Category: Uncategorized

SUSAN STROMAN’S ACCLAIMED PRODUCTION
TRANSFERS TO LONDON

Charlie Stemp,
Carly Anderson & Tom Edden to lead cast

Performances begin on Saturday 24 June 2023,
Gillian Lynne Theatre

www.CrazyForYouMusical.com

oey Parnes, Sally Horchow and Michael Harrison are thrilled to announce the transfer of the smash hit Chichester Festival Theatre Production of Crazy For You. Susan Stroman’s celebrated new production of the classic Gershwin musical, which played a sold-out season in Chichester this summer, will transfer to London next year.

Crazy For You, which received critical acclaim across the board when it opened in Chichester, will play a strictly limited 6-month season at the Gillian Lynne Theatre in London, with performances beginning on Saturday 24 June 2023. Tickets are now on sale at www.CrazyForYouMusical.com

He’s a fish out of water and she’s a real catch.

Theatre-mad Bobby Child is torn between his show-business dreams and running the family bank. He reluctantly heads west to Deadrock, Nevada, to foreclose on a theatre’s mortgage, only to fall for the theatre owner’s daughter, Polly. Desperate to prove his good faith, Bobby decides to put on a show – complete with dancers from the glamorous Zangler Follies in New York City – to save the theatre, renew the town and hopefully win Polly’s love.

With a riotously entertaining book by Ken Ludwig and overflowing with glorious Gershwin melodies (including Someone to Watch Over Me, I Got Rhythm and They Can’t Take That Away from Me), this production is a joyful celebration ‘blessed with ingenious, sparkling choreography from Susan Stroman, which sends you out on a high from the joy of music and dance’ Financial Times. The original production of Crazy For You won several Tony and Olivier Awards, including Best Musical.

Directed and choreographed by multi-Tony and Olivier award winner Susan Stroman, with book by Olivier Award winning Ken Ludwig, this spectacularproduction transfers from a sell-out season at the Chichester Festival Theatre. Starring Charlie Stemp, the Olivier-nominated star of Half a Sixpence and Mary Poppins as Bobby, Carly Anderson, star of Wicked as Polly, and Drama Desk Award winner Tom Edden as Bela Zangler.

Producers Joey Parnes, Sally Horchow and Michael Harrison said:
“Susan Stroman’s exuberant production of Crazy For You was the most infectiously joyful show of the year. Charlie and Carly’s performances brought both great romance and spectacle to its heart, and Tom Edden was absolutely hilarious! We are so thrilled that London audiences will now be able to experience this dazzling musical in the superb setting of the Gillian Lynne Theatre.”

Hope Theatre – until 3 December 2022

Reviewed by Claire Roderick

3***

Making a speech is a nerve-wracking experience for lots of people, but when the speech is celebrating a mother whose parenting has left you damaged, it’s a nightmare. Cheryl May Coward-Walker’s debut play, set in a wedding venue bathroom, sees Rosemary (Princess Donnaugh) last minute preparation of her speech – and herself – at her mother’s wedding. Her grandfather’s recent death means she is making a speech, so naturally she locks herself in the bathroom with champagne and cake.

Princess Donnaugh makes Rosemary sympathetic and relatable from the moment she bursts onto the stage. Paula Chitty’s set design has all the abandoned paraphernalia of the latter stages of a wedding party and makes it easy for the audience to buy into the situation, and Simone Watson-Brown’s assured direction allows the story to flow like an incredible TMI encounter with an over-sharing stranger after a few drinks. Using the audience as a sounding board, Rosemary rehearses some celebratory phrases before abandoning her original speech and explaining her difficult relationship with her mother. Told in verse, the narrative mostly works, although there are some shoehorned rhymes that jar a little. This is easily forgotten and forgiven thanks to Donnaugh’s natural and charming performance. Details of the emotional abuse she and her siblings suffered is detailed between her explanations of the reasons for her mother’s behaviour – childhood abuse that she has never dealt with. Coward-Walker cleverly keeps the audience wondering whether Rosemary’s account of her mother is exaggerated until we “see” her mother on a trip to Nigeria. Rosemary’s great plan to visit together to bond and ground themselves is a complete disaster, and her mother’s behaviour is exactly as she had hinted. The emotional turmoil of loving someone who cannot love you in the same way, and the co-dependency of the two women is described beautifully. Rosemary’s need to be loved and cared for leads to a whirlwind romance and marriage to a man she meets on the ill-fated holiday, but the emotional scars from her childhood put that relationship in jeopardy. It gets very broad during the Nigeria episode, but that is a fantastic contrast to the tightly wound tension of earlier scenes.

