Director Alexander Wright and his creatives have produced an immersible experience like no other! It’s the longest running immersive experience for very good reason. Go dressed up and prepared to join in. Become part of the 1920’s jazz age and enjoy the hospitality of J Gatsby himself!
A multi talented cast that can sing, dance and shed a tear in the right places are combined with an immense building with intricately staged 1920’s sets. A wide open party space for the main scenes and to get everyone doing the Charleston, complemented by intimate rooms for those heart to heart scenes, including a game of truth or dare and charades! It was impressive that whilst amongst the hubbub the players were able to dig so deep, delivering their lines with power, passion and tenderness. Nick’s (James Carraway) soliloquy’s stopped the audience in their tracks, providing narrative to the main story line. Daisy (Lucinda Turner) connected with you making you part of the story, particularly in the dressing room. George’s (Tendai Humphrey Sitima) song of mourning touched your very soul. My favourite scene is the tea date set up by Nick (Carraway) to get Gatsby (Oliver Towse) and Daisy (Turner) alone together. Intense, funny and beautifully done.
I loved every minute of it. F.Scott Fitzgerald’s familiar story has been done justice by The Company.
Rona Munro has written an epic adaptation of Shelley’s novel, bringing all the angst and tumultuous emotions of the era to life. You can feel the challenge laid down by Shelley’s friend and fellow writer Byron to write the scariest story, burnt into the lines as they are delivered. In 1816 the emergence of science was growing fast and daring to question the very existence of god. Munro has captured this atmosphere through the author narrator role of Mary Shelley herself.
Eilidh Loan’s (Mary Shelley) debut performance as a professional actress is outstanding. Every emotion and movement is perfectly timed, delivering a quirky, passionate and headstrong Mary Shelley. The creative process of writing, with faltering starts and stops, romantic interludes, alongside fervent, rapid periods, is all unfolding in the performance as it hits the page, seamlessly woven into her narration. The mirroring of lines and movement between Loan (Shelley) and Ben Castle Gibb (Frankenstein) flowed like liquid, enabling her imagination to jump quickly from mind to page to stage. Castle Gibb (Frankenstein) gave an earnest performance that complemented Loan (Shelley) well. Throw in The Monster (Michael Moreland), with moments of childlike hope and yearning and then hurt and revenge, the pain was palpable.
Director Patricia Benecke and The Creatives have worked some real magic together, combining atmospheric lighting, barren trees, blank white walls and smoke to great effect. A true horror production set that enhances the menacing presence of the cast, particularly in their moments of eerie stillness. We jumped out of our skins on more than one occasion!
If you love a fright night with a classic tale told in a unique style, come and watch Eilidh Loan as Mary Shelley in Frankenstein – I would definitely go again!
Depression has become a thing we talk a lot about in today’s society. Proper conversations on what depression is, and how it can affect anyone. Reasons to Stay Alive is the memoirs of the author Matt Haig and his own personal experiences with mental health issues which was published in 2015. English Touring Theatre have brought the number one bestseller to stage, with just a cast of six actors we delve into both the novel and how it helped people.
Starting in Ibiza, the land of modern day hedonism, we watch younger Matt (Mike Noble) party and suddenly delve into a major depressive episode. This show does not mess around, we are jumping straight into suicide. As Older Matt (Phil Cheadle) explores his past we have a contrast between him and his past self. This highlights how depression takes away any vision of tomorrow beautifully, Cheadle seems to be at peace with his depression and aims to educate both Noble and the audience on how he deals with life. Matts Journey wasn’t alone he had his girlfriend Andrea (Janet Etuk) by his side, the relationship between the two is great to watch on stage as we watch how she supports him and just simply is there for him. Etuk creates a kind welcoming character that people in the audience can relate to, we all know someone who at one point struggles with mental illness. I think everyone in the audience can relate to at least one character, whether it be Matt or those around him. There’s also his parents in the play, Mum (Connie Walker) and Dad (Chris Donnelly), also the actress Dilek Rose who plays multiple characters. There are moments in the play where signs will be held up which may read ‘lies depression tell you’ and the whole cast will talk about things to the audience, this works so well in drawing the audience in and making them aware of their own thoughts on depression. I loved how the cast brought all of the issues to the table but didn’t make things tragic.
