinster) and Shala Nyx (Polly Stride). The production opens on 1 February, with previews from 30 January, and runs until 2 March.

Autumn 1940. The Battle of Britain rages.

Southampton is home to our only hope of victory: the Spitfire.  But when the Luftwaffe drops 2,300 bombs in three devastating raids, the city goes up in flames and the Woolston Supermarine Spitfire factory is destroyed.

Jackie is the third generation of Dimmock at her family-run laundry.  Polly is the first and only draughtswoman in the Spitfire design office.  How will each woman forge her own path in this evolving landscape?

From the ashes, a story of chaos, courage and community spirit emerges.

One of Britain’s greatest living playwrights, Hampshire-born Howard Brenton tells the remarkable and little-known story of how Southampton stepped up when the chips were down.

Critically acclaimed, this sell out smash hit features a stellar cast supported by a 25-strong community company made up of Southampton residents. The Shadow Factory returns to celebrate the first birthday of Southampton’s brand-new theatre NST City.  

Howard Brenton has written over 50 plays. His most recent credits include Miss Julie (Theatre by the Lake/Jermyn Street Theatre), Paul, Never So Good (National Theatre), In Extremis (Shakespeare’s Globe and tour retitled Eternal Love), Anne Boleyn (Shakespeare’s Globe, plus revival and tour, winner of the WhatsOnStage Best Play Award and UK Theatre Awards Best Touring Production), 55 Days, #aiww: The Arrest of Ai Weiwei, Drawing The Line, Lawrence After Arabia (Hampstead Theatre), The Guffin (one act play, NT Connections), Doctor Scroggy’s War (Shakespeare’s Globe), Ransomed (one act play, Salisbury Playhouse) and The Blinding Light (Jermyn Street Theatre). Versions of classics include The Life of Galileo and Danton’s Death(National Theatre) and Goethe’s Faust (RSC). Other adaptations include The Ragged Trousered Philanthropists(Liverpool Everyman/Chichester Festival Theatre) and Dances of Death (Gate Theatre). For television, he wrote 13 episodes of the first four series of the BBC Television Drama Spooks (winner of the BAFTA Best Television Drama Series 2003).

David Birrell returns to play Fred Dimmock/Hugh Downing. His theatre credits include Describe the Night(Hampstead Theatre), The Death of King Arthur (Sam Wanamaker Playhouse), Peter Pan, A Midsummer Night’s Dream, Ragtime (Regent’s Park Open Air Theatre), The Last Days of Troy (Royal Exchange Theatre/Shakespeare’s Globe), A Little Night Music (Yvonne Arnaud Theatre/Palace Theatre),Company (Sheffield Theatres), Passion, Grand Hotel (Donmar Warehouse), Spamalot (Palace Theatre),  Oh! What A Lovely War (National Theatre), The Gates of Paradise, The Jewess Of Toledo, The Venetian Twins, Love’s Labour’s Lost, Moby Dick, The Tempest, Murder in the Cathedral, Hamlet, Columbus and Romeo and Juliet (RSC); and for television, Holy Flying Circus, Buried and Angels.

Denise Black plays Lady Cooper/Ma Dimmock. Her theatre credits include Machinal (Almeida Theatre), The Cherry Orchard, The Mistress (Sherman Theatre), Pack (Finborough Theatre), Sisters (Sheffield Theatres),Bedroom Farce (West Yorkshire Playhouse), The Long Road (Soho Theatre), Aristo (Chichester Festival Theatre),The Seagull (Royal Court Theatre), Who’s Afraid of Virginia Woolf? (Liverpool Playhouse), Yerma, Mrs Warren’s Profession (Royal Exchange Theatre) and The Woman Who Cooked Her Husband (Nottingham Playhouse/Theatre Royal Plymouth). Her television credits include as series regular Denise Osbourne inCoronation Street, Joanie Wright in Emmerdale and Hazel Tyler in Queer as Folk. Other television appearances include Bad Girls, Small Island, To the Ends of the Earth, No Angels, Peak Practice and The Vice; and for film,Last Orders. 

Bethan Cullinane plays Jackie Dimmock. Her theatre credits include Scarlett (Hampstead Theatre), Cymbeline, Hamlet, The Rest is Silence (RSC), Twelfth Night (Rose Bankside), Othello, King Lear, The Merchant of Venice(Shakespeare’s Globe) and Ladybird (New Diorama Theatre).

