Category: Uncategorized

Piccadilly Theatre – 5 December, 23 January, 13 February.  Reviewed by Claire Roderick

4****

Mr Darcy would be horrified at such impropriety – the private affairs of a Regency family lampooned for all to see in the heart of London’s West End. Austentatious is a fantastically irreverent, improvised take on the social etiquette of Regency England, continuing Jane Austen’s original ironic commentaries.

The conceit of presenting Austen’s hundreds of lost novels is a treasure trove of inspiration for the company, with each audience coming up with new ideas that are briefly explored – alas, Lord Picklewick’s Dirty Secret could not be performed because of a super injunction. Past productions have included The Sixth Sense and Sensibility, Mansfield Shark and Double 0 Darcy.

The novel I saw performed was We Need To Talk About Emma – a tale of an enigmatic lady with a mysterious and possibly shameful past whose connection with the “death” of Mrs Forsyth halts her romance with Gerald Forsyth.

The cast of six stick to Austen conventions, throwing in the odd curveball – seemingly for the sole purpose of making their fellow actors corpse – and developing a heap of running jokes. Calling the family Forsyth leads to all sorts of Brucie and Strictly gags – they even threw in a conveyor belt at one stage!

The cast are obviously having as much fun as the audience, belly laughs and groans being a constant soundtrack to the evening. There are some ideas that don’t work, but the cast are quick to pounce on these and ridicule them with glee. Accompanied by onstage musicians who never miss a cue to change musical style or tempo, the whole production is a triumph of wit and wits. Grab your ticket for Austentatious’ next show today.

Royal Exchange Theatre, Manchester – until 27 January 2018.  Reviewed by Marcus Richardson

4****

Guy and Dolls at the Royal Exchange is the first ever all black cast of the show in the UK. With the show being a famous musical about love and gambling, it has its high reputation in the theatre world. This was my first time at the Royal Exchange and I was impressed with the unique layout of the venue.

The cast of 21 put on a show that gave us standard you would expect for a show of this calibre. Being performed in the round gave this a whole new dynamic to the show that opens up so many possibilities.  When performing in the round sometimes you lose a little bit of action but the actors knew how to work the stage and gave the audience a show and a half.

It would be hard to review a musical without mentioning singing and dancing, the whole cast took the music of the show at made it something I enjoyed very music, and the song Sit down, you’re rocking the boat earned an applause that last a good 30 seconds. The dancing was well timed and the attention to detail was impeccable. Although it’s the first black cast, it never once felt like that was niche of the production, the actors suited the role and with the the influence of the Harlem Renaissance it fitted the time very well.

The set involved a revolving segment of the stage which was used very well and made scene changes effective and happen while action is going on stage. When entering the the theatre space I was blown back by the set and how it fitted so well in a round. With a corner shop taking up part of the stage. The cast worked on most scene changes and nothing was done that didn’t needed to be done. Seamless and effective sums up the stage which compliments and helps the actors.

The show is something I would see again, it’s a feel good show with a happy ending. If you are into musicals then I’m sure you will love this. It’s good to see such a fabulous cast perform at such a high level.

NEW ADVENTURES ANNOUNCES

MATTHEW BOURNE’S

SWAN LAKE

MUSIC BY TCHAIKOVSKY

TO RETURN TO SADLER’S WELLS

FOR CHRISTMAS 2018

AND ALSO TOUR THE UK

New Adventures is delighted to announce that Matthew Bourne’s legendary “SWAN LAKE” will return to Sadler’s Wells in 2018 for the Christmas season with a fresh look for the 21st Century and will also tour the UK. Tickets go on sale at Sadler’s Wells on Monday 26 February 2018. Dates for Sadler’s Wells and the UK tour will be announced in January 2018.

Retaining all the iconic elements of the original production loved by millions around the world, Matthew Bourne and the creative team will create an exciting re-imagining of the classic production.

Thrilling, audacious, witty and emotional, Matthew Bourne’s “SWAN LAKE” is perhaps still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered conventions, turned tradition upside down and took the dance world by storm.

Collecting over thirty international theatre awards including three Tonys on Broadway, Matthew Bourne’s powerful interpretation of Tchaikovsky’s beloved tale is a passionate and contemporary Swan Lake for our times.