The stage wasn’t filled with a busy set but instead had three sections that make up a sphere. Inside this white sphere are spikes which really stands out as intimidating, to me the set looks like a brain and the spikes were what depression is visualised as. The set moved, it was climbed and used in a fair few ways. I loved the simplicity of the set as it doesn’t draw away from the main topic of the play.
The play is great for opening up the conversation on depression, and making sure it’s not a taboo subject. Reasons to Stay Alive is a thought provoking play that is beautifully put together. Obviously this isn’t really suitable for younger audience as it has scenes of attempted suicide, however I would say it is suitable for those who are 16+. I loved watching it and was expecting to cry at the end, but not once did I find that the play burdened me with crying. The play is touring across the UK and is at York Theatre Royal until the 9th of November.
Daily Telegraph, The Independent, Metro, Daily Express,
The Stage, Attitude, The Arts Desk, Broadway World
In the immortal words of Heather Chandler, ‘Honey whatcha waitin’ for?’… The first venues have been announced for the highly anticipated 2020 UK tour of Heathers the Musical (WhatsOnStage 2019 award for BEST NEW MUSICAL).
Following two record-breaking seasons at London’s The Other Palace and West End transfer to the Theatre Royal Haymarket in 2018, Heathers the Musical, the sassiest show around, will be touring to Brighton, Liverpool, Cardiff, Sheffield, Edinburgh, Milton Keynes, Sunderland, Bristol and Wimbledon, with further dates and venues to be announced in due course.
Produced by Bill Kenwright and Paul Taylor-Mills, this high-octane, black comedy, rock musical based on one of the greatest cult teen films of all time, starring Winona Ryder and Christian Slater, is back with a bang!
Greetings and salutations!
Welcome to Westerberg High, where Veronica Sawyer is just another of the nobodies dreaming of a better day.
But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.
Until JD turns up, the mysterious teen rebel who teaches her that it might kill to be a nobody, but it is murder to be a somebody.
The award-winning writing team, Laurence O’Keefe and Kevin Murphy’s hit musical adaptation has enjoyed successful runs in Los Angeles and New York, and its West End premiere saw it become the highest grossing show at The Other Palace. It subsequently had spectacular success on transferring to the Theatre Royal Haymarket.
The musical is directed by acclaimed American screen and stage director Andy Fickman, with choreography by Thriller Live’s Gary Lloyd, design by David Shields, lighting by Ben Cracknell and sound by Dan Samson.
The 2020 Class of Westerberg High will be announced shortly…
LISTINGS
BILL KENWRIGHT & PAUL TAYLOR-MILLS PRESENT
HEATHERS THE MUSICAL
2020 UK TOUR
By Laurence O’Keefe & Kevin Murphy
Directed by Andy Fickman
Choreography by Gary Lloyd
Design by David Shields
Lighting by Ben Cracknell
Sound by Dan Samson
Running Time: Approx. 2 hours 30 minutes including interval
Calling all #CornNuts – Be the first to hear the latest Heathersthe Musical gossip and further details on dates, venues and on-sales by following us on the following:
Twenty years on from the 1999 cult classic, a brand-new immersive adaptation of Human Traffic is coming to London from May 2020. A four-tiered, multi-sensory experience comprised of a 90s culture exhibition, themed indoor street food & bar pop-up, immersive theatrical live performance and fully programmed post-show party, this is a true celebration of British 90s culture. Nice one, Bruva!
With 18 shows running between 22 May – 13 June at the 5,000-capacity venue London’s Printworks, this multi-faceted show takes ticket holders on a journey through this much-loved film that is still hugely relevant today. Amidst Brexit, political unrest and a global climate crisis, there is an overwhelming need for expressionism, hedonism and escapism – all the things that Human Traffic Live aims to embody.
