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THE PRODUCERS OF

“MOTOWN THE MUSICAL”

TO HOLD OPEN AUDITIONS

FOR THE FORTHCOMING

UK AND IRELAND TOUR

This autumn, Motown the Musical will embark on its first ever UK and Ireland Tour whilst the show continues to play at Shaftesbury Theatre in London’s West End.

The producers announced today that they will be holding open auditions for talented child and adult performers to play iconic Motown artists in the touring production.

The open auditions will take place on Saturday 16 June on stage at Manchester Opera House and Sunday 17 June at the workshop spaces in Birmingham Conservatoire.

The producers are looking for black and mixed-race boys, aged between 8-13 with unbroken voices and under 4’11” to play Little Michael Jackson, Little Stevie Wonder and Little Berry Gordy. Children auditionees will be taught a short dance routine and the song I Want You Back. Please bring trainers, comfortable clothes to dance in and plenty of water. The children’s auditions will be from 10.00am-1.00pm with registration from 9.00am to10.00am.

In addition, producers are also looking for black and mixed-race male and female performers aged over 18 to portray the iconic stars of the Motown era. They must have fantastic singing voices with dance/movement and acting skills. Auditionees need to prepare two Motown songs with the sheet music (no backing tracks) and will need to bring a CV and recent photograph/headshot. The adult auditions will be from 2.00pm to 5.00pm with registration from 1.00pm to 2.00pm.

Charles Randolph-Wright, Director of the show said: “Not only will you get to play Michael Jackson, you will also step into the shoes of young Berry Gordy and Stevie Wonder.  We are looking for boys who have excellent singing and acting skills and of course, you must also be able to move like Michael!”.

Natalie Gallacher at Pippa Ailion Casting, Casting Director of Motown the Musical said “Since we opened the show in London we have had the pleasure of working with some great children. We are now looking for the next group of boys from across the UK to join us in our brand-new tour to play one of the most iconic roles in the music industry, Michael Jackson.  If you are male, black or mixed race, aged 8 to 13 years old, then we would love to see you at our open auditions. We are also always excited to find brand new undiscovered talent for our adult company. If you’re black or mixed race, aged over 18 and have a passion for singing and performing we’d love to see you”.

The tour opens at the Birmingham Alexandra Theatre on 11 October 2018 and will play in venues across the country until late 2019. Full tour details below with more venues soon to be announced.

The London production of Motown the Musical continues to play to standing ovations at the Shaftesbury Theatre where it has entered its third year and is currently booking until 5 January 2019.

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

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

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

Motown the Musical has music supervision, orchestrations and arrangements by Ethan Popp, co-orchestrations and additional arrangements by Bryan Crook and dance arrangements by Zane Mark.  Choreography is by Patricia Wilcox and Warren Adams, scenic design by David Korins, costumes by Emilio Sosa, lighting by Natasha Katz, sound by Peter Hylenski and video by Daniel Brodie.  UK Associate Director is Tara Wilkinson, UK, London Conductor & Associate Music Supervisor is Gareth Weedon, UK Associate Set Designer is Andrew Edwards and UK Associate Lighting Designer is Alistair Grant and UK Sound Associate isChris Full.  Motown the Musical is produced in the West End by Kevin McCollum, Doug Morris, Berry Gordy and Adam Spiegel.

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

Information on the tour and West End production can be found on the Motown website –https://motownthemusical.co.uk/tour/.

