Park Theatre 1st -24th June.  Reviewed By Jessica Brady 

I was always told ‘Beauty is in the eye of the beholder’, but as more modern idea’s of what beauty truly is are at the forefront of most magazines, TV shows and even theatre, it’s hard to know if we as average bodied, non air brushed people are in fact classed as beautiful anymore. Do we succeed if we are not visually appealing to the people that ‘matter’? The Ugly One delves into a world that isn’t too far away from the one we live in now to explore that very question.

The story is focused around Lette [played by Charlie Dorfman] a clever engineer who has all the brains to invent and produce revolutionary things in his line of work and even the charisma to present them. However Lette’s boss, Scheffler [played by T’nia Miller] has recruited Lette’s young and attractive assistant Karlmann [played by Arian Nik] to present the newest invention and stay in a luxurious resort to top it off. Lette is obviously very put out by this and demands to know why he isn’t going to present his work, thus plays the awkward conversation where his boss tells him he is too ugly to do it. Outraged and horrified, Lette goes home to his wife Fanny [played by Indra Ové] to seek comfort but his wife tells him the same thing leaving Lette dejected and with only one real option, surgery. Lette goes under the knife and becomes completely transformed into a mega hunk and becomes more successful, arrogant and begins to take everything for granted including his job and wife. Lette becomes a star and the face that everyone wants, literally, as he has attained a level of beauty now that people associate with success on every level, so people everywhere begin to get the exact same face as him leading to somewhat desperate and bizarre consequences.

Buckland Theatre Company’s production of ‘The Ugly One’ has some very dark satire which at moments is laugh out loud funny but gloriously uncomfortable too which is just as good sometimes. I particularly enjoyed the surgery section of the piece which was demonstrated with a soundscape of a smoothie being made; the sounds alone were enough to give the visual idea without actually having to see a spot of blood and were cleverly done. All four actors were impeccable with their comedy timing and often turned to the audience for little in jokes which in a fairly intimate setting was a nice touch.

The staging was simple but effective, a platform in the centre of the arena theatre setting which images and videos were projected onto it from above. The use of a live recording camera projecting what footage it was getting onto the stage was a great tool that I wish they could have used more of. Costume was basic and represented the characters well until multi-rolling occurred, there was no change of costume but a change in characterisation and a slight lighting state change which at times left the action a little confused as to who was who.

Overall I felt the piece was executed well but I didn’t come out feeling anything had been resolved by the end of the play. The ending is a little bizarre and went in a direction that wasn’t what I had expected, however the performances were great and in particular Arian Nik who makes an excellent professional debut in this.

Despite feeling a little baffled at the end [Which could have been the desired effect, I don’t want to give too much away] the play definitely made me think about identity, beauty standards and what it takes to be successful. The scary prospect that this play tackles is on its way to becoming a reality if it hasn’t hit us already and that on reflection makes me feel quite sad and worried but this is why plays like The Ugly One are important. Go be entertained, challenged, cringed and recognise that this isn’t so far away from the truth of the world today but I still believe beauty is skin deep and its what’s underneath that counts and leads to the kind of success I strive for.

 

 

Manchester Opera House

8 September 2017 – 30 September 2017

 

Sheffield Lyceum Theatre

4 October 2017 – 14 October 2017

 

Bradford Alhambra Theatre

17 October 2017 – 28 October 2017

 

Southampton Mayflower Theatre

31 October 2017 – 11 November 2017

 

Llandudno Venue Cymru

14 November 2017 – 25 November 2017

 

Stoke Regent Theatre

28 November 2017 – 9 December 2017

 

Cardiff Wales Millennium Centre

9 January 2018 – 20 January 2018

 

Liverpool Empire Theatre

23 January 2018 – 3 February 2018

 

Norwich Theatre Royal

6 February 2018 – 17 February 2018

 

Canterbury Marlowe Theatre

20 February 2018 – 3 March 2018

 

Hull New Theatre

6 March 2018 – 17 March 2018

 

Leeds Grand Theatre

20 March 2018 – 31 March 2018

 

Newcastle Theatre Royal

3 April 2018 – 14 April 2018

 

Bristol Hippodrome

17 April 2018 – 28 April 2018

 

Birmingham Hippodrome

1 May 2018 – 12 May 2018

 

Plymouth Theatre Royal

15 May 2018 – 26 May 2018

 

Northampton Royal & Derngate

29 May 2018 – 9 June 2018

 