There are lots of laugh out loud moments as Rosemary mocks herself and her situation, with some quiet darker emotional revelations that are played exquisitely without the need for the unsubtle lighting changes. It is a testament to Princess Donnaugh’s performance that the audience were listening intently as she finally confronted her mother and exposed her true self off stage and whooped along with her as she celebrated her triumph before realising that her mum could never let her have the last word.

An emotional rollercoaster tackling abuse that engages and entertains with a stellar performance from Princess Donnaugh.

Leeds City Varieties Music Hall – until 8th January 2023

Reviewed by Sal E Marino

5*****

There was an infectious feeling of fun, frivolity and non-stop belly-busting laughter across Leeds last night, as the famous Rock ‘n’ Roll panto presenting Dick Whittington, was showing at the fabulous City Varieties Music Hall.  After receiving the most festive and friendliest of welcomes from the front-of-house team, an excited audience settled down for what was the best pantomime I’ve ever seen this December – ha! – only joking – oh no you weren’t – Oh yes I … – that’s pretty much how it went all night!  And it brought the house down!  It brought the house down because it was traditional but unique.  A ‘traditional’ panto being ‘unique’ sounds like a contradiction but it really was!  Where else can you see Tabby the Cat (Rhiannon Hopkins) fighting King Rat (Ben Stratton), who lives in a sewer with a punk band, quickly switching to playing a sax as the Fairy belts out some rock tunes?  

The gags were aplenty and didn’t stop.  All the adults were in stitches and bent over double with the constant innuendos so if you easily get offended by such material, then this wouldn’t be for you but, if you love a panto because of it’s ‘traditional’ characters with that old style nostalgic humour, then you won’t get a better night out until next December either!  After what’s feeling like a ‘winter of discontent’ with all that is happening in our world today, this would be the perfect night out for a works do or with a group of mates.  If you want to forget the blues and the latest ‘crisis’ and to get the party started instead – then a night out at this panto will definitely get the laughter flowing and everyone up singing and dancing.

The very multi-talented performers made the live music numbers appear effortless and all of the musicians were note-perfect .  One wonders just how this is done after performing very physical and challenging all-singing and all-dancing scenes – I really don’t know but it was and always is most impressive! Brilliantly written by Peter Rowe and directed by Rob Salmon, this year’s Rock ‘n’ Roll panto really got everyone singing along with a whole jukebox of top hits.  The music, directed by Bex Hughes, was outstanding!  

Each character was funny in their own right but Simon Nock, as Sarah The Cook, caused a riot on stage – no man is safe!  Not for the faint-hearted,  he totally embodied his character  – not just physically (which was hilarious on sight) but in every scene that Sarah was on stage.  You felt like you were at a stand-up comedy show!.  Of course, Nock was complemented by an extremely uproarious and side-splitting gang: Kenny Davies as Alderman Fitzwarren , Daniel Miles as Billy Bungalow, Claire Keenan as Alice, Ben Mabberley as Dick,Tim Roberts as Smallpox, James Hudson as Scurvy, Tabby and King Rat (aforementioned) and Lana Walker as the Fairy . 

Amongst the jokes (ranging from crazy slap-stick to blue) we also had romance and heart-felt moments which came from the beautiful Alice and Dick.  These two didn’t fail to deliver the traditional fairy-tale love story we all want to see and due to their chemistry – all believed! There was a dicey episode when Alice was lured into King Rat’s lair, which didn’t have a pleasant tone but the laughter was restored when Sarah had some romance too – she got her man on stage and made a ‘friend’ in the audience too!  It created lots of funny moments and never ceased to spark lots of laughter.  