 

New Adventures & Re:Bourne is a national portfolio organisation supported using public funds by Arts Council England.

 

For more information please visit: www.new-adventures.net

Facebook /MBNewAdventures    Twitter @New_Adventures     Instagram @MBNewAdventures

CNC 2018 VAULT Festival shows:

 

Becoming Shades (24^th January – 18^th March)

Chivaree Circus return to VAULT Festival with a brand new and extended version of Becoming Shades – a dark circus production which takes audiences on an immersive underworld journey in the long dark tunnels of Waterloo’s Vaults. Based on the classical myth of Persephone, Becoming Shades is a bold re-imagining that fuses together live music, physical theatre, aerial acrobatics, fire, dance and mime.  Journey down the River Styx and join these lost souls in the underworld.

 

Monster (24^th – 28^th January)

Internationally acclaimed, Fringe First winning Worklight Theatre, present Joe Sellman-Leava’s one man show Monster – a dark but humorous exploration of gender and masculinity. With its examination of male attitudes towards women, and male role models celebrated in society, the play has gained new relevance since its Edinburgh debut in the wake of recent sexual assault allegations against a string of celebrities.  Monsterimportantly sheds light on our perceptions of gender, violence and aggression.

 

Think of England (7^th – 11^th February)

Think of England is a moving tale of love, lust and swing dancing in wartime Waterloo. The war office has employed Bette and Vera to travel the country hosting tea dances to boost morale. But how will the RAF boys react when they discover the women’s real purpose: to send the young men off to fight having experienced all of life’s pleasures? Join the ladies for an unforgettable dance, a rousing song, and a real-life war time scandal that threatens to destroy the women’s lives, shame the community and tear apart one already splintered RCAF crew. Can you save the night?

 

Be Prepared (7^th – 11^th February)

Following its premiere at Edinburgh Fringe 2016, Ian Bonar and Rob Watt collaborate once again to bring the darkly comic one-man show, Be Prepared, to London audiences. This is a heart-breaking and moving yet hilarious play about one man struggling to remember while another finds himself unable to forget. Inspired by Ian Bonar’s own experiences of his father’s death and subsequently finding his grandad’s cherished memoires, Bonar uses his grandad’s words, some verbatim and some embellished to explore memory, grief and how we remember things.

 

If We Got Some More Cocaine I Could Show You How I Love You (14^th – 25^th February)

IARA winner and Offie-nominated If We Got Some More Cocaine I Could Show You How I Love You is a play of small dreams and big hopes.  John O’Donovan’s romantic comedy explores the ways people find love and kindness, even when oppression kicks them from all angles. This raucous and unlikely drama looks at going down roads not laid for you, climbing ladders that weren’t set out for you, never asking permission, and trying not to end up so thick-skinned that you forget how to see the good in things.

 

Das Fest (28^th February – 4^th March)

Crossing between illusion and theatre, Philipp Oberlohr’s thrilling new production Das Fest is the surreal sequel to his interactive Das Spiel, which premiered at Ovalhouse and sold out at VAULT Festival in 2016 winning the People’s Choice Award.  Das Fest is a mindreading experience, celebrating the past and the future of the attendees. Oberlohr could select anyone from the audience – he doesn’t know who will be chosen or what memories they will bring.  It could be anybody.  This mind-blowing production combines new methods of storytelling, live art, clowning, physical theatre and illusions in a way that will knock you off your feet.

 

Ok, Bye (7^th – 11^th March)

Following an award-winning run at VAULT Festival 2017, RedBellyBlack Theatre returns with the world premiere of OK, Bye – a fierce and fresh take on saying goodbye. Using their signature combination of physical theatre and dynamic storytelling, RedBellyBlack explores the very simple premise that saying ‘OK, Bye’ can mean thousands of different things: ‘I love you’, ‘I’m sorry’, ‘I never want to see your stupid face again’ or even just the end of a phone call.  Using live music, lip syncing and puppetry, this production showcases raw, real-life stories from the general public.