Nottingham Theatre Royal

12 June 2018 – 23 June 2018

 

Glasgow King’s Theatre

26 June 2018 – 7 July 2018

 

Edinburgh Playhouse

10 July 2018 – 14 July 2018

Southwark Playhouse 7 June – 8 July.  Reviewed by Claire Roderick

The London premiere of Working has a stellar pedigree, crammed full of songs by prize winning songwriters (James Taylor, Stephen Schwartz, Mary Rodgers, Craig Carnelia, Micki Grant and Lin-Manuel Miranda), and performed by a dream cast with gorgeous voices. Based on Studs Terkel’s 1974 book compiling the oral histories of American workers, and with additional songs after new interviews reflected the 21st century workplace, the cast play multiple characters discussing their jobs and life.

The monologues are acted with a realistic passion, and are listened to with wide-eyed admiration or sympathy by the six young performers making their professional debut. You wouldn’t realise if it hadn’t been pointed out to you, as their dance moves and characterisation are wonderful. These guys are obviously having the time of their lives, and making the most of a golden opportunity to learn from some of the best in the business. This idea of the next generation learning and striving for more is a theme that builds momentum throughout the show, with the female cast belting out “Cleanin’ Women”, and Peter Polycarpou breaking your heart with a sublime version of Stephen Schwartz’s “Fathers and Sons”.

Polycarpou should come with a health warning – that man can pull on your heartstrings with just one note. His rendition of “Joe”, about a widowed pensioner describing his empty life is a masterclass in musical acting – nuanced and brilliantly observed. Gillian Bevan raises the roof with an energetic and hysterical performance of “It’s an Art” as a waitress that can only be described as the anti-Mrs Overall. Dean Chisnall brings a purity and dignity to “The Mason” that will give you goose bumps, Siubhan Harrison does the same with “Millwork”, and Liam Tamne is simply adorable as the fast-food worker singing “Delivery”. Tamne and Harrison’s duet “A Very Good Day” is another song that will get your bottom lip quivering – sung beautifully by two low paid care workers looking after other people’s families to support their own. Krysten Cummings is equally impressive in the high octane and slower numbers, a gorgeous voice and exquisite body language differentiating each character.

The stories and characters are fascinating, some funny, some poignant, but all having something important to say about life. Luke Sheppard has created a beautifully framed and wonderfully uplifting, emotional show, with Fabian Aloise’s energetic choreography a perfect match for the sublime music. There isn’t a dud song or any filler in Working, just sheer class throughout. A must see.

Presented by Theatre Royal Bath Productions and the James Grant Group

Stepping Out

 

·         Last chance to see Amanda Holden, Tracy-Ann Oberman, Natalie Casey, Nicola Stephenson and Josefina Gabrielle Stepping Out in Richard Harris’s award-winning comedy.

 

·         Vaudeville Theatre, London until 17 June. www.steppingoutplay.com

 

Last chance to see Amanda Holden, Tracy-Ann Oberman, Natalie Casey, Nicola Stephensonand Josefina Gabrielle in heart-warming comedy Stepping Out which ends its limited run at the Vaudelville Theatre on Saturday 17 June.

Directed by Maria Friedman, this brand new staging of Richard Harris‘s award-winning play also features Judith Barker, Jessica-Alice McCluskey, Sandra Marvin and Dominic Rowan withJanet Behan, Suzy Bloom, Emma Hook, Marcia Mantack, Katie Verner and Nick Warnford.

Stepping Out charts the lives of seven women and one man attempting to tap their troubles away at a weekly dancing class. Initially all thumbs and left feet, the group is just getting to grips with the basics when they are asked to take part in a charity gala. Over the course of several months we meet the group, and all of them have a story to tell. There’s perfectionist Vera, mouthy Maxine and uptight Andy, bubbly Sylvia and shy Dorothy, eager Lynne and cheerful Rose, and, of course, Geoffrey. At the piano is the dour Mrs Fraser and spurring them all on, the ever-patient Mavis.

This uplifting comedy originally premiered in the West End in 1984 starring Barbara Ferris and Marcia Warren, winning the prestigious Evening Standard Award for Best Comedy and enjoying extended runs both in the West End and on Broadway. Stepping Out has also been made into a musical, which became a film in 1991, starring Julie Walters, Liza Minnelli and Shelley Winters.

