Blue Review

Chapter, Cardiff – until 16 February 2019

Reviewed by Alex Browning

4****

Chippy Lane Productions present Blue in a world premier starting in Cardiff’s Chapter Gallery, a setting close to home, Carmarthenshire.

Upon arrival you are invited into an intimate setting, the set with a traditional homely feel has all the qualities of a traditional lounge-diner, with the addition of a lovely, blue, door. The lighting further added to the experience with a intimate array of lamps and lights, all glowing with a traditional yellow-lighting. A rather soothing setting, accompanied by some tranquil sounds of birds and other elements of the outside.

The show consisted of a 90 minute running time with no intermission, which leads to a very intimate experience of the production, allowing you to form a close bond to the cast with no influence from any other audience member. The cast is comprised of only four actors, Nia Roberts, Sophie Melville, Jordan Bernarde, Gwydion Rhys, all of whom you feel an intimate relationship to through whole performance. In particular Nia Roberts in the role of Lisa, who really excels in her performance and by the end of the production had to wipe the heartfelt tears from her face.

A particular favorite scene would be between the two male characters, Jordan Bernarde as Thomas and Qwydion Rhys as Huw, .This was a very intimate moment in which the two men discuss some very heartfelt topics. This scene provided a turning point from the production being relatable yet funny and happily intimate, to being relatable on a much more emotional level.

As the production is set on the coast of South Wales there are some elements that may leave viewers from other locations a little confused, such as some jokes about inter-city rivalry and mentions of specific locations in the welsh language. However, this is not too largely influenced by this and is still very effortless to follow.

Wether a Welsh local or a London Viewer the production of Blue is a brilliant show to watch, and allows the audience to express some important more troubling issues.

Peter Rabbit hops into the West End with Griff Rhys Jones and Miriam Margolyes

Phil McIntyre and Frederick Warne & Co Limited

proudly present

THE BEATRIX POTTER MUSICAL ADVENTURE

The magical Tales of Peter Rabbit™ and Friends

as you’ve never seen them before!

FEATURING THE VOICES OF

GRIFF RHYS JONES AND MIRIAM MARGOLYES

“Fantastic Puppetry, theatrical family magic”

★★★★

THE TIMES

★★★★

MAIL ON SUNDAY

THEATRE ROYAL HAYMARKET LONDON

3 – 28 APRIL 2019

TICKET PRE-SALE – 12 FEBRUARY AT 10AM

GENERAL ON-SALE – 15 FEBRUARY AT 10AM

FROM PETERRABBITLIVE.COM

Hop onto your seats and immerse yourself in the magical world of Beatrix Potter. Watch with delight as your favourite stories and most beloved characters are brought to life on the stage in this theatrical spectacular, with beautifully handcrafted puppets, enchanting original songs and a sprinkle of magic. Look out for the ferocious Mr. McGregor, reach heady heights with Jemima Puddle-Duck, do the laundry with Mrs. Tiggy-Winkle and of course, fall in love with the mischievous Peter Rabbit.

Opening at the Theatre Royal Haymarket on 3 April, the London season of Where is Peter Rabbit™follows the hugely popular runs at the Old Laundry Theatre in Bowness-On-Windermere which premiered in June 2016 and has enthralled audiences and garnered rave reviews ever since.

Prick up your ears to the delectable voices of Olivier Award-winning actor and comedian Griff Rhys Jones and BAFTA Award-winning actor and national treasure Miriam Margoyles. Marvel at the delightful dancing and entrancing set and shake your tail to the 14 joyful songs, with lyrics by one of Britain’s most beloved playwrights, Sir Alan Ayckbourn and music by Steven Edis.

Handed down from generation to generation, these classic stories hold a special place in our hearts, so whether a warm hug of nostalgia, or the perfect introduction to Beatrix Potter’s Tales, this is a truly charming production for the whole family to cherish and enjoy together. Devised by Roger Glossop, and directed and choreographed by Sheila Carter, this innovative show combines live performance, projection and recording in a thoroughly interactive brand-new magical musical, entirely based on the original Tales by Beatrix Potter.

Griff Rhys Jones said: “The characters and the strange life of animals are so well observed by Beatrix Potter and not just in her beautiful illustrations. I don’t think we cherish things quite as much as we do children’s books, handed down like golden gems; and it’s remarkable to think that these stories are still so loved.”