 

Thirsty (14^th – 18^th March)

Direct from New York, this hilarious and critically acclaimed autobiographical cabaret is a shameless musical journey of slurred real-life stories, which passionately celebrate poor life choices… Named one of Time Out New York’s Top 10 Cabaret Artists, Tori Scott’s production is set to the music of Aretha Franklin, Judy Garland, Miley Cyrus and more.

Phil McIntyre Entertainments proudly presents

Tickets on sale 9.00am Friday 15^th December

 

Following the huge success of his Channel 4 show, Professor Noel Fitzpatrick, The Supervet, is delighted to be bringing his first ever live stage show Welcome to My World to major arenas and theatres across the UK & Ireland next year.

Kicking off in Nottingham’s Motorpoint Arena on 29 September, this groundbreaking new show – a must for all animal lovers and fans of the TV show alike – will see Noel enlighten audiences with his incredible life story and explain how he became The Supervet we know and love. Tickets for this 18 date nationwide tour will go on-sale on 15 December 2017 at 09.00am.

When the show began on Channel 4, Noel wanted to tell a story about love, a story about hope, with incredible science in the background. He recognised the important bond humans have with animals, how they really are part of the family and how much families will do for them in return for the unconditional love which they give.

Join Noel on a journey from his early years in Ireland, where he was full of fantastical ideas through to today where the future of medicine is full of incredible promise.  Welcome To My World is a deeply immersive experience, which will transport Noel into a virtual theatre thanks to the very latest in creative technology, allowing him to illustrate some of his remarkable techniques in front of the audience.

This is a unique opportunity to encounter Noel’s pioneering bionic inventions first hand, as he takes to the stage to share how his past has paved the way for a more compassionate future for animals and those who love them.

Welcome To My World is a brand new live experience to really understand all that may be possible in the future within this breathtaking production.

Noel Fitzpatrick said: “Come with me on my journey from a field in Ireland to a fantastical world of bionics and regeneration, where everything becomes possible. I am so excited to bring to you my live show and share with you my story. Welcome to my world.”

 

 

About Channel 4’s The Supervet

Having just completed its 10th series and viewed by millions across the UK and around the world, The Supervet is one of Channel 4’s biggest shows and follows Professor Noel Fitzpatrick and his team at Fitzpatrick Referrals through the highs and lows of a working specialist veterinary practice. The TV show shares the moving stories of animals, their families and the passionate team that strive to find solutions where none seem possible.  

 

UK Tour Dates 2018:

 

DAY	DATE	VENUE	Websites
Saturday	29/09/2018	Nottingham	www.motorpointarenanottingham.com
Sunday	30/09/2018	Cardiff	www.motorpointarenacardiff.co.uk
Saturday	06/10/2018	Dublin 3	www.3arena.ie
Sunday	07/10/2018	Belfast Arena	www.ssearenabelfast.com
Friday	12/10/2018	Liverpool Echo	www.liverpoolecho.co.uk
Saturday	13/10/2018	Sheffield Arena	www.flydsaarena.co.uk
Sunday	14/10/2018	Blackpool Opera House	www.wintergardensblackpool.co.uk
Friday	19/10/2018	Leeds Arena	www.firstdirectarena.com
Saturday	20/10/2018	Newcastle Arena	www.metroradioarena.co.uk
Sunday	21/10/2018	Manchester Arena	www.manchester-arena.com
Friday	09/11/2018	Aberdeen AECC	www.aecc.co.uk
Saturday	10/11/2018	Glasgow Hydro	www.thessehydro.com
Sunday	11/11/2018	Edinburgh Playhouse	www.playhousetheatre.com
Friday	16/11/2018	Wembley Arena	www.ssearena.co.uk
Saturday	17/11/2018	Birmingham Arena	www.arenabham.co.uk
Sunday	18/11/2018	Bournemouth BIC	www.bic.co.uk
Saturday	24/11/2018	Brighton Centre	www.brightoncentre.co.uk
Sunday	25/11/2018	London O2 Arena	www.theo2.co.uk

 

Listings Information:

Website: Supervetlive.com

Priority Booking For O2: Wednesday 13 November

Priority Booking For Ticketmaster: Thursday 14 December

General Booking: Friday 15 December

To book tickets: www.ticketmaster.co.uk 

 

The Lowry, Manchester – until 7 January 2018.  Reviewed by Julie Noller

5*****

I was really looking forward to this performance of the well known story from all our childhoods, except my sons apparently. I was half expecting to see a lion on stage (for those old enough to remember the 1980’s cartoon) claiming to be Phileas Fogg however I felt it was time to change that preconception and challenge it completely.