By the end of the show the whole theatre was bouncing as everyone was on their feet dancing and singing their hearts out.  Simon Nock gave an emotional shout out to Peter Manchester who had stood in and filled his stage shoes for three nights due to recently being in hospital.  There was a rousing applause of appreciation.  So if you want some Christmas cheer or to start off the New Year rocking and jiving, I can guarantee that the Dick Whittington: Rock ‘n’ Roll Panto will get you into the groove and shimmying down the aisles.  

Salisbury Playhouse, Salisbury – until 8th January 2023

Reviewed by Alexandra Browning

Panto is finally back!!! Oh yes, it is!

Salisbury Playhouse provides a warm panto welcome back after a long three years the Playhouse is back with full festive merriment.

The show starts with a modern and exciting twist on the classic childlike tale. Fairy Showbiz flies onto the stage, pulls out all the stops and sets the scene for the show ahead, introducing us lovingly to the theatre and telling us about her goddaughter Cinderella. We are then introduced to Cinderella, Jasmine Triadi, a strong empowering inventor, whom loves her sisters and step-mother. Cinders is completely modernized with her mean step sisters Hashtag, Lucy Aiston and Viral, Fergie Fraser and their influencer ways. We are finally introduced to the quirky and unforgettable panto Dame, Lady Stella Hardup, Daniel Goode. Lady H has a fantastic costume and always has a marvelous up do to go with the frock, we are quickly introduced to Lady Hardup and her onstage chant, “Who needs a fella” “Its Lady Stella”. Like a true pantomime Dame, Lady H has a great mix of jokes for the younger, and the older audience. The small unusual family are the focus of the pantomime for the first half, with their newly created “sister school” the step sisters have their wicked way with Cinderella and turn her into the house maid we know and love her to be.

After our introduction to Cinderella and her unconventional family we are whisked away to a magical palace like surrounding to meet Prince, George Olney and Deldini, Alex Crandon, who share a very lively friendship. Deldini or Del, is an easy-going cockney lad who likes to make jokes similar to Del Boy himself. You quickly find yourself waiting in anticipation of his next joke!

As we follow the cast through the plot of the pantomime you find yourself constantly wanting to hear what happens next. The show follows the same outlines we have grown to love, with some unlikely modern elements, such as Sails-Baked-Beans and more! The first act ends with a magical transformation of Cinderella into a beautiful princess and the audience is blown away to a fantastic song from Triadi, who is an incredibly talented singer.

The second half of the Panto picks straight up from where we left off with lots of action, lots of singing and lots of Audience participation. The band are the main focus for the audience sing-along and Tacos are the only thing you’ll be thinking of for dinner! We then follow Cinderella in her magical journey to attending the ball.

Overall the show is a very modern twist on a wonderfully classical fairy tale. I would recommend this pantomime to anyone who wants to quickly get into the festive fairy tale Christmas mood. The standout performer of the show is Cinderella who is an incredible talented actress with a wonderfully strong voice

Hull New Theatre – until 3rd December 2022

Reviewed by Dawn Bennett

5*****

Northern Ballet brought David Nixon’s magical Nutcracker Ballet to life last night and brought Christmas to Hull’s New Theatre.

From Charles Cusick Smith’s beautiful sets to Tchaikovsky’s glorious score, played by the Northern Ballet Sinfonia (conducted by Daniel Parkinson and led by Geoffrey Allan), it was a fabulous night.

The party scene in Act 1 is so good, watch the other characters on the stage, there are lots of different things going on, Grandma Edwards (Dominique Larose) and Grandpa Edwards (Wesley Branch) are two to watch, funny and charming!

Clara (Rachael Gillespie) is given a present of a Nutcracker by the mysterious Herr Drosselmeyer (Mlindi Kulashe) at a family Christmas Eve party and overnight it comes to life as the Nutcracker Prince (Harris Beattie).