Full audition details below:

Saturday 16 June at Manchester Opera House: 3 Quay St, Manchester M3 3HP

• Children’s auditions will be from 10.00am-1.00pm with registration from 9.00am to10.00am
• Adult auditions will be from 2.00pm to 5.00pm with registration from 1.00pm to 2.00pm

Sunday 17 June at Birmingham Conservatoire: The Workshop Spaces, Birmingham City University, 200 Jennens Rd, Birmingham B4 7XR

• Children’s auditions will be from 10.00am-1.00pm with registration from 9.00am to10.00am
• Adult auditions will be from 2.00pm to 5.00pm with registration from 1.00pm to 2.00pm

For any further information on the auditions please email

[email protected]

MOTOWN THE MUSICAL – UK and Ireland tour 2018/2019

11 OCTOBER – 3 NOVEMBER 2018

BIRMINGHAM NEW ALEXANDRA THEATRE

ATGTICKETS.COM/Birmingham – 0844 871 3011

6 – 17 NOVEMBER 2018

LEEDS GRAND THEATRE

leedsgrandtheatre.com – 0844 848 2700

20 NOVEMBER – 8 DECEMBER 2018

EDINBURGH PLAYHOUSE

ATGTICKETS.COM/Edinburgh – 0844 871 3014

10 JANUARY – 2 FEBRUARY 2019

BRISTOL HIPPODROME

ATGTICKETS.COM/Bristol – 0844 871 3012

5 – 23 FEBRUARY 2019

BORD GAIS ENERGY THEATRE DUBLIN

bordgaisenergytheatre.ie –  +353 1 677 7999

ON SALE SOON

26 FEBRUARY – 23 MARCH 2019

MANCHESTER OPERA HOUSE

ATGTICKETS.COM/Manchester – 0844 871 3018

26 MARCH – 6 APRIL 2019

WALES MILLENNIUM CENTRE, CARDIFF

wmc.org.uk – 02920 63 64 64

*More venues to be announced for 2019

Darlington Hippodrome – until 19 May

4****

The Touring Consortium Theatre Company’s adaption of Dr Jekyll and Mr Hyde arrives in Darlington for the final leg of this tour.  Adapted by David Edgar from the Robert Louis Stevenson original, this is an epic production.

A story of good versus evil and battling for the same body, Phil Daniels play the gentle Dr Jekyll with a light Scottish brogue but as changes into Mr Hyde he becomes a nasty, sadistic, drunken Glaswegian – think Rab C Nesbitt crossed with Billy Connolly and a touch of The Krankies and you have the idea.  With no variance in costume, the company didn’t fall back on clichéd tactics to define Hyde, instead the metamorphosis of the sedate Dr Jekyll into an angry, violent Hyde is cleverly represented purely through body language, stance, voice and swagger. The quality of Daniels acting produces a demonstrable change from one character to the other.

This being a Victorian gothic horror, the parts are mainly male but the few women in the production are outstanding in their roles.  Polly Frame as Katherine, Jekyll’s sister knows something is wrong but guesses too late the real reason. Maid Annie (the excellent Grace Hogg-Robinson) escapes her brute of a father to fall into worse danger.  Brutally raped by Mr Hyde and cast out for loose morals by Dr Jekyll, she is finally instrumental in his downfall. I can only hope that in the aftermath kind Katherine took care of Annie and her niece or nephew.

The men of the play – Poole the man servant (Sam Cox), Dr Lanyon (Ben Jones), Enfield (Matthew Romaine) and Utterson (Robin Kingsland sporting the most fantastic mutton chops and beard) work out that trouble is afoot but social niceties prevent them from interfering too much as Jekyll is a gentleman so beyond reproach and like Katherine are just too late in apprehending Hyde

Simon Higlett’s impressive set and wonderful costumes help to evoke a country house, railway station, London home, scary laboratory and the streets of the East End with only minor changes such is the versatility of the design.  Edgar’s adaption leaves you wondering how much of Hyde was the unleashing of a monster and what was simply the freeing of Victorian repression. Jekyll is an admired, amiable man, one who treats his servants well, is kind to family and friends. He is seemingly the opposite of Hyde who embraces anger and enjoys violence, does what he wants and considers people disposable.  With this premise, Kate Saxton’s direction along with Mark Jonathan’s lighting and Richard Hammarton’s sound, added to the stunning acting, and we are left with a chilling psychological thriller.

