BIRMINGHAM STAGE COMPANY ANNOUNCE LONDON RUN OF

DAVID WALLIAMS’ BILLIONAIRE BOY AT BLOOMSBURY THEATRE

Birmingham Stage Company presents

David Walliams’

BILLIONAIRE BOY

Adapted and Directed by Neal Foster

Designer: Jackie Trousdale; Lighting Designer: Jason Taylor; Sound Designer: Nick Sagar

Music: Jak Poore

Bloomsbury Theatre

13 December 2019 – 5 January 2020

Press performance: Thursday 19December at 7pm

UK Tour: September 2019 – November 2020

Birmingham Stage Company today announces its new production of Billionaire Boy will run at Bloomsbury Theatre as part of the previously announced UK tour. The production sees the company renew its collaboration with bestselling children’s author David Walliams, following the stage adaptations of Awful Auntie and the Olivier Award nominated Gangsta Granny. Billionaire Boy opens at Bloomsbury Theatre on 13 December and runs until 5 January as part of a UK tour.

Billionaire Boy tells the story of Joe Spud, who is twelve years old and the richest boy in the country. He has his own sports car, two crocodiles as pets and £100,000 a week pocket money. But what Joe doesn’t have is a friend. So he decides to leave his posh school and start at the local comp. But things don’t go as planned for Joe and life becomes a rollercoaster as he tries find what money can’t buy!

David Walliams, saidtoday, “I absolutely loved the BSC’s terrific productions of Gangsta Granny and Awful Auntie so I can’t wait to see their brand-new production of Billionaire Boy! It promises to be a brilliant show!”

Neal Foster added, “We are delighted to be working with David Walliams on his amazing story about a boy searching for friendship in a world where true relationships can be elusive and it’s fantastic to be bringing our third BSC/Walliams production to London for Christmas.”

David Walliams has become one of today’s most influential writers. Since the publication of his first novel, The Boy in the Dress (2008), illustrated by the iconic Sir Quentin Blake, David Walliams has celebrated more than ten years of writing success with global sales exceeding thirty-two million copies, and his books have been translated into fifty-three languages. His titles have spent 138 weeks (non-consecutive) at the top of the children’s charts – more than any other children’s author ever. He closed 2018 as the UK’s biggest-selling author for the second year running. In addition to his fiction, he has worked with Tony Ross on six picture books as well as three bestselling short-story collections, The World’s Worst Children.

Neal Foster is the adapter and director of Billionaire Boy. He is the Actor/Manager of Birmingham Stage Company which since its foundation in 1992 has staged over eighty productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for fourteen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including the Barmy Britain series seen in the West End, across the UK, and abroad – the latest instalment, Barmy Britain 4 returns to the West End this August. In addition, the world première of Tom Gates which he adapted with the author Liz Pichon is currently touring the country through to 2020. Billionaire Boy will be his third David Walliams stage show after Gangsta Granny and Awful Auntie.

Billionaire Boy is suitable for ages 5 +

Twitter:                @BillBoy_Live

Facebook:           birminghamstage

Billionaire Boy                                                                                                                                                  Listings

Bloomsbury Theatre – 15 Gordon Street, London, WC1H 0AH

13 December 2019 – 5 January 2020

Box Office: 020 3108 1000

https://www.thebloomsbury.com/event

UK Tour: September 2019 – November 2020

Full tour dates:www.billionaireboylive.co.uk

Park Theatre – until 13 July 2019

Reviewed by Claire Roderick

3***

Inspired by a plane crash that happened in her own mother’s Brooklyn neighbourhood in 1960, Meghan Kennedy’s family drama looks at the effect such a traumatic event could have on one Italian family. Father Nic (Robert Cavanah), belittled and frustrated at his lack of status in New York, takes his anger out on his wife Luda (Madeleine Worrall) and his three daughters Tina (Moira Goodwin), Vita (Georgia May Foote) and Francesca (Hannah Bristow). The first act ends with the plane crash and is crammed with background for the three sisters and Luda. Unfortunately, it is all very stereotypical and unrelentingly melodramatic, with characters using the loudest voice possible to talk at each other punctuated by mealtimes where Nic gets angry and shouts, accompanying each bitter sentence with a thump on the table. Luda becomes a caricature of the long-suffering Italian mama as the play progresses, and we find out that Tina left school early to work in a factory to help support the family, Vita is in a convent after attacking her father while protecting younger sister Francesca, and Francesca is planning on running away to France with her girlfriend.