The ballet takes us on an enchanted journey meeting different people along the way from the Sugar Plum Fairy (danced amazingly by Saeka Shirai), French and Chinese Dolls (Sena Kitanio, Archie Sherman, Antoni Canellas Artigues) to the marvellous Mouse King (Bruno Serraclara) who reduced the audience to fits of giggles with his antics!

In the second act we have some amazing solos, pas de deux and group dances all watched on by Clara and the Nutcracker prince, this defiantly shows the Northern Ballet dancers at their best. Their timing, skill and musicality and danicng is second to none, every time I have had the pleasure of watching them, they never disappoint.

I must give a mention to the students of RS Dance, who were Party Children and Mice, for such young dancers their stage presence, facial expressions, acting and dancing was lovely to watch.

If this is the first Ballet that you go and see or one of the many you have watched over the years go and watch it you won’t be disappointed in this 5-star performance.

Mayflower Southampton- until 3 December 2022

Reviewed by Lorna Hancock

5*****

Raymonda is a ballet in three acts, originally choreographed by Marius Petipa to music by Alexander Glazunov. It was first presented by The Imperial Ballet at The Imperial Mariinsky Theatre in St Petersburg in 1898. Unfortunately, with a slightly problematic plot set in the Crusades, at times being offensive, the original was never performed in full by any UK company. As Tamara Rojo bids farewell to the English National Ballet after ten years as Artistic Director, with her vision to reinvigorate the classical ballet repertoire, it was her belief that it was time to do something about that.

Rojo has magnificently reimagined the classic work for the 21st century. Now set in the Crimean War, adding a connection to British history, she has also made some changes to create a more compelling story with a modern heroine. She has still however presented as much as Petipa’s original choreography as possible. She has also added a new section, to pay tribute to fallen soldiers and nurses to reflect on their sacrifice in Crimea.

The first Act takes us from England to a camp outside Sevastopol. The cleverly choreographed scene makes it easy to believe that we are there with them preparing for battle. Soon the romantic dilemma between Raymonda (Fernanda Oliviera), handsome soldier John de Bryan (Francesco Gabriele Frola) to whom she becomes engaged and Abdur Rahman (Erik Woolhouse) a Prince and Agha from the Ottoman Army becomes apparent. The act concludes with an exquisite dream sequence where Raymonda is torn between the love of the two men. The choreography is mystical with mesmerising synchronisation, and the use of lamps give a nod to ‘The Lady with the Lamp’ Florence Nightingale, the inspiration for Raymonda’s character.

Act 2 transports us from the stricken war camp, to the Prince’s extravagant party. It was very interesting here to see different countries dance traditions fused with the classical ballet style. Turkish and Hungarian clapping and stomping, and I particularly loved the Flamenco fusion to the sound of castanets.

The final act contains the most famous part of Alexander Glazunov’s 1898 score. We are transported back to an English garden party for the wedding of Raymonda and John. As Ramonda appears, the company begin the most elegant synchronised pas de deux, that had to be my personal highlight of the show. The Prince then arrives at the scene, which leads Raymonda to conclude the show by facing the decision of her own destiny.

The principals all danced flawlessly, and it was a delight to the eyes to watch them perform their art. However, the stand out performers for me were Fernanda Oliveria as Raymonda and Precious Adams as Sister Clemence. Their beautiful lines, exquisite pointe technique and stretched out arabesques were absolutely charming to watch.

Although you would think this show would be all about the ballet, and I’m not saying it isn’t, this review could not possibly be complete without mentioning the astonishing music. Watching and listening to The English National Ballet’s Philharmonic 65 piece orchestra playing the score live in its entirety was astounding.

It was such a pleasure to be lucky enough to see one of ballets classics, charmingly reimagined into a beautiful modernised masterpiece.

Bristol Old Vic – until 7th January 2023

Reviewed by Lucy Hitchcock

4****

Tom Morris and Lee Lyford have reimagined the classic ballet, The Nutcracker and brought it into the 21st century!

Headed by Mae Mundo as the plucky young girl ‘Claire’ desperate to help the Nutcracker (Denzel Baidoo) escape his prison. This is an immaculate piece, with some really catchy songs and interesting dances, but almost pantomime-esque! The songs were performed beautifully, perfectly accompanied by onstage MD and Queen Mouse Gwyneth Herbert, making for a special show.