Catherine Cusack returns to play Lil Dimmock/Sylvia Meinster. Her theatre credits include Judith: A Parting From The Body, Fragile, The Factory Girls (Arcola Theatre), Ghosts (The New Vic), All That Fall (Arts Theatre/ 59E59 New York), Bingo (Chichester Festival Theatre/Young Vic), The Two Character Play (Jermyn Street Theatre), The Early Bird, The Gigli Concert (Finborough Theatre), What Fatima Did, Bold Girls (Hampstead Theatre), Uncle Vanya (Wilton’s Music Hall), The Venetian Twins (The Watermill Theatre), Bronte, Mrs Warren’s Profession (Lyric Hammersmith), Our Lady Of Sligo (National Theatre) and Prayers Of Sherkin (The Old Vic). Her television credits include Jonathan Creek; Ballykissangel and Cadfael; and for film, Finding Neverland, Conspiracy of Silence, Boxed and The Lonely Passion of Judith Hearne. 

Shala Nyx returns to play Polly Stride. Her theatre credits include Cookies (Theatre Royal Haymarket), Every You Every Me (Oxford Playhouse/Reading Rep), Her (Half Moon Theatre), Bollywood Jack (Tara Arts Theatre), As You Like It (UK tour), Henry VI (Wales Millennium Centre), Stoning Mary (Criterion Theatre) and Love for Love and The Heresy of Love (Bristol Old Vic).

Michael Fenton Stevens plays Lord Beaverbrook. His theatre credits include 100 Hearts (Adelphi Theatre), Radio Active (UK tour), Queen Anne (Swan Theatre/Theatre Royal Haymarket), Yes Prime Minister (Gielgud Theatre/Apollo Theatre), Stand (Battersea Arts Centre), It’s a Wonderful Life (New Wolsey Theatre) and English Tragedy (Watford Palace Theatre). His television credits include Action Team, The Crown, Benidorm, New Tricks, Josh, Mrs Biggs, Not Going Out, My Family, Only Fools and Horses, Mr Bean, Outnumbered and KYTV; and for film, Lady Godiva – Back in the Saddle.

Joe Tracini plays Len Gooch. His theatre credits include Spamalot (UK tour) and Sexual Perversity in Chicago(Landor Theatre), His television credits include series regular Dennis Savage in Hollyoaks, DK in Coming of Age and Spike Bannon in My Spy Family. Other television credits include The Great Outdoors, Inn Mates and Two Pints of Lager and a Packet of Crisps and as a presenter on The Dengineers.

Samuel Hodges is Director of The Shadow Factory and of Nuffield Southampton Theatres (NST). His productions for NST includes Dedication – Shakespeare and Southampton, following The Glass Menagerie in 2015. Previously he founded the HighTide Festival Theatre in 2007 and was the Artistic Director for five years, during which time he produced over 25 new plays, co-producing with the National Theatre, The Old Vic and the Bush Theatre, amongst others. Between 2012 and 2014, he ran the Criterion Theatre in London’s West End, for whom he curated a late-night programme and a one-off summer season of new work to celebrate the London Olympics.

Anthony Lau returns as Associate Director. His directing credits include A Better Man, The Cherry Orchard (Young Vic), Juicy and Delicious (Nuffield Southampton Theatres), The Common Land (Rose Theatre Kingston), Dreaming America (Shoreditch Town Hall), Still Life/Red Peppers (Old Red Lion), The Taste of Us (HighTide) and I Am A Camera (Southwark Playhouse). His Associate/Assistant Director credits include Ink (Duke of York’s), The Glass Menagerie (Nuffield Southampton Theatres), First Light, Canvas (Chichester Festival Theatre), The Hudsucker Proxy (Liverpool Playhouse/Nuffield Southampton Theatres), King Lear (Chichester Festival Theatre/BAM), Mint (Royal Court Theatre), Bingo (Young Vic) and Hungry Ghosts (Orange Tree Theatre).

Nuffield Southampton Theatres is one of the UK’s leading professional theatre companies. The company is led by Samuel Hodges, supported by a team of associates: directors Blanche McIntyre, Natalie Abrahami and Michael Longhurst, playwright Adam Brace, choreographer Drew McOnie and poet Inua Ellams. NST develops and produces work with some of the UK’s most exciting and dynamic regional theatres. NST’s awards include Best Director at UK Theatre Awards 2013 for The Seagull, Regional Theatre of the Year at The Stage Awards 2015, Best Design at UK Theatre Awards 2015 for The Hudsucker Proxy and the 2017 Renee Stepham UK Theatre Award for Best Presentation of Touring Theatre for Fantastic Mr Fox. In 2018 NST was nominated for three awards in the UK Theatre Awards 2018; Best Design for The Shadow Factory; The Renee Stepham Award for Best Presentation of Touring Theatre for A Streetcar Named Desire and Achievement in Marketing and Audience Development for the NST City opening campaign. 

NST City is Nuffield Southampton Theatres brand new venue which opened in Southampton’s city centre in 2018. The new theatre’s programme runs alongside NST Campus situated on the Highfield Campus at the University of Southampton.

Nuffield Southampton Theatres is an Arts Council National Portfolio Organisation and a registered charity, receiving additional core funding from the University of Southampton and Southampton City Council.

www.nstheatres.co.uk

@NSTheatres