Presented by Theatre Royal Bath Productions and the James Grant Group, Stepping Out is directed by Maria Friedman, designed by Robert Jones and choreographed by Tim Jacksonwith lighting design by Peter Mumford, sound design by Gregory Clarke and orchestrations byChristopher Walker.

 

LISTINGS

VAUDEVILLE THEATRE, LONDON

404 Strand, London WC2R 0NH

Website: www.steppingoutplay.com
Twitter: @steppingout
Facebook: stepping out
Instagram: @steppingoutplay

Box Office: 0330 333 4814

Groups: 0330 333 4817

Access: 0330 333 4815

Ticket prices from £20

THE WHO’S TOMMY COMES TO THE CRUCIBLE WITH EXCLUSIVE

NEW SONGS FROM PETE TOWNSHEND

 

Iconic rock opera Tommy visits the Crucible from Thursday 22 June – Saturday 1 July, featuring two new songs written by legendary lead songwriter of The Who, Pete Townshend.

 

The Who’s Tommy has entertained and intrigued audiences for more than 40 years.  It tells the story of young Tommy who witnesses the murder of his father at the hands of his mother’s lover.  He is so traumatised that he chooses to stop communicating with the outside world. Growing up in post WWII England, he suffers abuse from relatives and others in the wider community but on reaching adolescence, Tommy’s life begins to change when he finds salvation in playing pinball.

Original Tommy cast member Peter Straker opens the show with a new version of Amazing Journey, returning in Act Two with a new torch song, adding to an already epic score includingTommy Can You Hear Me, I’m Free, See Me, Feel Me and Pinball Wizard.

Known across TV, theatre and music, Peter Straker started his stage career as Hud in the original London production of Hair before taking on the role of the Narrator in Tommy in 1979.  He notably worked with Freddie Mercury on two solo albums and more recently, his hit solo show Peter Straker Sings Brel played the Famous Spiegeltent at the Edinburgh Festival Fringe.

Peter is joined by actor, writer and director Garry Robson who takes on the controversial role of Uncle Ernie. Tommy’s mother, Mrs Walker, is played by CBeebies Magic Hands presenter Donna Mullings, and Max Runham (A Pacifist’s Guide to the War on Cancer) takes on the role of Captain Walker. The role of Tommy is taken by William Grint, who is joined by Amy Trigg as Sally Simpson, Lukus Alexander as Cousin Kevin, Alim Jayda as the Lover, and an ensemble of fourteen performers and musicians.

 

Tickets for The Who’s Tommy can be purchased from Sheffield Theatres’ Box Office in-person, by phone on 0114 249 6000 or online at sheffieldtheatres.co.uk and are priced from £15.00. 

CASTING ANNOUNCED FOR GRAEAE’S CULT HIT MUSICAL REASONS TO BE CHEERFUL

• Inclusive cast of 14 actors & musicians announced for fully accessible punk musicalReasons to be Cheerful
• Protest songs for today’s political climate to be submitted across the country
• Part gig, part play, Reasons to be Cheerful celebrates the infectious music of Ian Dury and the Blockheads in this bold and jubilant coming of age tale
• Seven venue UK tour opening with associate producers Belgrade Theatre Coventry in September 2017
• All performances incorporate creative British Sign Language, audio description and captioning

@R2BCheerful @graeae
#Reasons17

Pioneering disabled-led theatre company Graeae has announced the full cast for the upcoming tour of their acclaimed musical Reasons to be Cheerful, which will hit the road one final time this autumn. The extraordinary wit and wisdom of Ian Dury and the Blockheads’ music and lyrics will be brought to life by an inclusive cast of 14 actors and musicians. Graeae’s Artistic Director, Jenny Sealey will direct a mix of performers who originated the show in 2010, those who joined the cast subsequently and newcomers to Reasons to be Cheerful. Beth Hinton-Lever will play Janine in her Graeae debut, while Gerard McDermott (Blood Wedding and Blasted for Graeae), Joey Hickman (The Threepenny Opera for x) and Max Runham (Captain Walker in Tommy for Ramps on the Moon) will also join the company.

The parallels with the show’s 1979 setting are clear. Today, as nationwide cuts continue to impact on the lives of d/Deaf and disabled people, Graeae puts them centre stage. As a prominent disabled activist, Ian Dury was a patron and staunch supporter of Graeae. Protest songs are being written all across the country as part of an extensive community engagement programme inviting original songs for a new generation to be included in the tour.