Curated by a team of established names within the music, theatre & live event sectors, CEO & Founder Deborah Parsons explains: “Human Traffic exhibits the realism of not only 1990s British youth culture but aims to pull that thread all the way through to 2020. The film created a clear picture of a standard weekend of that time, it was a standard weekend of my time. Even since the film’s first release, it continues to spark yearning feelings for those that lived through the era as well as inspiring a modern-day band of professional party people and entertainment seekers. It is also just simply very funny, and we all need a good time right now, and that is what we promise on a night spent with us at A Lost Weekend. We wanted to create Human Traffic Live to provide a truly never-been-felt-before experience. It’s a treat, you simply arrive, you have to prepare nothing, think of nothing, we have done all of that for you; you arrive to let go and get lost in the experience. Come join us!”
Committed to producing a truly unique show with immense production values, the producers Philip Burgin, Julian Stoneman along with Deborah Parsons have appointed Kim Gavin as Artistic Director of the Human Traffic Live show. Kim is widely known for his portfolio of works, including Creative Director of the closing ceremonies of the London 2012 Olympic Games & opening and closing of London 2012 Paralympic Games. Kim has also been Take That’s Creative Director for all arena concepts for the past three decades. Kim has invited the global phenomenon that is Joe Crossley to join his team. Joe, a TED talk regular on digital art forms, has been selected as Digital Art Director following his iconic work as Digital Art Director for Burning Man festival and Arcadia’s Pangea at Glastonbury.
Music is the pulse of the project and features heavily in both the live show and the party. Each night of the week sees a different music genre: Wednesday’s House & Garage Orchestras, Thursday bands, Friday – Sunday and one Bank Holiday Monday DJ headline talent.
Perfecto Records founder and superstar DJ Paul Oakenfold, is confirmed as headlining the closing date 13 June 2020. “It will be a thrill to play the close of this series next June,” adds Oakenfold. “This will be my only summer date for 2020 so I am personally curating the whole line-up. This will be one hell of a show.”
Subculture personality Ron Elliston sits as trusted consultant to the production. Nick Stevenson, Managing Director of Wasted Talent (Mixmag – Kerrang! – The Face), has also been supporting the production as a consultant since its early planning stages. Alon Shulman, author of the ‘The Second Summer of Love: How Dance Music Took Over the World’, is acting as special advisor to the production.
Further details are still to be revealed, with major talent announcements to come later this month.
This show ‘will turn Hare Krishna into a bad-boy’!
FOUR WEEKS UNTIL CINDERELLA HAS A BALL AT THE EPSTEIN THEATRE
Emmerdale’s Sammy Winward Heads All-Star Cast
There are just four weeks left until Epstein Entertainments’ debut panto, Cinderella arrives at The Epstein Theatre, Liverpool from Friday 6 December to Sunday 5 January 2020.
Emmerdale’s Sammy Winward leads the star-studded cast as Cinderella, the beautiful girl reduced to a life of servitude by her villainous, ugly stepsisters – played by Benidorm’s Crissy Rock and Brookside’s Sarah White.
Cinderella’s life may be about to change when an invitation to a grand ball at the palace arrives – but not if her two siblings have their way. Helping to thwart their wicked plans are Cinderella’s good friend Buttons, played by the hilarious Lewis Devine, and the Good Fairy, played by Samantha Palin.
Shameless’ Warren Donnelly as Dandini and Andrew Geater as Prince Charming complete the star line-up – with Andrew coming fresh from his role as the Pharoah in the UK touring version of Bill Kenwright’s production of Joseph and the Amazing Technicolor Dreamcoat
Producer Chantelle Nolan said: “We can’t wait to bring spectacular debut panto to Liverpool. We’ve got a truly magical tale, featuring an awesome, interactive 3D scenethat will make the action jump off the stage. We can promise a festive extravaganza and promise our audiences that you are guaranteed to have a ball!”