The cast were great and really told the story, encapsulating the audience and minds of the children, but the stand out performance for me was Gwyneth Herbert. She had, what was easily, the most challenging songs in the show but performed the with ease and had a real depth to her voice. It was a delight to watch her revel in the role.

The staging was superb, using every aspect of the stage to its full potential-it was also a delight to see the band playing onstage in accompaniment. Guy Hughes deserves a special mention for his portrayal of curly-pearly-he donned a dress with ease and rocked it!!

This is the ultimate feel good show and introduces children to the world of ballet in a modern way. Definitely not one to miss!!!

Tanya Moiseiwitsch Playhouse Theatre, Sheffield – until 30th November 2022

Reviewed by Sophie Dodworth

3***

Unnatural Cycles stops at The Tanya Moiseiwitsch Playhouse Theatre for one night only. This ghost story is written and performed by Avital Raz. It is an acquired taste but an interesting one indeed. Unnatural Cycles was developed during 2021 through commissions from Sheffield Theatres, Contract, Lancaster Arts and National Lottery funding.

The story is told through song, live-looped audio and film, projected onto a huge screen which takes up a lot of the stage space, but is a great asset, keeping you engaged. The story unfolds of Avitals dead Grandmother and her traumatic life during the war as a Jewish woman, losing all her family and friends during the awful historic times that were the Holocaust. This story runs alongside the painful times that are experienced through miscarriage, trying to conceive and the feeling of racing against time when the biological clock is ticking, and the luck is running dry when trying for a family. There is at times, a feeling of the storyline being slightly disjointed and you have to work to stay on track with it.

Avital is extremely talented. Her voice is versatile, enchanting and pitch perfect. She plays the guitar well while trying to juggle live-looped audio. Her acting is enchanting and draws you in while narrating the story and keeping you hooked. I’m not sure there are many actresses that could take on this job and do it so well.

This show is not for the faint-hearted and does touch on many a triggering subject. With discussions of rape, miscarriage, war and infertility.

DAWN FRENCH ANNOUNCES

NEW 2023 UK TOUR DATES

FOLLOWING MAJOR DEMAND FOR TICKETS

TICKETS AVAILABLE FROM DAWNFRENCHONTOUR.COM

Following major demand for tickets, the Queen of comedy Dawn French has announced a host of new UK tour dates for her critically acclaimed live one-woman show, ‘Dawn French Is A Huge Twat’, for 2023. Tickets are available from DawnFrenchOnTour.com.

The hilarious and endearing sell-out show toured earlier this year to rave reviews and wall-to-wall standing ovations. Now, Dawn will return to the stage from September to November 2023, playing over 20 venues in many more parts of the country including several nights at the world-famous London Palladium.

In ‘Dawn French Is A Huge Twat’, the award-winning actor, best-selling novelist and comedy legend invites audiences to join her on a whirlwind journey through some of the most embarrassing, misguided and undignified moments of her personal and professional life, deep-diving into the countless times she has demonstrated – in her own words – “a spectacular display of twattery”.

Announcing these 2023 shows, Dawn said: “Attention all Twats! We grossly underestimated just how many glorious Twats are out there, wanting this show, so here I come, the second leg of the tour. Wooohooo! I couldn’t be more chuffed if I were a chough. So now, stop nagging me on social media about the fact we missed your town…and get booking. I’m bringing my Twat to a theatre near you, it’s futile to resist.”

‘Dawn French Is A Huge Twat’ is written by Dawn French. The show is produced by PML & MGC and directed by Michael Grandage. Set and Costume Design by Lez Brotherston.