Reprising their roles from the hugely successful 2010 and 2012 tours, Stephen Lloyd will play Vinnie alongside Stephen Collins as Colin, Dan McGowan as Nick/Dave, Karen Spicer as Pat,Wayne ‘Pickles’ Norman as Pickles and Jude Mahon in the role of Debbie. With John Kelly on lead vocals, the on-stage band is completed by Paul Sirett (Guitar, also writer), Nixon Rosembert (Bass) and Paula Stanbridge-Faircloth (Drums).

This joyful and defiant production will visit seven regions around the country, kicking off at the Belgrade, Coventry, also associate producers, on Friday 8 September before touring to Derby, Southampton, Ipswich, Leeds, Liverpool and ending with a two week run at Theatre Royal, Stratford East in London from 24 October – 4 November. Press night is 13 September at Derby Theatre.

First seen in 2010, Reasons to be Cheerful has gone on to play at theatres and festivals across the UK, in stadiums around the world, and even in front of HRH The Queen. “Spasticus Autisticus”, the Ian Dury-penned disability rights anthem which features in the show, was performed by the cast at the London 2012 Paralympic Games Opening Ceremony and, despite being banned by the BBC in 1981, broadcast worldwide in front of an audience of over 1 billion.

This coming of age tale rejoices in the infectious and enduring music of Ian Dury and the Blockheads. Featuring stone-cold classic songs including Hit Me With Your Rhythm Stick; Plaistow Patricia; Sex and Drugs and Rock and Roll; Sweet Gene Vincent; What A Waste and the titular Reasons to be Cheerful (Part 3), this show is loud, bold and jubilant.

Using Graeae’s signature theatrical language, all performances of Reasons to be Cheerful seamlessly include British Sign Language, audio description and creative captioning.

Jenny Sealey, Artistic Director at Graeae Theatre Company, said: ‘Directing Reasons to be Cheerful remains one of my career highlights. I am delighted that we’re not only reuniting many of the original cast members, but also welcoming the gloriously talented Joey Hickman, Gerard McDermott and Max Runham to the company. We are always aiming to work with Deaf or disabled artists new to Graeae, so are thrilled that Beth Hinton-Lever will also be joining the family. We will be well and truly raising the roof up and down the country with the brilliantly anarchic music of Ian Dury and the Blockheads, whose punk sentiment speaks louder than ever as we fight against the brutal cuts that Deaf and disabled people, and millions of others, have faced in recent years.’

Hamish Glen, Artistic Director for the Belgrade Theatre Coventry (associate producers) said,‘It’s a pleasure to be supporting Graeae with their revival of Reasons to be Cheerful, and to be bringing this acclaimed punk rock musical to new audiences across the UK, starting here in Coventry. Jenny Sealey and her team are creating great theatre that is accessible to all, and the Belgrade is very proud be a part of that. Ian Dury and the Blockheads produced an amazing catalogue of music, which you will hear in this show, but importantly, he also challenged the way we think and talk about disability. Reasons to be Cheerful continues his legacy of showing a fighting rebel spirit.’

New cast member Gerard McDermott said: ‘I was bowled over by punk rock when it hit sleepy Scarborough, swapped my flairs for drainpipes and pogo danced with the best. The music of Ian Dury was storytelling, it was jazz; music hall; folk; rock and roll and scintillating word play. The thought of standing on stage and singing the songs of such a talented man, mentor and role model is spine tingling’

New cast member Max Runham said: ‘Working with Graeae never grows old, hearing people’s reactions and seeing the change we’re making on people’s perceptions of disability. Having done a one-off gig version of Reasons to be Cheerful I’m incredibly excited to be part of it. I can’t wait to get out there and sweat myself silly.’

New cast member Joey Hickman said: ‘I saw Reasons to Be Cheerful at the Hackney Empire back in 2012 – I loved it then and fell in love with Graeae’s style. Two years later, I had the pleasure of working with Graeae in their production of The Threepenny Opera and now I can’t wait to be involved in the 2017 tour of Reasons To Be Cheerful’

New cast member Beth Hinton-Lever said: ‘I’ve been an avid fan of  Graeae since I saw The Solid Life of Sugar Water and so words really can’t express how thrilled I am to be joining the cast of Reasons to be Cheerful! I already feel excited, overwhelmed, and empowered to be joining this family. Bring on the Dr. Martens!’