Miriam Margoyles said: “The characters leap into your heart. There is a directness and a freshness that comes through the text and they will live for all time. It’s a window back into childhood.”

Thomas Merrington, Creative Consultant on behalf of Frederick Warne & Co said “We are so thrilled that this production of Where is Peter Rabbit? will be making it’s West End debut this Easter. Fans of all ages will fall in love with this beautiful production – it really brings the characters to life in the most charming way”.

LISTINGS  INFORMATION

THEATRE ROYAL HAYMARKET LONDON

Opening Performance: 3 April 2019, 11:00am

Tickets: From £15

Box Office: 020 7930 8800

To book tickets please visit: PeterRabbitLive.com

Twitter: @PeterRabbitLive

Instagram: @PeterRabbitLive

Facebook: @PeterRabbitLive

About Peter Rabbit™ and Beatrix Potter

The Tale of Peter Rabbit is one of the world’s best-loved children’s books and was created by author and illustrator, Beatrix Potter in 1902.  The story has never been out of print since it was first published by Frederick Warne & Co. (today an imprint of Penguin Random House) and has sold in excess of 45 million copies globally.  Beatrix Potter personally oversaw the launch of subsequent products, making Peter Rabbit the oldest licensed character in history.  Today over 2 million of her ‘little books’ are sold globally every year, whilst Peter Rabbit has appeared in books and products in more than 110 countries throughout the world. 

Penguin Ventures (part of the Penguin Random House Group) is committed to growing and protecting The Peter Rabbit™ brand and manages The World of Beatrix Potter™, one of the world’s longest running and largest international literature-based licensing programmes.

www.peterrabbit.com

PETER RABBIT™ © Frederick Warne & Co. 2018. PETER RABBIT and BEATRIX POTTER are trademarks of Frederick Warne & Co., a Penguin Random House Company.  All rights reserved.

LONDON¹S FIRST PURPOSE BUILT IMMERSIVE THEATRE SPACE 18 OPENS IN THE WEST END LAUNCHING WITH THE PREVIOUSLY ANNOUNCED GROUNDBREAKING IMMERSIVE GAMING EXPERIENCE VARIANT 31

LONDON’S FIRST PURPOSE BUILT IMMERSIVE THEATRE

SPACE 18

OPENS IN THE WEST END

LAUNCHING WITH THE PREVIOUSLY ANNOUNCED

GROUNDBREAKING IMMERSIVE GAMING EXPERIENCE

OPENING 13 APRIL 2019

FOR ITS DEADLY WORLD PREMIERE

Big Dreamer Productions unveils Space 18, the huge new theatrical complex built specifically to house immersive and experiential theatre. Combining 7 buildings35 floors and more than 25,000 square foot, the venue, which is located at 39-41 New Oxford Street, will open on 13 April 2019 with their inaugural production Variant 31, Europe’s largest immersive gaming experience.

The opening production will feature a cast of 120 highly trained professional actors; experienced in parkour, aerial acrobatics, stage combat, fire poi, and intense full contact performances, makingVariant 31 the largest employer of actors and theatrical technicians currently running in the West End.

Dalton Dale, Artistic Director, Big Dreamer Productions and creator of Variant 31 said, “I wanted to create an incredible experience unlike anything that has been seen before, allowing audiences to really get involved in the production. What we’ve created here in Space 18 is the possibility for the future of theatrical entertainment to go further than it has ever gone before.

Everything inside is custom made specifically for this production, from the sets to the lighting, the music, and the technology and it gives me great pleasure knowing you can’t see any part of this anywhere else on Earth.

We will also welcome other artists and companies to use our incredible asset for their own productions, and hope to help foster those relationships and creative innovations for years to come.”

Unlike traditional theatre, Dalton Dale and his co-producers wish to explore clever and innovative techniques to engage today’s audiences who simply crave more than the traditional theatrical experience. By creating this ambitious new venue, they have provided a world of possibilities for audiences to fully immerse themselves and explore the colossal structure, which occupies an entire city block in the heart of London’s West End.

VARIANT 31

Variant 31 is a 90 minute long adrenaline-fuelled live-action game, in which players navigate through the expansive 25,000 square foot labyrinth. Once inside this immaculately detailed hidden world, the aim is simply to survive and escape. Work in teams to solve group challenges and play individually to complete personal objectives and puzzles to forge your own path to freedom. Those seeking safety in numbers are free to work together and find their way through the experience as a group.