Listings Information:

Website: DawnFrenchOnTour.com

Twitter: @Dawn_French

Instagram: @DawnRFrench

DAWN FRENCH IS A HUGE TWAT – UK TOUR 2023

7 – 10 September Northcott Theatre, Exeter

14 September Venue Cymru, Llandudno

16 September York Barbican

21 – 24 September London Palladium

28 September New Theatre, Oxford

29 – 30 September New Theatre, Cardiff

5 – 6 October Birmingham Hippodrome

8 October City Hall, Sheffield

14 October Tunbridge Wells Assembly Hall

26 October Aberdeen Music Hall

27 October EICC, Edinburgh

29 October Glasgow Pavilion

2 November Bournemouth Pavilion

3 – 4 November Reading Hexagon

8 – 9 November Hall for Cornwall, Truro

16 November Royal Concert Hall, Nottingham

17 November Victoria Hall, Stoke

18 November Buxton Opera House

19 November High Wycombe Swan

23 November Guildford, G Live

24 November Brighton Dome

25 November The Anvil, Basingstoke

26 November Theatre Royal, Bath

NEW ADVENTURES AND SADLER’S WELLS

ARE DELIGHTED TO ANNOUNCE

WILL RETURN IN 2023

WITH A 12-WEEK UK TOUR

OPENING AT CURVE, LEICESTER ON 3 JULY 2023

INCLUDING A FIVE-WEEK SUMMER SEASON

AT SADLER’S WELLS

1 AUGUST TO 2 SEPTEMBER 2023

New Adventures and Sadler’s Wells are delighted to announce the return of Matthew Bourne’s “ROMEO AND JULIET” with a 12-week UK Tour and five-week Summer Season at Sadler’s Wells.

The tour will open at Curve, Leicester on Monday 3 July, before visiting The Lowry, Salford from Tuesday 11 July, Wycombe Swan, High Wycombe from Tuesday 18 July and New Theatre Hull, from Tuesday 25 July, ahead of a five-week Summer Season at Sadler’s Wells from Tuesday 1 August to Saturday 2 September 2023. Tickets go on sale for Sadler’s Wells on 13 December 2022.

Further tour dates will be announced soon.

Matthew Bourne’s “ROMEO AND JULIET” gives Shakespeare’s timeless story of forbidden love a scintillating injection of raw passion and youthful vitality. Confined against their will by a society that seeks to divide, our two young lovers must follow their hearts as they risk everything to be together. A masterful re-telling of an ageless tale of teenage discovery and the madness of first love, “ROMEO AND JULIET” garnered universal critical acclaim when it premiered in 2019, and now joins the New Adventures repertoire alongside the very best of Bourne’s world renowned dance theatre productions.

The 2023 production of “ROMEO AND JULIET” is the first Co-Production between New Adventures and Sadler’s Wells. A relationship that dates back nearly 30 years; New Adventures have been performing at Sadler’s Wells since 1993. In 2005 Artistic Director and Chief Executive of Sadler’s Wells, Alistair Spalding, appointed Matthew Bourne as one of the organisations first Associate Artists and in 2006 New Adventures became a Resident Company.

Matthew Bourne said today: “I had resisted creating a new production of “ROMEO and JULIET” for many years wondering if there was anything new to say in a much-performed work. In 2019 I found that inspiration in a countrywide young talent development project that surrounded the original production. Working alongside my usual world class creative team but with a team of “young artistic associates’ and a young cast of super talented emerging dance artists, we created something relevant, questioning and deeply moving…. But also, an unexpected hit show! I’m therefore thrilled to announce its long-awaited return as part of the celebrated New Adventures repertoire to entertain and provoke audiences with its powerful and timely tale of young love.”

Alistair Spalding said today: “I am thrilled that we’re co-producing ROMEO and JULIET with New Adventures. We have a longstanding relationship with Matthew Bourne, whose work has delighted Sadler’s Wells audiences for many years, aand it will be wonderful to welcome his imaginative and visceral retelling of Shakespeare’s famous tragedy back after its premiere in 2019.”

Directed and choreographed by Matthew Bourne, collaborating with the New Adventures Artistic team; Etta Murfitt (Associate Artistic Director), Lez Brotherston (Set and Costume design), Paule Constable (Lighting Design), Paul Groothuis (Sound Design) and Arielle Smith (Associate Choreographer) with Terry Davies’ thrillingly fresh orchestrations of Prokofiev’s dynamic score.

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

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