All members of the cast and creative team are available for interview. Graeae patron Mat Fraser, who was in the original 2010 company and has recently played the role of Richard III for Hull Truck Theatre, is also available for an interview.

This tour is supported by Arts Council England through their Strategic Touring Fund.

Twitter:@R2BCheerful @graeae
#Reasons17
Facebook: Reasons to be Cheerful – the Musical
YouTube: GraeaeTheatreCompany
Trailer: https://vimeo.com/217014732

Graeae’s media language guide can be viewed here

Stephen Lloyd (Vinnie) is Artistic Director of Amplified Theatre, an inclusive theatre company that focuses on merging live theatre with alternative music genres. His theatre credits include: Henry V (UK Tour), The Deranged Marriage (Watford Palace/West Yorkshire Playhouse/Rifco Arts), Reasons To Be Cheerful (UK Tour/Graeae/New Wolsey/Theatre Royal, Stratford East),, Come Dancing, Red Riding Hood and Cinderella (Theatre Royal, Stratford East) Film and TV credits include: Boycie in Rock and Chips, Holby City, Silent Witness, Gracie! (BBC), Paralympics Opening Ceremony (Channel 4), Seat 25 (Red Kite Films).

 

Stephen Collins (Colin) is an actor, workshop facilitator and recently debut as a director & Associate Artist for Amplified Theatre.  His theatre credits include Summit (Fuel Theatre),Nodus Tollens (DH Ensemble), The Government Inspector (Ramps on the Moon/Birmingham Rep), Threeepenny Opera, The Iron Man (Graeae), Shakespeare Globe’s Love’s Labour’s Lost & Red Flags (Deafinitely Theatre), Hansel & Gretel (Red Earth) & The Winter’s Tale (Taking Flight).

 

Beth Hinton-Lever (Janine) has recently graduated from Mountview Academy of Theatre Arts with an MA in Performance (Musical Theatre). Her choreography of Jason Robert Brown’s Paradewon her the Award for Best Choreography at the National Student Drama Festival, which started her professional performing career. Credits include: Mona/Georgina in Dancehall (CAST Theatre), Princess Aurora/Rosie in Sleeping Beauty (CAST Theatre), and Clara in Welfare (Arts Theatre).

 

Dan McGowan (Nick/Dave) recently became Academy Director of Hijinx Theatre, overseeing training courses across Wales for adult actors with learning disabilities. Previous roles includeMeet Fred (Hijinx Theatre), Our House (Garrick Theatre). His main focus is in writing and directing which has led to the short films Boat (nominated for Best Welsh Short at Cardiff Independent Film Festival, Best Short at Madrid International Festival 2017l), Triple Word Scoreand the recently-completed The Stand, plus the Unlimited-commissioned online comedyFlatmates.

 

Gerard McDermott’s (Bill/Bobby) recent theatre credits include; Merry Wives (Northern Broadsides), Blood Wedding (Graeae), Bunny’s Vendetta (Blue Eagle), Being Tommy Cooper(The Old Red Lion), Fool for Love (The Riverside Studios) and Calendar Girls (Tour/Noel Coward Theatre). For Graeae he has appeared in Blasted (Northern Broadsides). Television and film credits include; Doctors, EastEnders, Downton Abbey (BBC), and Eyes and Prize (2017).

 

Karen Spicer (Pat) has played a variety of roles on screen in Coronation Street (ITV), Emmerdale (ITV), Doctors (BBC) and Clocking off (Channel 4).On stage she has worked with Graeae, Trestle, Red Ladder, Theatre Centre, Roundabout, Quick Silver, Fittings Multimedia, The Nuffield Theatre Southampton, Interplay, and Polka.

 

Joey Hickman (Uncle Harry) trained as a musical director his MD, assistant MD, band leader & arranger credits include: The Comedy About A Bank Robbery (Mischief Theatre & Criterion Theatre, Piccadilly Circus); Oliver! (Watermill Theatre); Three Minute Heroes (Belgrade Theatre); The Threepenny Opera (Graeae Theatre/UK Tour); Our House (New Wolsey Theatre/UK Tour); Dreamboats and Petticoats (BKL Playhouse Theatre, West End) and Assassins(Rose Bruford). As an actor, Joey has performed in many productions across the country including: Thisbe (Door Ajar Theatre); Cinderella: A Fairytale (Tobacco Factory & Traveling Light) and Made In Dagenham (Queen’s Theatre, Hornchurch).).