Kings Theatre, Southsea  – until 19th May

Reviewed by Nicky Wyatt

4****

An iconic 80’s film brought to the stage.

The story of Alex (Joanne Clifton) is as punchy on stage as it was in the film, (once you accept she is now a blonde). A pretty girl doing a tough job, in a mans world and is doing it really well, while still harbouring her dreams and passions to be a pro dancer. Life has made her into a tough cookie or so it seems on the surface, she is sassy, funny and quite defensive this is obviously her default protect mode as she has taken care of herself for a long time. She is also fiercely protective of her friends. This girl can dance though and she really wants it. Walking past the Shipley Academy on a daily basis is hard, yes she can weld and yes she is good at it but a dancer is where her heart is.

As Alex (Joanne Clifton) gets on with life her support network of friends encourage her to take the plunge and apply to the academy. Hannah (Carol Ball) her mentor and supporter is fabulous and pushes her to submit the entry. All the time this is going on there is a new guy on the workshop floor. Nick Hurley (Ben Adams). Nick the son of the boss has been sent in to see how the place works, where cuts can be made. He is a good looking guy and soon catches Alex’s attention as she does his, not only is she the best apprentice welder she’s gorgeous with it in his eyes and he makes a play for her. She acts her usual bulshy self and gives him a hard time to start with and then she softens and then they begin to date. She likes him and the places he takes her but insists on being her own person and doing things her way, especially when he offers to speak to a friend on the board at Shipley Hall, she wants and needs to prove herself that she can do it on her own. So many conflicting emotions that resonate with so many women then and now.

Her friends like her are all working as dancers at Harry’s (Rikki Chamberlain) nightclub, the club is struggling to keep open which is not helped by a new club opening CC’S (played by Garry Lee Netley) . They are similar clubs but very different owners, although the girls ‘dance’ in both CC expects more from them. Both Harry and CC are funny with some quick one liners. Harry not only the boss but also a bit of a softie on the quiet looks out for his girls whereas CC looks out for his pocket.

There are some amazing singers & dancers in this show, my eye was caught by (Demmileigh Foster) Tess. Especially in ‘I love Rock n Roll’ absolutely superb.

Alex gets her place at Shipley and she gets the guy. It’s a fab story showing real determination mixed with lots of emotion. The cast are all brilliant with seamless scene changes, amazing dance routines and of course they saved the best to last with a fabulous encore routine that had everyone on their feet and joining in. Add all that to one of the loveliest theatres I’ve ever seen , leaves me with no choice but to say ‘Flashdance (What a Feeling!) Great feelgood show.

The Crucible Theatre, Sheffield – until 19th May 2018.

Reviewed by Sophie Dodworth

3***

This is theatre with a difference and that is that Ramps On The Moon Company think that nobody should ever feel different and that everybody should be able to access and understand theatre, no matter what your disability. What a great notion? Ramps On The Moon was launched in 2016, producing touring shows which integrates D/deaf, disabled and non-disabled performers and creative team members. This and each of their productions includes creative use of audio description and integrated British Sign Language. Normally you would expect to see a sign language interpreter at the side of the stage, but what is special about this performance, is that the actors on stage take it in turns to interpret one another, depending on their placing and individual lines.

The play is set in an 18th century Australian prison colony. It follows the story of a group of convicts from start to finish as they put on the play; The Recruiting Officer by George Farquhar. British Officer Ralph Clark played by Tim Pritchett makes the effort of trying to convince his colleagues to allow convicts to put on a play. We are invited into rehearsals for the play and as time goes on, we see each of the convicts grow in confidence and in to their characters. There are some real funny moments while witnessing the groups progression.