Get off the couch, leave the video game behind and star in your own story.

Do you have what it takes to stay alive?

Welcome to Toxico Technologies’ top-secret live demonstration of their latest weapon in modern warfare, ‘Variant 31’; a serum so powerful it allows the user to control death itself.

The demonstration goes horribly awry and turmoil ensues as reanimated cadavers go on the warpath. Their sole mission is to hunt and destroy the invading enemy… you.

Do you have the skills and the stamina to overcome an array of terrifying creatures, and make it out alive? Or will the sheer terror be too much to handle….

Unleash the horror, choose your adventure and #AimForTheHead

Unlike any other immersive experience, audiences have the ability to traverse the massive arena however they so choose, utilizing custom-built state of the art wearable technology. Up, down, left and right – the journey you take through the apocalyptic world truly is your own; with over a thousand possible routes, no two adventures will be the same. From unlocking secrets, finding hidden passageways, interacting with characters in one-on-one experiences and piecing together the story for a narrative gaming experience that is uniquely your own.

In addition to Club Z, the game will feature four expertly themed bars, one in the beginning, and three within the game area. Each ticket includes a complimentary drink, which is redeemable at the start from the Serum Dispensary. We find partaking in a little liquid courage before the terror begins, helps to calm the nerves. Once inside the game, you may stop off at any of the three Quarantine check points as often as you’d like, take a breather, and recharge before you bolt back into the madness.

CLUB Z

In addition to the incredible feat of creating and opening this new venue, and live action game, Dale is breathing new life to a world famous London treasure that has been closed for over a decade. Space 18 is partly comprised from the former nightclub The End, a location that was famous for it’s music raves; featuring such performers as Fatboy Slim and The Scissor Sisters. Alongside Variant 31, the venue will reopen the club space as Club Z, where audiences can continue to delight in the immersive world; featuring immersive performers, stunning set design by Secret Cinema’s Tim McQuillen-Wright, guest DJ’s and a brand new first class cocktail menu.

With every admission to Variant 31, audience members get access to the one of a kind nightlife experience in Club Z, which will host themed nights, guest artists, burlesque and circus. Every part of this experience is a show. The walls move, the bar floats and the drinks bubble and flame like magic. Club Z will also be open to private parties, corporate events, birthday and hen/stag do celebrations.   

LISTINGS

VARIANT 31 – AN IMMERSIVE SURVIVAL EXPERIENCE

FROM 13 APRIL 2019

SPACE 18

Tickets: From £39

Bookings Line: 0844 815 7141 (KX Tickets)

Open from 9am until 9pm every day. Calls cost 7p per minute, plus your standard network rate

Box Office: Onsite box office open from April 2019

Performances:

Thursdays & Sundays – 6pm, 6.30pm, 7pm, 7.30pm, 8pm

Fridays – 6pm, 6.30pm, 7pm, 7.30pm, 8pm, 8.30pm, 9pm

Saturdays – 6pm, 6.30pm, 7pm, 7.30pm, 8pm, 8.30pm, 9pm, 9.30pm

Running Time: 90 Minutes

Address: Space 18, 39-41 New Oxford Street, London, WC1A 1BN

Website: Variant31.com

Twitter/Facebook/Instagram: @Variant31

#AimForTheHead

#TheExperimentBegins

#ControlYourFear

#TheChoiceIsYours

Club Z Opening Hours:

Thursdays & Sundays – 6pm-11pm

Fridays – 6pm-12am

Saturdays – 6pm-12.30am 

Age Requirement: Suitable for 18+

Warning: This experience is only suitable for the brave and adventurous. The production utilizes strong language, simulated violence, actor nudity and is a high adrenaline, fast paced, full contact survival game. This experience is not meant for the faint of heart, expectant mothers, claustrophobic, asthmatic, or those suffering from recent surgery, trauma, phobias, heart conditions, PTSD or any other mental, physical, or medical afflictions. Enter at your own risk.

Variant 31 is produced by Big Dreamer Productions and Stephen McGill Productions, in association with Rachel Kraftman Productions and MDR Productions.