As well as the death and destruction that affects the neighbourhood, Nic has an epiphany and a miraculous change of character in the second act, although this doesn’t last long. This is not explained, rather the script concentrates more on insults and grudges when there could be much more communicated to the audience by silence and gestures from the talented cast. Cavanah is most terrifying when he’s not spouting Nic’s hackneyed lines, while Bristow and Goodwin impress with their energetic but nuanced performances. In fact, the entire cast impresses, it’s just that the way the characters are written, they begin to blend into each other in their loud and never-ending misery.

It’s all just a bit too much, the theatrical equivalent of being force-fed 10 courses of pasta. There is an interesting and emotional story here, it’s just buried under layers of cliché, melodrama and onions.

King’s Head Theatre – until 6 July 2019

Reviewed by Claire Roderick

5*****

Fat Rascal’s Edinburgh hit loses none of its exuberant silliness at the King’s Head Theatre. The bonkers musical about the transformation of astoundingly average Bryony Buckle into kick-ass feminist superhero Vulvarine is jam packed with slapstick humour and hilarious musical numbers. Robyn Grant’s book and lyrics (with Daniel Foxx) are full of callouts to misogynists and chauvinists, cramming many everyday annoyances like manspreading into the list of injustices that Vulvarine can put right. James Ringer-Beck’s music keeps everything upbeat, and the manic choreography is perfect.

Bryony’s boring live in High Wycombe, where nothing ever happens, consists of a dull job at the tax office, mooning over Orson Bloom and spending evenings with her cat Elton. Bryony and her friend Poppy are puzzled by the disappearance of the female workforce and the tampon tax funds into a mysterious account. As they begin to investigate, a visit to the doctor, an experimental hormone shot and a lightning strike result in Bryony developing superpowers. Bryony dons Lycra and a mask and becomes Vulvarine. Every superhero needs a supervillain to battle against, and Vulvarine has The Mansplainer, whose evil plan to pacify and subjugate womankind involves huge penis-shaped weapons – obviously!

The cast of 5 are all brilliant, with most playing multiple roles and producing regular belly laughs. Allie Munro holds the show together as Vulvarine with almost a jolly hockey sticks vibe. Robin Grant is a scream as The Mansplainer, camping it up in style, but also steals the show operating Elton the cat, creating hysteria as she sings his solo – Licking My Anus. As The Mansplainer’s wife Sonya, Steffan Rizzi ramps up his Welsh accent a treat to great comic effect, while Katie Wells as lovelorn Poppy and Jamie Mawson as Orson Bloom do their best to steal every scene they’re in.

Seriously silly and wonderfully wise, this madcap musical is unmissable.

Bristol Hippodrome – until 22 June 2019

Reviewed by Lucy Hitchcock

5***** because that’s the limit but it would be a million if I could!!!!!!!

Richard O’Brien’s cult classic Rocky Horror has beamed into Bristol for a limited time to allow you to do the Time Warp!

This classic sees an extremely talented cast including Kristian Lavercombe as ‘RiffRaff’, a role he has performed over 1400 times, Joanne Clifton and James Darch as our romantic leads Brad and Janet and Duncan James as ‘Frank’n’Furter’ to name a few; each and every member of this cast is extraordinary.

Narrated by Dom Joly, Rocky Horror is full of sex, fun, hilarity and heel offering the chance for the audience to heckle the cast to provide an interactive experience for all. Dom Joly is a perfect narrator, he handles and encourages the audience participation with ease and each night has an ad-lib with the audience when an answer he doesn’t expect is shouted out.

Kristian Lavercombe as RiffRaff is exceptional. His talent and incredible singing is not to be missed in this role and lends a performance that I can never get bored of. His comic timing is spot on and during the Over at the Frankenstein Place he gives the audience a glimpse of why he has been in the production over 1400 times. Lavercombe is an amazing actor, one that uplifts and holds the show to the standard it is through his acting of the highest calibre. He truly is a star and I cannot wait to return to the show to see him perform again. Together with Laura Harrison as his sister ‘Magenta’,this duo is a treat to watch. Their performances are in sync and with the talent that flows through them both, it is a wonder how they do it each night!