This play is full to the brim of content and talented cast members. Each one a true individual, portraying their characters with passion and flair, thus creating believable personalities. The ensemble are key to the success of this version of the show. Tom Dawse plays a fantastic Wisehammer, very charismatic on the stage. Fifi Garfield plays a sassy and strong Dabby Bryant. Gbemisola Ikumelo plays an impactful and abrupt Liz Morden, quite captivating when on the stage. Sapphire Joy plays Mary Brenham well and respectfully while speaking for Ducking, played by Emily Rose Salter. Alex Nowak plays a strong and passionate Sideway, often having some of the best comedy moments.

This play is not just a play about convicts being imprisoned but also about being constrained by the social order, the way we think about other people and the way we see ourselves. Our Country’s Good is primarily about how important it is to see everybody as an individual and understanding who they are. This production will make you think deeply whilst watching and also afterwards, as the theme of equality and fairness of the human nature resonates in your mind.

A really interesting watch, you get to see an impeccably performed piece of theatre, whist being able to active the grey cells and consider all the underlying moral tones of the show.

Northern Stage, Newcastle – 14 May 2018

Reviewed by Andy Bramfitt

 5*****

A tragi-comedic look into how we perceive other, how they perceive us and how the two can be so drastically different depending on the view point.

The Leftovers, the latest production by Sheep Soup and written by Nic Harvey, is the story of 5 musicians whose lives are inextricably linked by the death of a Jodie; a mutual friend, confident, lover and yet, as we discover, they all seem to have known a completely different person to each other.

Set at a recording studio (wonderful designed by Lizzy Leech) , Yaz (Philippa Hogg) wants to capture her relationship with BFF Jodie in a song. She has enlisted Jim (Ben Welch) as musician and technician to help her record the song and Hayley Reigns/Rains/Reins (Sarah White), a published songstress to help write it but they are struggling to really capture the mood and style which best represents the person they knew. Was she the life and soul of the party without a care in the world, or a troubled soul who was constantly putting on an act? Was she a trusted and loyal friend or a stabs-you-in-the-back user who flitted from one good time to another?

As the story progresses we are introduced to two more of Jodie’s past – Russ (Tim Murphy) who is a once hippy traveller who knew Jodie for a year as they explored the far flung reaches and Angie (Wreh-asha Walton) for whom Jodie represented much more than a brief friendship, which sadly appears to have ended abruptly. The discovery of a box of writings, diaries and messages, along with some old voicemails, helps to unpick Jodie’s tangled life but for the others they only serve to open old wounds and shatter long held beliefs.

Each of the assembled have their own story to tell and these are done through the guise of improvised song writing in their attempt to produce the one piece that truly captures the impact Jodie had on their lives. Brilliantly directed by Adam Lenson and with the erudite and enthralling musical direction of Rob Green, The Leftovers unpeels the onion of life and shows that a throwaway comment to one person can be held as lifetime moment to another. The way that Jodie’s character and her interaction with each person is revealed is as thought provoking as it is entertaining – very much akin to 13 Reasons Why and Hannah’s tapes that destroy perceptions and expose lies. That said, there is still a great amount of comedy in the show and of course no end of genuine musical talent.

As always, Northern Stage is THE place in the North East for ground breaking productions, showstopping performances and naturalistic delivery, be sure to check out their webpage for details of forthcoming shows.

Romance of the Rose Productions

“It’s almost impossible to imagine

how a musical could be more epic”

STEFAN KYRIAZIS, DAILY EXPRESS ONLINE

KNIGHTS OF THE ROSE CALLS FORTH

ANDY MOSS TO THE WEST END

Romance of the Rose Productions is delighted to announce the casting of Andy Moss (Hollyoaks, Doctors) for the West End production of Knights of the Rose, which opens on 29^th June.

Moss will play the lead character, knight Gawain. Upon a victorious return from battle he, alongside his three comrades, finds that things are far from a bed of roses. Together they prepare for the ultimate face-off against their unrelenting adversaries.