Over a hundred years earlier, in 1873, Jules Vernes epic adventure story was published. A story about honour amongst gentlemen and a certain wager of £20, 000 – which would see him and his newly employed French valet Passepartout, attempt to circumnavigate the world in just 80 days. By today’s standard 80 days would be a walk in the park. But this story is set in the days of newly fashioned steamer boats and even trains were a rarity. Britain had an Empire that covered many parts of the world, Victoria was Empress of India. To be an Englishman meant everything, a gentleman didn’t work for a living he acquired and amassed his fortune. Phileas Fogg portrayed by Andrew Pollard is quintessentially an English gentleman, never rude by nature yet wholeheartedly reserved. He has a precise timetable each day runs by, after a day gambling at the gentlemen only Reform Club, playing and very often winning the wager with a game of whist. He returns home and is in bed within two minutes exactly. His tea must be the exact temperature and when this fails to be so, he requires a new valet. In today’s society he would be singled out, quite possibly looked upon as having additional needs. Yet then it was the expected normality of being an Englishman, keeping a stiff upper lip and remaining emotionless. He is calm, unfaltering. Each risk is weighed up with mathematical precision. Yet as the story grows we see a different side to his character, a risk taker perhaps? Indeed why else would he risk his fortune on a wager that could see him left destitute. The honour of an Englishman perhaps?

He is quick to aid those less fortunate than himself. Namely his love interest and possibly the only strong main female character. Mrs Aouda played by Kirsten Foster. She brings a sense of protectiveness out in the other characters, adds a calming influence, brings humanity to a somewhat robotic Phileas, after they rescue her from a fate which would lead to her death. Dennis Herdman is the haphazard Inspector Fix of Scotland Yard. Stationed at the outpost port of Suez, he sees a newspaper report about the wager of Phileas Fogg and draws his very own conclusion that he must be the infamous Bank of England robber. He is constantly trying to delay our hero’s journey by apprehending him on British soil, in the days of colonial rule this soil was vast, quite often with disastrous results. He is the only person who believes his own story. The character everyone loves is Passeportout, a lovable French man of many talents – tightrope walker, performer, ukulele player – lets not forget his mini stand up routine at the beginning of Act II. He has the audience eating out of the palm of his hand. The only disapointment I felt anyone have is that he didn’t talk directly to them but chose poor Martin the BT Engineer. Passeportout also has to suffer the indignity of constantly sighing and trying to correct the abysmal attempts to say his name, Parsnip soup amongst others. This becomes an essential part of the play and is delivered everytime with brilliant timing and is guarented to have the audience laughing.

I took my 13 year old son, there were a lot of children in the audience watching both young and old. This may be Jules Verne’s story but this version is fresh, energetic and imaginative. It packs in the slapstick humour, had us all giggling and guffawing. The fight scenes were amazing to watch, the skill and timing adding in the sound effects had me enthralled from start to finish. The inclusion of members of the audience is genius, made all the funnier when they were left on stage, for a prolonged length of time , wondering if they can sneak back to their seats. The set is simple yet you can watch the story being created in front of your eyes, allowing your imagine to run riot if you desired. Amazing what you can do with some boxes, a few railings, a table and chairs. Its extremely clever and produced on a small budget but that’s what makes it so lovable.

The humour manages to cross the age divides, my son laughed from start to finish and loved it, I do believe he would watch it again. I heard a young lady behind me ask her Dad ‘was he in Mr Bean’ for that’s the nature of the silliness. I’m amazed at what you can do with a grey coat, incredible to think when we were children we built dens out of old bed sheets and my Mums clothes airer. These are the times Around the World remind me of and it brought a warm smile to my lips, every child should have those memories and that’s what we got tonight. A great performance by a small professional cast, who brought a great show to Salford. It’s there until January 7th 2018, when it moves on for its last stop in Norwich. The play itself is just over two hours long with a short interval, so comfortable to sit through.