Will Cinderella become the belle of the ball? Will she meet the handsome prince and what will happen at the stroke of midnight? Expect enchanted pumpkins, glass slippers, a sparkling fairy-tale carriage. Epstein Entertainments’ version of this classic tale has something for the whole family.
Be sure to book your tickets early and you shall go to the ball!
LISTING INFORMATION
Cinderella
Date: Fri 6 Dec ’19 – Sun 5 Jan ‘20 Time: Various Times
Tickets: From £11
To book tickets please call 0844 888 4411* or go online at www.epsteinliverpool.co.uk * or in person at The Epstein Theatre Box Office from 12pm – 6pm, Monday – Saturday.
*Subject to booking fee. All prices include a £1 per ticket venue restoration levy
GRAND OPERA HOUSE YORK IS LOOKING FOR SOME BUSKERS!
Win a chance to play in the bars of the Grand Opera House York during the run of ONCE The Musical in February 2020. ONCE is an uplifting story of a part-time Dublin guitarist busker.
To enter, simply video yourself busking a song from the musical ‘Once’ and Post on Facebook, Twitter or Instagram, tag the Grand Opera
House and use hashtag #BuskOnceYork. Three fabulous buskers (soloists or bands) will be selected to entertain our audience during the week. There will also be a cash prize for the winners.
Closing date: Friday 13 December 2019
Once comes to York on Monday 3 February 2020 and runs until Saturday 8 February 2020, tickets from £13 from box office on 0844 871 3024 or online at www.atgtickets.com/York
The Delights of Dogs and the Problems of People and Lullabies for the Lost by Rosalind Blessed Old Red Lion Theatre, 418 St John Street, London, EC1V 4NJ Tuesday 7th January – Saturday 1st February 2020
With her two self-penned plays, Rosalind Blessed returns to the stage with a family affair as she performs alongside her mother, Hildegard Neil, with her father, Brian Blessed, as executive producer. Shedding light on what we often keep hidden from the world, The Delights of Dogs and the Problems of People and Lullabies for the Lost will be performed in rep throughout January at the Old Red Lion Theatre.
The Delights of Dogs and The Problems of People is a study of domestic abuse. It asks what causes a mind to unravel and why we don’t recognise the dangers lurking under our own roofs until it’s too late. This is not a story of a monster and a victim – life is not that simple. Performed by Duncan Wilkins (Romeo and Juliet, MokitaGrit) and Rosalind Blessed (Octavia, RSC Barbican) and directed by Caroline Devlin (King Lear, Guildford Shakespeare Company), the production holds dear the pure love of a dog and an owner even as human relationships become destructive.
Bound together by a discussion of common yet devastating issues, it will be performed alongside Lullabies for the Lost. Eight souls come together to share their secret stories as they desperately try to escape their self-created limbo. Looking at modern mental health and exploring depression, social anxiety, childlessness, hoarding and eating disorders, Lullabies for the Lost remains full of humour and ultimately hope, especially when there’s a helping paw to hold. Directed by Zoe Ford Burnett (Associate Director on The Lehman Trilogy, London and New York), it will star also Duncan Wilkins and Rosalind Blessed, alongside Kate Tydman (Top Girls, National Theatre), Helen Bang (Dancing with the Devil, Sadler’s Wells), Hildegard Neil (Antony and Cleopatra, Folio Films), Liam Mulvey (Kingsglaive, Square Enix), Nick Murphy (The Black Veil, UK tour), Chris Porter (Pressure, UK tour and Park Theatre) and Chris Pybus (Towards Zero, Mill at Sonning).
Both productions explore Blessed’s own personal experience. She writes openly, encouraging the audience to be honest with stories of their own mental health. These plays teach us to remember that there is hope and we are all in this together. Although some harrowing topics are addressed, they are full of laughter and the brightness of humanity.
Both are also united in their display of a dog’s love as a redemptive force. Dogs have been a profound help in stopping Blessed from going over the edge; they are shown to be vitally important in providing non-judgemental love when the stability of our mental health waivers.