John Kelly (Lead Vocals) has completed five UK tours as well as many international performances.  John is Artistic Director of DaisyFest, National Associate Artist for Drake Music, musician with circus company ExtraOrdinary Bodies and is Policy & Strategy manager at Merton Centre For Independent Living. John sang Spasticus Autisticus, live at the opening ceremony of the Paralympic Games in London, and has also guested with the Blockheads.

Nixon Rosembert (Bass) is an accomplished musician who has performed/recorded either in the recording studio, on television, or live with Mariah Carey, Ronnie Laws (EWF), Angie Brown, Pete Brown, Reasons To Be Cheerful (band), The Honeyz, Sam Moore (Sam & Dave), Ruby Turner, Jools Holland, Juliet Roberts, Billy Paul, ABC, Cleveland Watkiss, Emmett North Jnr, Clem Curtis & The Foundations and many more. He has written music for theatre and toured with theatre companies as a musician and actor.

 

Paula Stanbridge-Faircloth (Drums) has been playing the drums for over two decades. Faircloth has performed at intricate math-rock polyrhythms in Quadrilles, the opening ceremony of the Paralympic Games, toured with Reasons to be Cheerful and Psycho Delia, in addition to forming a Kate Bush tribute band.

 

Max Runham (Percussion) has appeared in Graeae’s production of The Threepenny Opera, The Funfair (HOME), The Family Way (Bolton Octagon), Gods are fallen and all safety gone (Camden People’s Theatre) and most recently, Max made his debut with The National Theatre and Complicite in A Pacifist’s Guide to The War on Cancer. Max has recently performed in Ramps on the Moon’s production of The Who’s Tommy.

 

Jude Mahon (Debbie (SLI) trained as an Actor at Mountview Academy of Theatre Arts and as a British Sign Language Interpreter at Wolverhampton University. These two skills have worked together in numerous roles on television and in theatre. As a Performance Interpreter Jude won The Best Supporting Actress award from Nottingham Playhouse for her role in Graeae’s The Threepenny Opera.

 

Wayne ‘Pickles’ Norman (Pickles) has been working professionally for forty years; his first job was the Artful Dodger in the West End production of Oliver! in 1977. Television credits include;Terry and June, Dr Who, Eastenders, Grange Hill, Inspector Morse and The Harry Enfield Show(BBC). Theatre work includes The Merry Wives of Waltham, Welcome Home, The Coming of Gowf, Afters and Counting the Ways. Pickles has been working for Graeae for 15 years as an access worker and also an audio describer appearing in their hit shows Reasons To Be Cheerful, The Iron Man and The Threepenny Opera.

LISTINGS

Reasons to be Cheerful
By Paul Sirrett
Director Jenny Sealey
Lighting Ian Scott
Sound Lewis Gibson
Choreography Mark Smith
Musical Director Joey Hickman
Casting Sarah Hughes CDG

Friday 8 & Saturday 9 September
Belgrade Theatre Coventry
http://www.belgrade.co.uk/
024 7655 3055

Tuesday 12 – Saturday 16 September
Derby Theatre
https://www.derbytheatre.co.uk/
01332 59 39 39
Press night: 13 September

Tuesday 26 – Saturday 30 September
Nuffield Theatre, Southampton
https://www.nstheatres.co.uk/
023 8067 1771

Tuesday 3 – Saturday 7 October
New Wolsey Theatre, Ipswich
https://www.wolseytheatre.co.uk/
01473 295900

Tuesday 10 – Saturday 14 October
West Yorkshire Playhouse, Leeds
https://www.wyp.org.uk/
0113 213 7700
On Sale Soon

Tuesday 17 – Saturday 21 October
Liverpool Everyman
https://www.everymanplayhouse.com/
0151 709 4776

Tuesday 24 October – Saturday 4 November
Theatre Royal Stratford East
http://www.stratfordeast.com/
020 8534 0310

Press night: 24 October

Age recommendation 14+
All performances include creative British Sign Language, captioning and audio description.

Bunker Theatre – 6th -17th June.  Reviewed By Jessica Brady 

Approaching the Bunker Theatre was a little sombre in light of Saturday night’s terror attacks, walking through London Bridge and Borough the streets were busy but the effects of what happened were still evident. I want to applaud Pharmacy Theatre from the start for carrying on in such a brilliant fashion despite having to cancel a preview and less time to set build, the results were still outstanding, thank you.