New Cast for Calendar Girls the Musical Tour

NEW CAST FOR

THE AWARD-WINNING MUSICAL CALENDAR GIRLS

BY GARY BARLOW AND TIM FIRTH

SARAH JANE BUCKLEY, SUE DEVANEY, JULIA HILLS, JUDY HOLT

& LISA MAXWELL

TO JOIN RUTH MADOC AND REBECCA STORM


David Pugh & Dafydd Rogers are delighted to announce the new cast for the UK & Ireland Tour of Gary Barlow and Tim Firth’s musical comedy, CALENDAR GIRLS The Musical, based on the true story, the film and the award-winning play by Tim Firth.

Starring Sarah Jane Buckley (Blood Brothers and Kathy Barnes in Hollyoaks) as Annie, Sue Devaney (the soon to be seen new Russell T. Davies series Years and Years, Jane in Dinnerladies, Liz Harker in Casualty, Debbie Webster in Coronation Street and Rosie in the musical Mamma Mia!) as Cora, Julia Hills (Doctor Kemp in Broadchurch, Annabelle Shrivener in The Archers) as Ruth, Judy Holt (Cold Feet, Scott & Bailey) as Marie and Lisa Maxwell (panellist on Loose Women, Tracey Donovan in Hollyoaks, Samantha Nixon in The Bill and various roles in The Les Dennis Laughter Show and The Russ Abbot Show) as Celia, the new cast will make their debut at Cliffs Pavilion, Southend, on 23 April 2019.

Ruth Madoc and Rebecca Storm will continue to play Jessie and Chris respectively.

Karen Dunbar will return to play Cora when the production visits Glasgow’s King’s Theatre from 11-22 June.

Also in the cast are Derek Elroy as Lawrence, Phil Corbitt as John, Ian Mercer as Rod, Sebastian Aberneri as Colin, Alan Stocks as Denis, Pauline Daniels as Lady Cravenshire, Ellie Leah as Miss Wilson, Danny Howker as Danny, Isabel Caswell as Jenny and Tyler Dobbs as Tommo.

The critically acclaimed and award-winning production played a six-month London season at the Phoenix Theatre in 2017, and, before that, this musical comedy played sold-out seasons in Leeds and Manchester.   

Gary Barlow and Tim Firth grew up in the same village in the North of England and have been friends for 25 years.  With Take That, Gary has written and co-written 14 number one singles, has sold over 50 million records worldwide and is a six times Ivor Novello Award winner.  Tim has won the Olivier Award and UK Theatre Award for Best New Musical, and the British Comedy Awards Best Comedy Film for Calendar Girls.

CALENDAR GIRLS THE MUSICAL is inspired by the true story of a group of ladies, who decide to appear nude for a Women’s Institute calendar in order to raise funds to buy a settee for their local hospital, in memory of one of their husbands, and have to date raised almost £5million for Bloodwise. This musical comedy shows life in their Yorkshire village, how it happened, the effect on husbands, sons and daughters, and how a group of ordinary ladies achieved something extraordinary. 

Bloodwise, the UK’s specialist blood cancer charity, will continue to receive monies from this production.

CALENDAR GIRLS The Musical is directed by Matt Ryan and designed by Robert Jones, with comedy staging by Jos Houben, movement by Lucy Hind and casting by Sarah Bird.

Website: www.calendargirlsthemusical.com

Facebook: @thegirlsmusical

Twitter: @thegirlsmusical

2019 TOUR SCHEDULE

23 – 27 April                           Cliffs Pavilion, Southend                                           01702 351135

                                                www.thecliffspavilion.co.uk

30 April – 11 May                   Wales Millennium Centre                                            02920 636464

                                               www.wmc.org.uk

14 – 25 May                           Grand Opera House, Belfast                                      02890 241919

                                               www.goh.co.uk

28 May – 8 June                     Birmingham Hippodrome                                           0844 338 5000         

                                               www.birminghamhippodrome.com

11 – 22 June                          Glasgow King’s Theatre                                             0844 871 7648

                                               www.atgtickets.com/kings-theatre

25 June – 6 July                     Theatre Royal, Nottingham                                         0115 989 5555         

                                                www.trch.co.uk

9 July – 20 July                      Bristol Hippodrome                                                   0844 871 3012

                                               www.atgtickets.com/bristol

23 July – 3 August                  Theatre Royal Plymouth                                             01752 267222

                                               www.theatreroyal.com

6 – 10 August                         Congress Theatre, Eastbourne                                   01323 412000

                                               www.eastbournetheatres.co.uk

17 – 21 September                 Bournemouth Pavilion                                                0844 576 3000         

                                               www.bournemouthpavilion.co.uk

24 – 28 September                 Wolverhampton Grand                                               01902 42 92 12