Moss is a well known face to millions after his long running role as loveable rogue, Rhys Ashworth in Channel 4’s flagship drama Hollyoaks. Playing Rhys for eight years on the show, Moss took part in some of the most explosive and award winning storylines. He also played Paul Cuthbert in the popular BBC daytime soap opera Doctors and most recently completed a national tour playing the lead role of Sam Wheat in Ghost the Musical.

“We are incredibly excited to have Andy onboard as our hero Gawain” said Racky Plews, “Andy not only embodies this heroic knight but also has the powerhouse rock vocals that bring justice to these beloved and classic songs.”

Andy joins Adam Pearce (King Aethelstan) Chris Cowley (Palamon), Oliver Saville (Hugo), Rebecca Bainbridge (Queen Matilda / Bess), Rebekah Lowings (Isabel), Matt Thorpe (Horatio), Ruben Van keer (John), Katie Birtill (Hannah) and Bleu Woodward (Emily).  Ian Gareth-Jones, Kelly Hampson and Tom Bales make up the ensemble.

Andy stated “I am thrilled to join Racky Plews (director) and the incredible cast of Knights of the Rose. I have always had a passion for both rock music and theatre and where better to bring the two together than in this high-voltage, West End stage production.”

Directed by Racky Plews and created by Jennifer Marsden, Knights of the Rose opens on 29^th June for 9 weeks only at The Arts Theatre.

Synopsis

KNIGHTS OF THE ROSE is a classic rock musical of Shakespearean proportions. Featuring the ultimate playlist including legendary ballads and timeless anthems from Bon Jovi, Muse, Meat Loaf, Bonnie Tyler, No Doubt and many more.

In this epic tale of love, betrayal and sacrifice, the noble Knights of the Rose must defend their House and their honour. Even as the chivalrous Knights return from a glorious victory, a greater threat against the kingdom stirs. As they face the greatest battle of the Age, and betrayal threatens to tear them apart, can true love and honour triumph?

Woven from a rich tapestry of literature and high-voltage classic rock, this heroic new story charges its way into the heart of London this Summer.

SET LIST INCLUDES:

Blaze Of Glory – Bon Jovi // Blood On Blood – Bon Jovi // Always – Bon Jovi // Bed Of Roses – Bon Jovi // This Is Love, This Is Life – Bon Jovi // Changes – Black Sabbath // Holding Out For A Hero – Bonnie Tyler // Total Eclipse Of The Heart – Bonnie Tyler // Hero – Enrique Iglesias // King Arthur: Third Act – Henry Purcell // The Parting Glass – Irish Folk Song // Is Nothing Sacred – Meat Loaf // Marriage Of Figaro: Part 1V – Mozart // Survival – Muse // Don’t Speak – No Doubt //Turn, Turn, Turn – Pete Seegar // Everybody Hurts – R.E.M. // Addicted To Love – Robert Palmer // Hard Times Of Old England – Steeleye Span // Wherever You Will Go – The Calling // He Ain’t Heavy He’s My Brother – The Hollies // Pilgrim– Uriah Heep

LISTINGS

LOCATION: Arts Theatre – 6-7 Great Newport St, London WC2H 7JB

DATES: 29^th June – 26^th August, 2018

PREVIEWS: 29^th June – 4^th July

PRESS NIGHT: Thursday 5^th July – 7:00pm

PERFORMANCE SCHEDULE:

Monday – 7.30pm

Tuesday – Off

Wednesday – 7.30pm

Thursday – 3pm/7.30pm

Friday – 7.30pm

Saturday – 3pm/ 7.30pm

Sunday – 4pm

TICKETS:

On sale – 23^rd March

Wednesday, Thursday Matinee, Thursday Evening, Sunday and Monday                                    

£55 // £45// £33.50 // £22.50 // £15

Friday, Saturday Matinee, Saturday Evening
£65 // £49.50 // £38.50 // £25 // £20

Box Office: 020 7836 8463 // https://artstheatrewestend.co.uk/

TRACIE BENNETT TO HOST WEST END GALA OF THE 12th ANNUAL STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR AND 11th ANNUAL STILES + DREWE PRIZE