So to find out if Phileas Fogg makes it back to The Reform Club by 8.45 p.m. on December 21st, why not enjoy a family trip to the theatre. You won’t be disappointed and nothing is better than a night of laughs to beat those winter blues. And don’t be afraid to allow yourself to get caught up in the moment, shouts,cheers and jeers are all encouraged. Embrace your inner child, you’ll thank yourself.

CASTING ANNOUNCED FOR THE

WORLD PREMIÈRE OF HOWARD BRENTON’S

THE SHADOW FACTORY

– THE INAUGURAL PRODUCTION IN NST CITY

Nuffield Southampton Theatres present

The Shadow Factory

By Howard Brenton

 

7 February – 3 March 2018

Director of Nuffield Southampton Theatres, Samuel Hodges, today announces casting for the theatres inaugural production at NST City – the world première of Howard Brenton’s The Shadow Factory. Hodges directs David Birrell (Fred/Hugh), Catherine Cusack (Lil/Sylvia), Lorna Fitzgerald (Jackie Dimmock), Hilton McRae (Lord Beaverbrook) and Daniel York (Len Gooch). Further casting to be announced. The Shadow Factory opens on 15 February, with previews from 7 February, and runs until 3 March.

This world première will open Southampton’s brand-new theatre, NST City, conceived by NST’s director Samuel Hodges and 59 Productions – the Tony Award-winning artists behind the video design of the London 2012 Olympic Opening Ceremony.

Alongside the production, the company will mount The Shadow Factory Exhibition, giving audiences the opportunity to step into the stories behind The Shadow Factory in an installation featuring the visually stunning moving set designed by 59 Productions.

NST City is part of Studio 144, Southampton’s new £30m city centre arts venue situated in the heart of the city centre. This new venue will include a flexible 450 seat main house theatre, a 133 seat studio, screening facilities, rehearsal, workshop spaces and bar and restaurant managed by Southampton ‘s 2017 Business of the Year winner, Mettricks. NST City will transform NST’s ability to show high quality professional work from local, national and international artists and allow the programme to include dance, film and music. This includes a new pop-up music collective, The Space Between Collective, to accompany leading rock and pop acts from around the country; a brand-new dance programme will see the world-renowned Hofesh Shechter Company perform in Southampton for the first time and the nascent film programme will feature an event cinema strand, including NT Live screenings. The bar and restaurant, Tyrrell’s, will be themed on the 1950s former department store Tyrrell & Green which occupied the same site. NST will run the new city centre venue alongside its existing theatre on the University of Southampton’s Highfield Campus.

The Shadow Factory tells the story of Southampton’s courage in 1940 during The Battle of Britain. 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. From the ashes, a story of chaos, courage and community spirit emerges. Lorna Fitzgerald makes her stage debut as Jackie Dimmock.

Howard Brenton has written over 50 plays. His most recent credits include Miss Julie (The Theatre By The Lake & The Jermyn Street Theatre), Paul (National Theatre), In Extremis (Shakespeare’s Globe and tour retitled Eternal Love), Never So Good (National Theatre), 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 (Hampstead Theatre), #aiww: The Arrest of Ai Weiwei (Hampstead Theatre), The Guffin (one act play, NT Connections), Drawing The Line (Hampstead Theatre), Doctor Scroggy’s War (Shakespeare’s Globe), Ransomed (one act play, Salisbury Playhouse), Lawrence After Arabia (Hampstead Theatre) 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 and 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 plays Fred/Hugh. His theatre credits include Wind in the Willows (UK tour), Sweeney Todd (West Yorkshire Playhouse/Royal Exchange 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/Shakespeare’s Globe), Company (Sheffield Crucible), Passion, Grand Hotel (Donmar Warehouse), Spamalot (West End), 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, Romeo and Juliet (RSC); and for television, Holy Flying Circus, Buried and Angels.