                                               www.grandtheatre.co.uk

8 – 12 October                       Royal & Derngate Northampton                                  01604 624811

                                               www.royalandderngate.co.uk

15 – 19 October                     Blackpool Opera House                                             0844 856 1111

                                               www.wintergardensblackpool.co.uk

22 – 26 October                     Ipswich Regent Theatre                                              01473 433100

                                               www.ipswichregent.com                                            

29 October – 2 November       Chester Storyhouse                                                   01244 409113          

                                               www.storyhouse.com

BIRMINGHAM STAGE COMPANY’S HORRIBLE HISTORIES: BARMY BRITAIN – PART FOUR! RETURNS TO THE WEST END THIS SUMMER

BIRMINGHAM STAGE COMPANY’S

HORRIBLE HISTORIES: BARMY BRITAIN – PART FOUR! RETURNS TO THE WEST END THIS SUMMER

Birmingham Stage Company Presents

Horrible Histories: Barmy Britain – Part Four!     

Apollo Theatre

1 – 31 August 2019

Birmingham Stage Company today announces the return of Horrible Histories: Barmy Britain – Part Four! to the Apollo Theatre marking Horrible Histories’ eighth year in the West End.  Barmy Four was the most successful show in the series so far and enjoyed a sell-out summer season. It opens this year on 6 August, with previews from 1 August, and runs until 31 August.

We all want to meet people from history. The trouble is everyone is dead! So it’s time to prepare yourselves for Horrible Histories live on stage with Barmy Britain – Part Four!

Be reduced to rubble by the ruthless Romans! Would you be shaken or stirred by Richard III? Will Queen Elizabeth I endure her terrible teeth? Would you be hanged by King James I for being a witch? Mount a mutiny against King Henry VIII! See Mary Tudor knock the spots off Mary Queen of Scots! Peep into the world of Samuel Pepys and help Georgian detectives find the headless man! Take a trip into the night with the night soil men and discover how to survive the first ever train ride!

After seven sensational years in the West End, Barmy Britain is back!

Terry Deary is the creator of Horrible Histories and one of Britain’s best-selling authors of the 21st Century. He’s also the tenth most-borrowed author in British libraries. There are around 50 Horrible Histories titles with total sales of 25 million in 40 countries. Deary is also the author of over 200 fiction and non-fiction books for young people including his series of books Dangerous Days.

Neal Fosteris Actor/Manager of Birmingham Stage Company which since its foundation in 1992 has staged over eighty productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for fourteen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including Barmy Britain – Parts One, Two, Three and Four (Garrick Theatre, Apollo Theatre and Sydney Opera House); Groovy Greeks and Incredible Invaders for a national tour and Wicked Warwick at Warwick Castle. His first fictional adaptation was David Walliams’ Gangsta Granny,which transferred to the Garrick Theatre and then the Harold Pinter Theatre following a UK tour and was nominated for a Best Entertainment and Family Olivier Award. He has also adapted and directed David Walliams’ Awful Auntie and the forthcoming Billionaire Boy which will open this autumn. His latest production is the world première of Tom Gates by Liz Pichon which is touring nationally.

Horrible Histories: Barmy Britain – Part Four! is directed by Neal Foster, designed by Jackie Trousdale, lighting by Jason Taylor, sound by Nick Sagar and music by Matthew Scott.

BIRMINGHAM STAGE COMPANY is the award-winning producers of David Walliams’ Gangsta Granny and Awful Auntie. The company produce all the Horrible Histories shows live on stage including the West End productions of Barmy Britain. Its latest UK tour is the world premiere of Tom Gates by Liz Pichon. The company also performs internationally, including David Almond’s Skellig on Broadway, George’s Marvellous Medicine in New Delhi and Horrible Histories at the Sydney Opera House.

www.barmybritain.com

Twitter: @HHLiveOnStage

Facebook: birminghamstage

Horrible Histories: Barmy Britain – Part Four!                                                                                     Listings

Apollo Theatre

31 Shaftesbury Avenue, London, W1D 7EZ 

Box Office: 0330 333 4809

www.nimaxtheatres.com

1 – 31 August 2019

Running time: 70 minutes

Horrible Histories shows are recommended for ages 5 to 105 (106 year olds may not like them)

Moscow City Ballet Romeo and Juliet Review

The Kings Theatre, Portmsouth – Saturday 9 February 2019

Reviewed by Leanne Caplis

3***

Based on the love story by William Shakespeare, Sergey Prokofiev and the Moscow City Ballet bring to the stage Romeo and Juliet. Moscow City Ballet are touring with this show amongst others including ‘The Nutcracker’, ‘Sleeping Beauty’ and ‘Swan Lake’.