The Stephen Sondheim Society and Mercury Musical Developments today announce the 12^th annual West End Gala for The Stephen Sondheim Society Student Performer of the Year and the 11^th anniversary of The Stiles + Drewe Prize. The 2018 competition is being staged at the Savoy Theatre on Sunday 10 June at 3pm, hosted by Olivier Award winner Tracie Bennett. Chris Hocking returns to direct the annual gala, with musical direction by Mark Etherington and a special guest performer to be announced!

This annual competition, co-produced by The Stephen Sondheim Society and Mercury Musical Developments, sees twelve of the top student performers from musical theatre and drama schools across the UK each perform a classic song by Stephen Sondheim and a new musical theatre song, written by members of Mercury Musical Developments. The first prize is £1,000. Writer and broadcaster Edward Seckerson returns to Chair the Student Performer judges with Rebecca Caine (the original Cosette in Les Miserables, and Christine in the original London and Canadian companies of The Phantom of the Opera), Rebecca Trehearn(Olivier Award winner for the recent London run of Showboat), Stephen Ridley (Musical Director for American in Paris and The King and I) and David Benedict (Sondheim’s official biographer).

The Stiles + Drewe Prize supports and develops new musical theatre writing via its two distinct arms. Recognising an outstanding song from a new musical and supported by The Entertainment Business, the winner of Best New Song receives £1,000 to put towards developing their work. Judging the Best New Song entries with Stiles and Drewe will be Sharon D Clarke (Caroline, or Change, The Lion King, We Will Rock You) and writer/director Susie McKenna (former Creative Director of Hackney Empire).

In addition, the winner of the Stiles and Drewe Mentorship Award – now in its third year, generously supported by Music Theatre International (Europe) – will also be announced at the Gala. One new musical and its writer(s) will be selected to receive mentorship over a 12-month period, culminating in an industry showcase. Along with Stiles and Drewe, the 2018 judges were composer Grant Olding, the Artistic Director of Royal & Derngate James Dacre and Chichester Festival Theatre’s producer Amelia Ferrand-Rook. A song from each of the three finalist shows will be performed at the event.

Olivier Award-winning writing duo George Stiles and Anthony Drewe said today, “This is without doubt an incredibly strong year for both The Mentorship and Best New Song Prize and we congratulate everyone who entered, all the finalists and shortlisted shows on your passion, imagination and wonderful writing. Keep pumping new blood into new British musical theatre!”

The Stephen Sondheim Society Chairman Craig Glenday commented, “Edward Seckerson tells us each year that the standard gets higher and higher, but having heard some of these 12 students during the heats, I can guarantee 100% that this is most certainly the case. It’s an honour to present these talented finalists with the chance to perform on the London stage – for most of them, their West End debut – and for audiences, it’s a wonderful afternoon of music and the chance to say, ‘I heard them here first!’

Executive Director of MMD Victoria Saxton said, “Showcase and Development opportunities such as these are vital to support the creation of excellent new British musical theatre writing. There is so much talent amongst the MMD membership and we can’t wait for the public and industry to witness this. Our hope is that this is just the start of the development journey for all the writers taking part”

To be Frank

Joe Pasquale talks to Vicky Edwards about playing Frank Spencer in the stage world premiere of Some Mothers Do ‘Ave ‘Em.

I hope the insurance is comprehensive and the Stage Manager has a well-stocked first aid kit when the world premiere of Some Mothers Do ‘Ave ‘Em goes on national tour.