 

Catherine Cusack plays Lil/Sylvia. For theatre her credits include A Parting from the Body, Fragile, Factory Girls (Arcola Theatre), The Seagull (UK tour), All That Fall (Jermyn Street Theatre and New York), Bingo (Chichester Festival Theatre/revived Young Vic), The Two Character Play (Jermyn Street Theatre/USA), The Early Bird, The Gigli Concert (Finborough Theatre), What Fatima Did (Hampstead Theatre), Uncle Vanya (Wilton’s Music Hall), The Venetian Twins (Watermill Theatre) Our Lady of Sligo (National Theatre), Measure for Measure (ETT), Prayers of Sherkin (The Old Vic), Mrs Warren’s Profession (Lyric Hammersmith) and Phaedra’s Love (Gate Theatre). For television her credits include The Last Days of Anne Boleyn, Jonathan Creek, Ballykissangel and Cadfael; and for film, Finding Neverland, Conspiracy of Silence, Boxed and The Lonely Passion of Judith Hearne.

Lorna Fitzgerald plays Jackie Dimmock. She is perhaps best known for her role as Abi Branning in EastEnders. Having played this role since 1996, Fitzgerald makes her final screen appearance as Abi this Christmas. Other credits for television include The Golden Hour, According to Bex and Cherished. This production marks her professional stage debut.

 

Hilton McRae plays Lord Beaverbrook. Theatre credits in the West End include Les Liaisons Dangereuses (Ambassadors Theatre and Broadway), 1984 (Playhouse Theatre), End of the Rainbow(Trafalgar Studios, Olivier Award nominee for Best Supporting Actor), My One and Only (Piccadilly Theatre), Mamma Mia! (Prince Edward Theatre), Les Miserables (Palace Theatre) Miss Saigon(Theatre Royal, Drury Lane) Rabbit (Trafalgar Studios) and Piaf (Piccadilly Theatre). Other theatre credits include Uncle Vanya (Almeida Theatre), The Cocktail Party (The Print Room), The Kreutzer Sonata (The Gate/La MaMa New York), Timon of Athens, Caroline or Change (National Theatre), The Danton Affair, Troilus and Cressida, As You Like It, Total Eclipse, Much Ado About Nothing, The Innocent, Anthony and Cleopatra, Captain Swing, The Churchill Play, The Merchant of Venice, Factory Birds and Bandits (RSC) The Oresteia Trilogy (Fisher Centre, New York) and The Front Page(Donmar Warehouse). For television, credits include Injustice, Zen, Red Riding Trilogy – 1983, The Execution of Gary Glitter, Frances Tuesday, Murder City, Baby Father, Serious & Organised, Deacon Brodie, King of Hearts, First Take, To Each His Own, Roll Over Beethoven, Poppyland, Forever Young.For film, credits include Darkest Hour, Denial, The Sense of an Ending, Macbeth, Far From the Madding Crowd, Mansfield Park, Return of the Jedi, Secret Rapture, Greystoke and The French Lieutenant’s Woman.

Daniel York plays Len Gooch. Theatre includes The Merchant of Venice, The Country Wife, Moby Dick, Snow In Midsummer, Dido Queen of Carthage (RSC) Welcome Home Captain Fox! (Donmar Warehouse) The World of Extreme Happiness (National Theatre), Our American Cousin, We Know Where You Live, P’yongyang (Finborough), Une Tempete (Gate Theatre), Porcelain (Royal Court), The Magic Fundoshi (Lyric Studio, Hammersmith), Hamlet (Riverside Studios), Sun is Shining (King’s Head/Battersea Arts Centre/off Broadway), The Changeling (Southwark Playhouse), Branded (Old Vic Theatre) and Turandot (Hampstead Theatre). For television his credits include Whitechapel, Moving On, Waking the Dead, Peggy Su!, Chambers,Supper at Emmaus, A Fish Named Tao; and for film, Scarborough, The Receptionist, Rogue Trader, The Beach, Faraway, Act of Grace and Doom.

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.