Joanne Clifton and James Darch as ‘Janet’ and ‘Brad’ had the perfect mix of romance and vulnerability and with a little hint of humour, we saw a great story unfold. They are both extremely talented and with show off pieces such as Toucha Touch Me and Once in a While we see the extent of their skill, providing a wonderful audience experience. 

Duncan James, as ‘Frank’n’Furter’ is superb. He absolutely melted into the role, creating a seamlessly sexy performance to tantalise your tastebuds and is a feast for the eyes and ears. James, with his platformed heels, fitted corset and flowing feather boa, pranced around the stage as if he was at home-it was a joy to see such a passion for the role he was playing and I forgot I was watching him; he really was ‘Frank’! Along with Callum Evans as our eponymous ‘Rocky’, this was quite the combo. Evans was completely fascinating as he backflipped, somersaulted and leapt across the stage with ease, making the majority of the audience weak in the knees, hoping he would pick them up!

This is by far, one of the best shows around at the minute and no amount of Stars could encourage you to go and see it! I have never been so entranced by a production before and with the current cast, this is THE one to watch and one you will remember-for a very long time.

Salisbury Playhouse – until 22 June 2019

Reviewed by Jo Gordon

5*****

Set in the neon hazy days of the early 1980’s Educating Rita tells the story of Rita, a hairdresser who wishes to broaden her knowledge and better herself. She enrols on an Open University course where she meets her new tutor Frank. Rita is witty, energetic and desperate to soak up all that Frank can teach her. Frank has failed to be a famous poet, failed at his relationships and has become disillusioned with the world of teaching so turns to drink to see him through the day. However they hit it off from the start and begin to teach each other lots of things aside from literature. 

The whole play takes place inside Franks university office, full of books that hide his numerous bottles of booze, mahogany wood and piles of paper. This works beautifully as all focus is upon the growing relationship of the two. The only hint of an outside world is whatever tale Rita has to tell as she bursts through the office door and whatever she can pry out of Frank. From demanding husbands to trendy hip students.

I was concerned I would not take to Jessica Johnson’s Rita having previously adored Julie Walters version but I was very wrong. I loved her equally. Jessica plays the loud, opinionated and energetic Liverpudlian wonderfully. Watching her character grow into the woman she becomes despite all hurdles she comes across was a pleasure to watch.

Jessica’s character was beautifully match with Stephen Tompkinson’s Frank. His pomp self importance was often quickly cut down by Rita and we began to see his softer vulnerable side as he enjoyed seeing Rita grow but concerned she was losing her true self and maybe even falling for her a little they bounce off each other perfectly.

An absolute delight of a play that not only pulls at the heart strings but is profoundly funny.

Edinburgh Playhouse Theatre – until 22 June 2019.

Reviewed by Hannah Plumb

3***

In the autumn of 2018 in The Vaults in London, “a bright new dawn for the age of Aquarius”(-the Guardian) was born from the 50th Anniversary production of Hair. Almost a year on this production is touring around the UK, bringing its far-out aesthetic and groovy tunes to a theatre near you. 

This production features a strong cast whose on-stage chemistry with one another creates the hippie tribe that Hair embodies. Their sweet but powerful vocals mixed with a deeply talented band create an electrifying sound which makes the show truly enjoyable to listen to. This piece seems to be particularly challenging for the cast as the lack of plot doesn’t give each performer a chance to develop their characters. They do, however, manage to stand out vocally in different moments throughout the show. Natalie Green (Cassie) is spectacular, her strong and unique voice is memorable with an ability to cut through an entire ensemble with one note. She is a performer that draws your eye even if she is doing nothing. 

Although the cast does an admirable job of bringing to life this bizarre tapestry of moments from the flower power movement, Hair is playing at venues that are overwhelming the production. This is a show that could really benefit from being in an intimate space, where the audience can be a part of the tribe. Despite the high-spirited efforts of those on stage, playing in large formal theatres means there is a disconnect between cast and audience causing this call out against war and greed to feel overly commercialised and under enthusiastic.