“Oh blimey, yes!” says the effervescent Joe Pasquale, who will play Frank Spencer, the character made famous on TV in the 1970s by Michael Crawford and that had a nation chorusing his ‘Ooh, Betty!’ catchphrase

“We have a stunt coordinator and I’m doing it all – hanging by my ankles, chicken chasing and all sorts. But we’re not doing it as Michael’s version of Frank Spencer; that would be an insult to Michael. I’m putting my personality into it, which is how to make it believable. There’s a difference between child-like and childish and Frank isn’t childish; he believes in what he’s doing.

“We did three workshops and at the last one we had an invited audience who were across an age range of between eighteen and seventy. All the younger people didn’t know the show or have a frame of reference with Michael, but they laughed their socks off. Even the older people who remember the original, forgot Michael doing it in within five minutes – the script is so good,” enthused Joe, explaining that the show is based on an original story about Frank trying to get on a TV talent show.

“It’s still set in the 70s, so you get the mustard wallpaper, tank tops and all the trimmings. It is so funny and you can take the whole family to see it. Apart from panto and maybe musicals there aren’t any theatre shows that people of all ages can enjoy together, but this is proper family comedy.”

Agreeing that he is something of an adrenalin junkie (as well as slumming it on – and winning – I’m a Celebrity fourteen years ago, Joe has also appeared in TV documentaries that have entailed him being trained by the SAS and imprisoned in Costa Rica) he jokes: “If it’s not dangerous or life threatening then I’m not interested anymore. I read the book Feel the Fear and do it Anyway fifteen years ago and it made me think. Now, if I’m not sure about doing something, I automatically say OK; let’s do it. You might as well live while you can.”

Asked how the show came about, Joe recalls playing King Arthur in the Monty Python musical comedy Spamalot in the West End a couple of years ago. Stuck in an airless dressing room at the height of summer, wearing chainmail and kingly robes, a broken fan was about as much use as a chocolate fire guard. Setting about taking it to pieces, cleaning it and putting it back together again (“I was sweating my knackers off”), when he turned the power back on the fan exploded. The show’s director Christopher Luscombe and staff director Guy Unsworth were present and both roared with laughter, calling it a pure Frank Spencer moment. A seed was sown and Guy sought out Raymond Allen, writer of the original TV series. Fate was smiling. Allen, it transpired, was a big fan of Joe’s. Unsworth set about writing a script and now, two years, several script edits and three workshops later, the show is underway.

“We have been working really hard on it, Guy in particular,” says Joe, admitting that when he first met “this very well spoken young lad who looked like an American football player” he questioned what the youngster could possibly teach him about comedy.

“I soon realised that he knew everything; he’s a natural,” marvels Joe. “He suggests the smallest change; a tiny nuance to get the comedy out of a line, and he’s always right. He’s also a real historian on British comedy. I think he’ll be one of the biggest directors in the West End.”

Joined by a cast that includes Susie Blake as Mrs Fisher, Frank’s disapproving mother-in-law, Moray Treadwell as Mr Luscombe, David Shaw-Parker as Father O’Hara and Chris Kiely as Desmond, playing his long-suffering wife Betty is Spamalot co-star Sarah Earnshaw.

“Sarah’s role is so much more difficult. She has to be softer and so likable, but she’s brilliant,” says Joe, confessing that he’s a terrible on-stage ‘farter’ and that Sarah knows all about playing long-suffering having been downwind of his lively bottom during the run of Spamalot. “She calls me the Unstoppable Moron,” he chuckles.

Unstoppable is certainly right. As well as the tour of Some Mothers, Joe continues to do stand-up and has just had a book of his short horror stories published.

“It’s a book for adults called Deadknobs and Doomsticks. I’m a bit of a horror buff and when I did an Open University course in geo-science and geology, as a by-product I did some writing courses.”

Sending his stories to an author friend for feedback, his chum promptly forwarded them on to his publisher who saw the potential and immediately told Joe to write some more.

Reminiscent of the Duracell Bunny in terms of energy, does Joe find acting in a long tour a tiring prospect?