Having read the story of Romeo and Juliet many years ago I was eager to see it performed on stage and as I hadn’t been to a ballet before I was hoping to be in for a treat. In hindsight I wish I had refreshed myself on the story line as I did get lost on more than one occasion and it was only afterwards I realised Juliet was only a young girl; the show does not portray this well.

I thought the scenery and staging could have been better and the moving of props a bit more fluid. The backdrops were very basic with what appeared to be just painted curtains and whilst the cast did try to move the props discretely there were moments were my eyes were taken away from the dancing to watch the props being moved around.

The costumes were good and there were many costume changes throughout the show. Too many quick costume changes could have added to the occasional wardrobe malfunctions of ballet shows slipping off the dancers feet.

The ballet performed by Lilia Orekhove and Danil Orlov stood out for me. I was in awe watching Lilia and the length of time she could remain on her toes. Danil was not only superb on his feet but his facial expressions really told the story.

Bravo to the orchestra who were extremely talented musicians. I thought in parts they could have been louder; ballet is a silent production and it would have perhaps been awarded more stars had I not been able to hear the dancers feet landing on the stage throughout.

The show for me was too long, at approximately three hours. There are two intervals and by the end of the show I found myself getting a little bit bored and ready to leave. This might be a result of ballet not being the type of show I would usually watch and ballet enthusiasts might feel different.

Overall, I’m glad I watched it as I can now say I have been to a ballet but I’m not sure it would be my show of choice in future. I think those who are a fan of the ballet would enjoy it but for those, like me, where it is a first you might want to consider something a bit shorter or a storyline you know well.

Moscow City Ballet Sleeping Beauty Review

Kings Theatre Southsea – Sunday 10 February 2019

Reviewed by Nicky Wyatt

4****

The fairy tale of Sleeping Beauty is brought to life on stage by this Moscow City Ballet troupe.

Probably one of the best known stories for many of us. We are treated to the music of Pyotr Tchaikovsky beautifully executed by The Hungarian Simfonieta under the masterful direction of conductor Ivan Shavruk. Only 12 rows from the front I did have a slight concern that the music may have been overpowering, I was wrong it was perfect.

The set created of many backdrops of forests and then buildings is simple yet beautiful , the colours used create an ethereal fairy land feel to the proceedings.

There is a big ensemble for this production with some fabulous dancers that look as if they are literally mirror images of each other, perfect timing and seamless movements. There were a couple that looked left out as they had very little to do apart from hand gestures.

The Goodness /Lilac Fairy (Polina Dyachkora) gets my vote as being the one that really set the stage alight with her beautiful expressions, such a graceful dancer that covered so much of the stage. She was simply spellbinding to watch.

Caraboose (Kirill Kasatkin) is such a great baddie! His movements and expressions create exactly the atmosphere of danger, delivered with perfect comedy timing as well . The scenes with him and the dancers are eerie with a hint of danger.

Princess Aurora (Polina Tokareva) has immense poise and strength as she dances alone, not so much when she dances with Prince Florimund (Talgat Kozhabaev) . He dances with strength and composure that commands respect of the stage but together they just didn’t seem comfortable.

The costumes in this production are wonderful if a bit traditional so much so that the whole production had a cosy almost Christmas feel to it.

I absolutely loved this as did so many of the young ballet dancers in the audience.

Totally Spellbinding!

imitating the dog to tour bold new retelling of Joseph Conrad’s HEART OF DARKNESS from March 5 – 11 May

imitating the dog to tour bold new retelling of Joseph Conrad’s HEART OF DARKNESS from March 5 – 11 May

UK Tour: 5 March – 11 May 2019

The story is impossible to tell, but it must be told

imitating the dog, one of the UK’s most original and innovative performance theatre companies are set to bring their unique theatrical vision to the stage this Spring when they premiere a bold retelling of Joseph Conrad’s extraordinarily influential and timely novel – Heart of Darkness. The production will open at CAST, Doncaster from 5 Mar and will then tour till the 11 May 2019.