The Enchanted is based on the novel of the same name written by Rene Denfield and has been cleverly adapted by Joanna and Connie Treves into a contemporary masterpiece. The plot is about death row in America and how men sit isolated in prison awaiting execution. The story focuses around Arden [played by Corey Montague-Sholay] who also serves as the narrator figure of the piece, and his time in ‘the dungeon’ and his poetic thoughts on life inside. Arden talks about another inmate on death row, York [Played by Hunter Bishop]. ‘The Lady’ [played by Jade Ogugua] who is tirelessly trying to save York from execution by investigating his past and trying to connect with him, but it is very difficult to save someone who doesn’t want to be saved. Arden is on stage the whole time as a constant reminder that time for him stands still even though the world outside carries on. This play gets up close and personal with what it means to be evil and if redemption is something that can save you.

The cast are incredible and each actor gives a gritty and honest performance to a difficult subject matter. The post modern feel meant that physical theatre, puppetry and ensemble work were also required from this group to produce this truly haunting play and again were performed to a brilliant standard.

I found each character portrayed had something interesting about it that made it very easy to be invested in them and I went on a journey that allowed me to be sucked into the dark world that was on stage. It’s very difficult to single out a particular performer but I must give a special mention to Liam Harkins and Georgina Morton who had several roles in the piece and performed them with great command and superb control which was very impressive, I couldn’t take my eyes off them.

The staging was simple, plain white with a mobile white plank that stretched across the stage and moved throughout. There is a light that comes down from a box above with a huge tree branch crawling out of it where the inmates would often be boxed into. The use of blue chalk drawing on the floor and walls was very effective in demonstrating settings, timelines and moods of the different scenes and was quite poignant in some scenes. The score composed by David McFarlane for this play is haunting and plays an integral part to this piece and compliments the action perfectly. The costume was very simple with plain greys and whites but to be honest the set and costume are not what you should go to see this play for, it’s the story, the characters and some incredibly powerful performances. Go and see The Enchanted to really be transported into a world you didn’t know existed.

Christopher D. Clegg presents

 

Miss Rosie Beaver in

Fantastic Beaver and Where to Find Her

A rock-magic-drag extravaganza

 

At the Underbelly Festival

On Tuesday 22 August at 7.45pm

 

 

Star of London Live’s Drag Queens of London, Miss Rosie Beaver heads to the Southbank this Summer with her debut solo show Fantastic Beaver and Where To Find Her, playing in the Spiegeltent at the Underbelly Festival on Tuesday 22 August.

 

An experimental entertainment extravaganza, Fantastic Beaver and Where To Find Her combines lash snapping magic, stand-up comedy and live rock n’ roll in a 60-minute cabaret like nothing else. Supported by a live band and her very own back up trio, The Beaverettes, let London’s premier drag queen take you on a journey you didn’t even know you wanted to go on.

 

Miss Rosie Beaver, a Lancashire lass, has been seen on the London drag and cabaret scene since 2003, headlining venues including Madame JoJo’s, The Black Cap, Summer Rites Festival and the main stage at London Pride. She is a Best Drag Act nominee at the London Cabaret Award, and star of London Live’s Drag Queens of London.

 

Rosie is the creation of Christopher D. Clegg, a theatre producer who has helmed hit productions Cool Rider Live (Apollo and Duchess Theatre), Betwixt! (Trafalgar Studios) andMiranda Sings! (Ambassadors Theatre). Chris also runs theatrical marketing start-up company 176 Flamingo Lane, which he co-founded.

 

‘Fast becoming the UK’s answer to RuPaul’

Attitude Teen

 

Fantastic Beaver and Where To Find Her is conceived and written by Christopher D. Cleggand directed by Stuart Saint.

 

Twitter @MissRosieBeaver

Facebook /MissRosieBeaver

  

LISTINGS

Tuesday 22 August 2017

UNDERBELLY FESTIVAL

Belvedere Road, Coach Park, London SE1 8XX

Performance: 7.45pm

Tickets: £12.50

Box Office: www.underbellyfestival.com | 0844 545 8252

Suitable for ages 15 and up

 

The Mayflower, Southampton – until 17th June 2107.  Reviewed by Karen Millington-Burnet

Wow…just wow! Sister Act is fantastic.  A high octane performance from a hugely talented and multi-skilled cast with a strong supporting crew and great story; we were blown away.