 

59 Productions is the multi award-winning company of artists behind the video design of the Opening Ceremony of the London 2012 Olympic Games and War Horse, the design and creative direction of the record-breaking David Bowie is exhibition, and video design of Christopher Wheeldon’s celebrated stage adaptation of An American in Paris (Tony Award in 2015). Led by directors Leo Warner, Mark Grimmer, Lysander Ashton and Richard Slaney, 59 Productions are world-leading specialists in design for stage and live events. They are the go-to team for generating creative and technical ideas to realise ambitious artistic projects across a range of disciplines: from architectural projection mapping to exhibition design, VR experiences to events, theatrical design to technical consultancy. In 2017, 59 Productions began producing its own theatrical work, opening its first full scale production, Paul Auster’s City of Glass (HOME, Manchester, Lyric, Hammersmith).  Current and upcoming projects also include, Oslo (Lincoln Center, National Theatre and currently Harold Pinter Theatre), The (R)evolution of Steve Jobs (Santa Fe Opera), Marnie (The Met Opera & ENO), Reflections (a four-day projection-mapping event to mark the twentieth anniversary of the Guggenheim Museum Bilbao) and A Perfect Harmony(specially-commissioned as the centrepiece of the weekend-long celebrations for the re-opening of Washington’s Freer|Sackler museums in October 2017).

Studio 144, Southampton’s ambitious new venue for theatre, visual art and film brings two world-class arts organisations – Nuffield Southampton Theatres and John Hansard Gallery, part of the University of Southampton – into the heart of the city centre for the first time, together with media and film specialists City Eye.

#ShadowFactory

@NSTheatres

www.nstheatres.co.uk

 

The Shadow Factory Listings

Studio 144, Above Bar, Southampton SO14 7DU

 

Box Office: 023 8067 1771 / ww.nstheatres.co.uk

Monday – Friday: 10am – 6pm

Saturday: 10am – 4pm

THE SHADOW FACTORY EXHIBITION 

16 Feb -2 Mar 11am -4pm (excluding matinee performance days and Sundays)

Step into the stories behind The Shadow Factory in this installation featuring the visually stunning moving set designed by 59 Productions, the Tony Award-winning design team behind the London 2012 Opening Ceremony. FREE

Palace Theatre, Manchester – until 9 December 2017.  Reviewed by Julie Noller

5*****

If I ever had a theatre bucket list, then Evita would be on it. I’m in my 40’s I know the songs, I watched the film, I cried, I sang into my hairbrush thinking I was Elaine Page. So to say I was excited to see Evita – I didn’t think twice about saying yes to reviewing it, I juggled my childcare in order to drive in the beating rain for over an hour into rush hour Manchester – well excited is an understatement.

Evita would be welcomed I’m sure into any theatre never mind one such as the Palace with it’s old school charm of historical façade. The glittering gold paint of bygone years seamed to rub against the story unfurling in front of us, a tale of determination against all odds, of people breaking free from one oppression and poverty into another rule of oppression and poverty and amongst all this we have the ray of sunshine that was “Santa” Evita to the Argentines.

Evita is the work of two of our greatest musical collaborators, Tim Rice (lyrics) and Andrew Lloyd Webber (music), 40 years later it hasn’t dated the songs still fresh and when delivered with such a polished performance that nears perfection for me then you are left with hairs tingling and a big dopey smile from start to finish.

The set is simple yet striking, visually it’s clever picking the most important eye catching pieces in what is essentially a historical story. We see Evita’s coffin, with a huge portrait above, behind which we first see Evita as a heavenly white dressed saintly angel, whilst her people cry and wail, traipsing past her coffin in despair. I wondered as I watched those people in the background paying their respects would a character walk past twice? They must have done but somehow I never noticed.

Mark Howett is the original lighting designer but its Tim Oliver who uses the stage lights to bring life as this tale is unfurling. The characters we are supposed to be concentrating on are hi-light, lit up, whilst those in the background are dull in comparison. This is Latin America and a time where emotions play a huge role in rebuilding a post war world. Reds of different shades help portray a young Eva driven by emotion, wanting so much more from life to escape her poverty. Madalena Alberto is simply divine, beautiful with a voice to match. She sang each song perfectly with an understanding of her character that was totally believable. I know Evita was a huge fashionista, her costumes were superb, that white diamante dress was stunning, I wish I could dress just like Evita. Cristina Hoey during her solo song as the mistress wears a coat that also had me wishing I could find one just like it. Our story teller for the night is Che (Gian Marco Schiaretti) his cheeky face lit up the stage, essentially we the audience know hes there, yet on stage he blends into the background, just another Argentinian. I bet I wasn’t the only lady (or gent) to swoon when he took his shirt off. Each song is an explanation of 1950s Argentina, Evita and hinting slightly at the politics surrounding those times.