Following on from their popular and critically acclaimed adaptation in 2014 of Ernest Hemingway’s A Farewell to Arms, imitating the dog will stage an exploration of Conrad’s classic novel filled with visually rich, multi-layered work that fuses live performance and digital technology.

Written more than 100 years ago, amid the optimism at the turn of a new century, Heart of Darkness, which explored the journey of Conrad’s narrator Charles Marlow travelling up the Congo river into the Congo Free State in the heart of Africa, is a tale of lies and brutal greed and of the dark heart which beats within us all. Now retold as a journey of a Congolese woman through war torn Europe, the play explores a forsaken landscape lost to the destructive lust for power and emerges as a tale absolutely for our time.

Negotiating race, gender and the themes of exploitation, violence and nationalism, imitating the dog’s Heart of Darkness is a searing parable for our times, created at a moment when versions of Britain’s colonial past are being held up as a golden era and when our relationship with Europe is being severely tested.

Heart of Darkness is retold and directed by imitating the dog founder members Pete Brooks and Andrew Quick (A Farewell to Arms andKellerman, imitating the dog and The Carrier Frequency, Impact Theatre Co-operative). The production’s projection and video are designed by fellow original founder member Simon Wainwright (The Kid Stays in the Picture, Royal Court).

The production’s ensemble will feature Laura Atherton (A Farewell To Arms, imitating the dog); Morgan Bailey (In the Dark, BBC); Keicha Greenidge(In The Club, Bafta winning Three Girls and From Darkness, all BBC); Morven Macbeth (A Farewell to Arms, imitating the dog; Bring The Happy, Invisible Flock and Opening Skinner’s Box, improbable) and Matt Prendergast (The Train, imitating the dog).

The production’s other creative team will include regular collaborators, costume designer Laura Hopkins (Black Watch and Peter Pan, National Theatre of Scotland, The Divide, Edinburgh International Festival and The Old Vic), Lighting Designer Andrew Crofts (Trash Cuisine, Belarus Free Theatre and The Young Vic) and Composer Jeremy Peyton-Jones who previously worked with the company on A Farewell to Arms.

imitating the dog Co-Artistic Director Pete Brooks said: 

“As a result of recent political events we felt that the UK had become gripped with a nostalgia for our colonial past without really acknowledging what that past was. It felt like most people believe the British Empire was a reciprocal arrangement; we got rich, but they got to speak the best language in the world and have a functioning civil service. In Conrad’s novel he anticipated the horrors of twentieth century genocide and the problem of globalised capitalism. He also understood that their roots were in European colonialism. This was our starting point.

Conrad’s novel deserves to be treated seriously, and his unconscious racism does not invalidate his work, although some people might say it diminishes it. For imitating the dog, it was important that we retold Conrad’s story for audiences today, and from a new perspective. Our production is now the story of the journey of an African woman into the darkness of a war-torn Europe.


Heart of Darkness is simply too important a work to be avoided because it’s a political minefield and when you take on a text as tricky as Conrad’s novel you have to tread carefully.”

imitating the dog have been making ground-breaking work for theatres and other spaces for 20 years. Their work, which fuses live performance with digital technology, has been seen by hundreds of thousands of people in venues, outdoor festivals and events across the world.

As a company, they are most interested in telling stories and creating beautiful, memorable images for audiences. The company strive to tell stories which are important, and which contain important ideas.

Recent acclaimed productions have included The Zero HourSix Degrees below the Horizon, Hotel Methuselah and A Farewell to Arms. The company created the sited work Arrivals and Departures for the launch of Hull City of Culture 2017. Earlier this year the company became an Arts Council England NPO.

The production will tour to Cast, Doncaster (5-6 Mar); Tron Theatre, Glasgow (7-9 Mar), The Dukes Lancaster (19-23 Mar) Theatre by The Lake, Keswick (26 – 30 Mar) Northern Stage, Newcastle (2 – 3 April) Cornerstone Arts Centre, Didcot (4-6 April) York Theatre (9-10 April);New Wolsey Theatre, Ipswich (12-13 April),Lowry, Salford Quays (16-18 April), Liverpool Playhouse (1-4 May) andBelgrade Theatre Coventry (8-11 May)

Heart of Darkness is co-produced with Marche Teatro (Italy) and Cast, Doncaster. It is supported by Arts Council England, Lancaster Arts at Lancaster University and Theatre by the Lake.