We arrived in Southampton to be greeted by a panoply of large, plastic, coloured snails; very imaginative, though the message was lost on us… Craig Revel Horwood’s message was not – Sister Act is a hugely impressive production and not to be missed – the snails can’t be!

What a cast:  Alexandra Burke’s Deloris was powerful and convincing with a fabulously strong voice and a great range. She bestrode the stage with huge confidence and talent – truly the Man of the Match; it is a mark of her mastery of her craft that she worked the performance with her co-stars with such assurance.  Karen Mann’s Mother Superior brought great sympathy to the stage with her sadness and emotional journey to conversion, though at one stage I did suspect Herbert Lom’s Inspector Dreyfus (of Pink Panther fame) had stepped onto the stage, such was her frustration at dealing with the burden of Deloris placed upon her, ostensibly to be tested by her God!  I couldn’t help feeling Aaron Lee Lambert’s Curtis undersold himself; he has a great voice and I would have loved to hear more from him.  However, Alice Stokoe’s Sister Mary Robert more than made up for this omission with a wonderful performance, singing and dancing her way into all our hearts with a great joie de vivre.  Joe Vetch’s Eddie took me by surprise; I wasn’t ready for his ability, from John Travolta to Patrick Swayze… thoroughly enjoyable.

I was captivated by the gyrating hip-work of Ricky Rojas, Samuel Morgan-Grahame and Sandy Grigelis; wonderfully camp and over the top comedy and a few scene-stealing moments. Over all, the cast blew me away: huge singing, performing and instrumental talent from almost the entire body… hugely impressive (though, just watch out where the violin bow goes if standing too close in the line-up!). How lovely to see so much of the instrumental music coming from the cast, underlining the talent which we get in Southampton time and time again. And, pleasingly, this Company “get” American accents. So many English actors end up with a Cook’s Tour of the mid-West; tonight they nailed it.

For once the Mayflower got the lighting just right and the scenery was just great: cunning, well drilled and beautifully presented. The sound in the Mayflower hasn’t got any better and the clarity of the cast gets lost in what I guess are ageing speakers; frustrating at best. At times it can be really good, but when it comes to more complicated arrangements the clarity just goes.

We sat in the Dress Circle this time and had a great view: I have really come to love the Mayflower theatre for it’s architecture, curiously (and unnecessarily?) convoluted passages and seating, but I am convinced the Stalls are better for immersing oneself in the performance.

All said and done, yet another great night out and top marks to the Mayflower, cast and crew….thank you; one of the best performances we have seen all year.

Grand Opera House York – until Saturday 10th June.  Reviewed by Michelle Richardson

The timeless classic has made its way off the page and onto the stage at York’s Grand Opera House.

Created by Jonathan Rockefeller, the critically acclaimed production to The Very Hungry Caterpillar Show features an impressive 75 amazing puppets, adapting four of Eric Carle’s stories, The Artist Who Painted a Blue Horse, Mister Seahorse, The Very Lonely Firefly and of course the Very Hungry Caterpillar.

I was asked if I would like to go along and review this show and take my grandson, yes I’m old enough to be a granny! My first thought was he was too young to take to the theatre. I’m glad to say that I was persuaded otherwise and I was proved wrong. It was actually my grandson’s first birthday when we went to see the show, and he wasn’t too young at all.

The performance is a riot of colour, which showcases 75 hand-crafted puppets, which fly, wiggle and jump through the different stories on the stage. We get to see paintings coming to life and we meet the red crocodile, the purple lion, the black polar bear, the multi coloured donkey, even though we guessed it was a zebra, amongst others, and that is just the first part of the story. Next, we are introduced to the very majestic, sparkly seahorses and various fish, swimming in the sea through the reeds. They all seem to speak with different accents, certainly made me chuckle. The next story is all about the very lonely firefly seeking other fire flies. There are so many false alarms before he is reunited with his friends.

The final piece is what everyone had been waiting for, the well loved title story of The Very Hungry Caterpillar. With the caterpillars arrival we see him eating more and more, until one day he is stuffed, goes into a catalyst and then turns into a most glorious butterfly.

The puppetry for the whole show was wonderful and amazing to see and had all the children captivated, including my grandson, well the majority of the time, who had no idea about any of the stories. It was just a shame that there were so many empty seat and not more children with their parents at the theatre to enjoy the show. At just under 60 minutes the show is great and a must for all youngsters.

Showing in York until Saturday 10th June.