Jeremy Secomb is Peron, the army General who rose to be President, to some he was a dictator to others a saviour. But those events are glossed over for this isn’t a story of politics this is the story of Evita. Her support and love for Peron as well as the people of her Argentina shine out. She understood the masses, despised the upper classes, yet longed to belong and be accepted. That understanding and her support pushed Peron to the top, yet we all know as with all coups it is only a matter of time before they fall and the next dictator comes along. Peron is a dynamic character yet as much as Evita supports him, for this story he is her supporting actor. Evita is the ultimate ‘it’ girl, the original and quite possibly hard to beat. If reality TV had been such a thing in 1950’s Argentina then she would’ve been the brightest star of all. She knew her way to the top was a path laid with rocks and stones and she clambered over every one in the form of various singers, actors, directors and finally military men until she found Peron and there was no one higher. She captivated him body and soul in the same way she captivated the masses she adored as much as they adored her.

I found the dancing invigorating and really wanted to climb up on stage, I came away singing and humming as if I was indeed up on stage singing alongside as part of the choir. When the aristocrats turned to look towards us the audience you had the feeling of those masses stood, waiting, cheering for Evita –”Santa” Evita their self proclaimed Saint. There maybe only one Evita but in a musical with so many solo performances its hard to single one out as each and every one is wonderful. One person however deserved her standing ovation, she doesn’t however have her name in the programme which is unfortunate. She is the child who sang her solo piece and delivered it so beautifully, I’m sure her parents were brimming with pride. So I will name all the children in the programme who are students of Stagecoach Chester (my home city – so I can be proud too) Nicole Owen, Charlie Goodwin, Daisy Cooper, John Brocklebank, Olivia Cooper, Rhys Owen, Rebecca Guy, Rory Flynn, Lily Rackham, Oliver Somauroo, Freya Watson and Jack Golding. Well done I guess we’ll be seeing your names in lights in the future.

We left the theatre and I listened to the conversations, all the same, how fantastic, loved Evita, that dress, that voice. One things for sure I will be seeing Evita again and I know I will be as excited the next time as I was this time. By the sounds of it so will a lot of other people – you should too.

53two, Manchester – until 9 December.  Reviewed by Marcus Richardson

5*****

Eight is a Play by Ella Hickson comprised up of eight character who give eight monologues. Each of which gives insight into what people’s lives are like, from Soldiers to teenage boys in France. But there is a catch the audience has to vote on whose story they hear and only 4 stories can be heard a night. As audience members we are not used to this power and as someone who can’t make their mind up it proved to be a way of torturing me as I didn’t get to see the whole body of the show. But then again will anyone, with it being different each night. Fun fact it could go through 40320 shows with each night being different.

 

Three of the characters I voted for were chosen and I felt sad that my 4th had to sit and watch, yes all the characters were on stage watching and waiting for their moment uncertain if they were going to be chosen. Only when a small light came on the character would they know their fate. First character Jude, one I voted for, a teenage boy sent to France by his father to become a man, played by Simon Hallman. The character falls in love and we are given this quirky way on how a seventeen deals with these urges. I’ve always found that actors can struggle playing the late teen years as teenagers tend to be very unique but Hallman gave this character life and a good flow. The second character was Miles. The other actor who stood out was Charlie Young who played the character of Bobby a Scottish mum who is struggling to make Christmas work. She controlled the room both with humour and with sorrow, she found that fine line between the two and struck the mother-load having this lasting crying one second and laughing the next. The whole cast (well half of the cast) all gave a stellar performance.

 

This is the second show that the Manchester Actors Platform have been involved in that I have seen as I was not let down by the cast and the company have gone in my good books giving current and relevant material that you enjoy watching and you take unfounded knowledge of social issues home, proving that contemporary material is engaging to watch.