For more information visit www.imitatinthedog.co.uk (Twitter: @imitatingthedog)

The Tempest Review

Greenwich Theatre – until 16 February

Reviewed by Claire Roderick

4****

Lazarus opens its second season at Greenwich with a spellbinding production of The Tempest sprinkled with moments of wonder. Shakespeare’s tale of Prospero, the deposed Duke of Milan, and his revenge on those whose actions led to his exile on a remote island is so familiar, but Ricky Dukes’ adaptation is fresh and exciting.

A hexagonal shape marked out by lights becomes Prospero’s island and cell with the shipwrecked protagonists wandering around its perimeter as Prospero and Ariel bewitch them. This isle is indeed full of noises, as Sam Glossop’s bewitching sound design provides a constant soundtrack to the action onstage.

Micha Colombo’s Prospero is firmly in command, the calmness at the centre of the storm, with a steely but maternal air that is totally convincing. She is the only splash of colour amongst the costumes. Dressed in a sparkling blue ballgown, Prospero becomes an older version of Frozen’s Elsa (thanks Ricky for finally making that penny drop for me – 5 years later than the rest of the world!) learning to “Let It Go”. Alexander Da Fonseca is a wonderful mix of innocence and boldness, and his instant connection with Ferdinand (Aaron Peters) is played beautifully. Abigail Clay is a restless and animalistic Ariel, effortlessly portraying Ariel’s ethereal qualities without any need for otherworldly costume. The comic relief provided by the drunken Stephano (James Altson), Trinculo (David Clayton) and Caliban (Georgina Barley) is superb with the trio bouncing off each other and clowning around expertly.

The survivors’ journey around the island, and Prospero’s journey to redemption and forgiveness is played out at a brisk pace but Dukes’ direction ensures the quieter, tender moments are not rushed. The two standout scenes are either side of the interval, with Alonso and his men cowering beneath Ariel’s huge Harpy wings ending the first half with electric energy, and the second half beginning with a beautiful celebration of Miranda and Ferdinand’s vows – full of gorgeous visual touches and exuding warmth and love (watch Da Fonseca’s reactions when Peters touches him – just lovely).

An exciting start to Lazarus’s new season, The Tempest is a magical and joyful production that will enchant every audience

Dracula Review

The London Library, St. James Square – until 2 March 2019

Reviewed by Lisa Harlow

3***

This was, for me, an absolutely mouth-watering invite to be welcomed to the very location that Bram Stoker is said to have conducted a few years of research that contributed to this classic gothic story (which never really merited much attention by his contemporaries at the time).

It transpires I am not alone in not having heard of this public lending library with its racks of aged texts, and this is indeed the very first time it has opened its doors in 177 years to put on a performance of this nature.

Set within the inner reading room chamber, the shadows and high wooden stacked shelves with ancient smelling books create a perfect setting for dark thoughts and drama. This Kate Kerrow adaptation for Creation Theatre has been specifically written for the venue and set it within the emotionally repressive era of the 1950s.

The whole production is told by only two actors (Bart Lambert and Sophie Greenham), who take on a handful of the characters, passing the baton and sharing a role or two at times, whilst characters such as Lucy and the Dracula himself, are conveyed through atmospheric visual images and audio. I found myself in a fortunate position in actually knowing the storyline as this gave me great advantage in keeping track on what was actually taking place. To allow for the single site setting and minimal performers, the narratives in the story were rather thrown in the air and completely resituated.

The focus became the decline of Jonathan Harker’s emotional and mental state following his visit to Dracula’s residence (which actually takes place towards the end here) and his relationship with Mina, his wife, whilst documenting their gradual submersion into Dracula’s circle of vampirism. Dracula is represented through the audio-visuals only, and in which seemed to rather a miss a trick in presenting the audience with a fully formed enigmatic presence that this role demands. I actually found the audio, rather overpowering at times, rather than terrifying or alluring.

Both actors do largely a great job of working through all of their character representations, though a couple a rather too much of a caricature. At times, I was drawn into the complexity of Mina and Jonathan’s layers and situations, the bleeding together of reality and unreality, and equally seduced by the aroma of Dracula’s darkness; yet during others, it was all rather too drowsy-eyed and whimsical.

Do take time to arrive early so you can browse over the books used by Stoker for his research which are out for viewing, including original copies which contain his own lines and notes. The pairing of this masterpiece in this venue holds enough weight to certainly merit a visit.