“My life is a sitcom, so, no acting required for this one [another infectious laugh], but touring in Some Mothers will be a lot easier than my stand-up show. Then I usually do forty one-nighters at different theatres. A week in one place will be like a holiday,” he beams, adding that there are certain dates he is particularly looking forward to.

“I like to get out and about. I don’t just sit there watching the telly. I get the local pamphlets from the hotel and go see whatever there is to see and get to know a place.”

As for playing Frank, dare-devil Joe is mindful that he has already had his fair share of ‘industrial injuries,’ including getting stuck inside a bingo machine, breaking his toe while tap dancing and dislocating a shoulder in panto.

“It’s got danger written all over it for me,” agrees Joe cheerfully. “I wouldn’t want to be my understudy.

“But the world is a miserable place sometimes and we need to empty our bins, mentally. The only way to do that is release some laughter and you’ll laugh for two hours solidly at this, I promise.”

Radiating warmth as naturally as Frank Spencer causes chaos, Joe’s mum certainly ‘ad a very funny, talented and lovable lad.

www.somemothersdoaveem.com

Vicky Edwards©

MITCH SEBASTIAN RETURNS TO BRIDEWELL FOR Q&A AT
SEDOS’ PRODUCTION OF PIPPIN

Director, choreographer, writer and performer Mitch Sebastian returns to the Bridewell Theatre this Thursday (17 May 2018), 20 years after he directed Pippin at the venue, to see a new production of the show and answer the audience’s questions.

Mitch will join members of the Sedos Pippin company for a post-show Q&A discussing his role in the recent history of the now-popular show, from directing a seminal production at the Bridewell 20 years ago — the first to use the “Theo ending” — and the Menier Chocolate Factory production in 2011, to working with Pippin’s music and lyric writer Stephen Schwartz to develop the recent Broadway revival.

Mitch Sebastian is an Olivier and WhatsOnStage Award-nominated British theatre director, choreographer and performer. He created and directed The Rat Pack: Live from Las Vegas which ran for four years in the West End and was artistic director of Kilworth House Theatre for several years. As a performer, he appeared in the European premieres of the Sondheim shows Follies and Pacific Overturesas well as the original cast of Stephen Schwartz’s Children of Eden. As a choreographer and director, he has worked on numerous West End shows, as well as with the Royal Shakespeare Company and the Peter Hall Company at the Old Vic.

The Q&A is free for ticket holders and there are fewer than 30 tickets left for this performance. Wednesday night’s performance is sold out, with tickets still available for Tuesday, Friday and both Saturday shows.

Sedos’ Pippin opened last Wednesday (9 May) and has been receiving excellent reviews:

• “If ever a show was crying out for a large scale return to the West End, then Pippin is
the one and, my advice is to all the members of Sedos, give up the day jobs and take it there” — London Theatre 1 (*****)

• “For my money the show is good enough to transfer West, half a mile up the road. Certainly, many of the cast could have a second string to their bows in the commercial theatre any time they wanted” — Sardines (*****)

• “Pippin is a triumph… highly recommended” — The 730 Review (****)

•  “A genuinely moving piece of drama” — Remote Goat (****)

• “It was not good. It was very good… Go to the Bridewell and give some support to these guys. They deserve it!” — London Theatre Reviews (****)

•  “The whole production is more polished and entertaining than many professional shows… In the hands of Sedos, Pippin is a gem of a musical” — Fairy Powered Productions (****)

•  Joe Thompson-Oubari and Corin Miller “are a tour de force excelling in their vocals, their acting and their dance” — Musical Theatre Musings

LISTINGS DETAILS

Pippin

Book by ROGER O.HIRSON

Music and lyrics by STEPHEN SCHWARTZ

Box office: sedos.co.uk

Until 19 May

7.30pm Tuesday-Saturday, plus Saturday matinee at 2.30pm

Bridewell Theatre, Bride Lane, London, EC4Y 8EQ

Tickets: £14.50-21