Rosalind Blessed comments, In an increasingly isolated society awash with false images and glamorised stories, it’s so easy to imagine that you are alone. I wrote The Delights of Dogs and the Problems of People as a person with a hell of a lot of problems; writing it left me feeling that perhaps it was not my fault after all. In Lullabies for the Lost, I opened up about my mental health and by treating the subject matter with honesty and an irreverent humour, it opened a conversation with the audience. You are not wrong. You are not broken. And you are not alone.
I think that The Delights of Dogs and the Problems of People should continue from here to be shown across the country (★★★★★ London Theatre 1 on The Delights of Dogs and the Problems of People).
While these plays hold an unflinching eye on people’s ‘private battles’, they are always insightful and never devoid of hope. Human beings are ‘messy’ at the best of times. These plays show we are more fragile and have more in common with each other than we’d like to think. (★★★★★ Breaking the Fourth Wall on Lullabies for the Lost).
Say goodbye to Bah! Humbug and get into the festive spirit with Pick Me Up’s big winter show of 2019 – Scrooge The Musical.
Based on Charles Dickens’ classic Christmas Carol, Scrooge tells the tale of old miser Ebeneezer on the night he’s visited by the ghosts of Christmas Past, Present and Yet To Come.
Can he be turned from sourpuss to saint? What will happen to Tiny Tim? Will everyone have a merry Christmas after all? Come and find out in this all-singing, all-dancing (all-flying!) musical for the whole family.
Bricusse first adapted A Christmas Carol for the 1970 film musical Scrooge! starring Albert Finney. He was nominated for an Academy Award for the score and the song Thank You Very Much.
Mark Hird (whose previous Pick Me Up roles include Captain Mainwaring in Dad’s Army, Colonel Pickering in My Fair Lady and Uncle Fester in The Addams Family) plays Scrooge, Rory Mulvihill (Henry Higgins in My Fair Lady, Sergeant Wilson in Dad’s Army and Captain Teri Dennis in Privates on Parade) is the jolly Ghost of Christmas Present, and Alan Park plays Scrooge’s long-suffering clerk Bob Cratchit.
The show is directed by Robert Readman, choreography is by Iain Harvey, and the musical director is Sam Johnson.
Grand Opera House York November 26-December 1. Matinees on Saturday and Sunday.
This achingly beautiful production of Arthur Miller’s timeless classic delivers three hours of theatrical bliss.
After chasing the American Dream all his life, Willy Loman’s career and mind are crumbling, but his loving and fiercely loyal wife Linda tries to keep him anchored and calm. Having the Lomans as an African American family adds many undercurrents to the story, most noticeably when Willy and his sons are shown to a table in the back of the restaurant “for privacy” and making Willy’s scene with his young boss Howard even more excruciating.
Wendell Pierce is devastating as Willy – in turns pitiful, bullying, puppyish and discomforting. Willy’s stubborn clinging to the notion that a man’s success is measured by his wealth and popularity, while realising that he has neither, is shown effortlessly in every expression and every movement Pierce makes. Sharon D. Clarke is passionate and heart-breaking as Linda, and the two actors’ onstage chemistry is mesmerising. Sope Dirisu captures Biff’s self-loathing and disappointment brilliantly in stark contrast to the cocky hero-worshipping football star in Willy’s memories and Natey Jones is very funny as wannabe playboy Happy.
Femi Temowo’s jazz and blues infused music imbues the play with a languid but relentless drive towards tragedy, and directors Marianne Elliott and Miranda Cromwell deft touches give the story a beautiful rhythm. Anna Fleischle’s inspired design illustrates Willy’s torment, with windows, doors and furniture hanging over his head in the house that he still doesn’t own. Willy’s hallucinations of happy memories are all brightly lit and coloured while his present reality is drab and grey, and the sound and lighting, capturing instants like an old snapshot or recording create a sensory overload that can sometimes make the audience wince as much as Willy.
This magnificent production is unmissable, and Pierce and Clarke’s sublime performances are simply the best you’ll see in the West End.