This touring production is a valiant attempt at reviving a cult classic with a strong cast, psychedelic design and striking music it is so close to being an impeccable ode to the era.

Drayton Arms – until 15 June 2019

Reviewed by Heather Chalkley

3***

An intense and darkly comedic piece played by 3 talented actors. Time is suspended as you are drawn into their small world. A small flat is their whole world. Tensions mount as things start to go wrong. Each issue a symbolic reflection of life outside and how we cope with uncomfortable changes to the status quo.

We can all recognise some of ourselves in each character. This piece challenges us to reflect on what part we play in our own and the wider world. Hester Tallack is a believable underdog, becoming excruciatingly uncomfortable when asked to make a decision. It feels like Klara Kaliger is her character, giving impactful direct eye contact with the audience at times. Esra Alma’s character likes the continuity of their life and is the main challenger to change, causing a physical fight with the dominant Kaliger.

The staging and props were cleverly placed, giving the characters clearly defined sections of the performance space. The bland ‘grey’ and ‘mush’ that they ate and drank looked totally disgusting! All 3 characters used the space in a fluid, confident manner, giving the impression they have been there a long time.

Although a well-acted performance, the concept is very cerebral. I suggest anyone intending to see Everything Today is the Same, look it up first to get a handle on what is going on. Fans of political comedy will get a darker, deeper experience to the usual belly laugh theatre.

Soho Theatre – until 6 July 2019

Reviewed by Elizabeth J Smith

4****

Citysong is a stonking poetic piece of writing that follows a Dublin family through the cycle of life. From marriage to the trauma of child birth, adolescence and the fumbings of youth, middle age boredom, to old age and dementia.

Dylan Coburn Gray’s play moves at an engaging pace, as we are introduced to all three generations of the Dublin family members. The versatile cast play 60 characters, seamlessly portraying different genders, ages and time frame. Each character bringing insight and observations on what is happening around them. How we don’t always say what we feel or see. Choosing to be polite or correct.  Masking what we really want to say against a back drop of what we do say. How growing older brings the pleasure’s  and the pain’s of life to us all to decipher, come to terms with and move on.It is a tapestry of emotions felt with humour and compassion. 

Directed by Caitriona McLauglin who captures the rhythm of the writing, complimented by the soundtrack of Adrienne Quartly, setting the scenes and moving the day along. Evoking sympathy and empathy for the family members. The set, designed by Sarah Bacon, shows a broken mirror map of Dublin and as the day unfolds the characters catch a reflection of themselves or do they?

This is a piece of beautiful writing with a big dollop of Irish humour, portrayed by an extremely talented cast, an evening well spent in their presence. 

The Bunker Theatre – until 6 July 2019

Reviewed by Claire Roderick

2**

Exchange Theatre’s revival of The Flies, which they first staged 10 years ago, is confused and unengaging. Jean Paul Sartre’s version of The Oresteia isn’t exactly a bundle of laughs, written when France was under Nazi occupation, but with this translation and this staging it becomes a turgid mess.

The plot – The city of Argos is living in terror, with everyone repenting for their ruler’s crime of murdering King Agamemnon as the gods send flies to plague the inhabitants for their sin. Queen Clytemnestra has married the murderer Aegisthus and keeps her daughter Electra as a palace drudge, thinking that her son Orestes was killed by Aegisthus’ command. Orestes has lived in happy exile but returns on the eve of the rite of the dead, when the people believe that the dead walk among them and punish them. Jupiter follows Orestes to Argos, gleefully watching and manipulating as Orestes’ freedom and free will emboldens his sister, leading to tragic revenge.

There is obviously A LOT of exposition to get through, and unfortunately it is deadly dull. Meena Rayann does well as Electra, and Raul Fernandes is impressive as Jupiter, but there are a lot of fluffed lines and mistimed cues. The main problem is the flow of the actors’ speech. Exchange pride themselves on performing their plays in French and English, but the intonation and cadence of some of the cast is reminiscent of ‘Allo ‘Allo.

The set is cluttered with TV monitors and technical junk, with red flags showing the banner of the regime. I think it was meant to be an eye or a planet, but instead of striking fear, it reminded me of an old 1970s TV logo. The red and black uniforms of those not in mourning clothes were an obvious choice, and even the live rock band on stage couldn’t save or energise the production. The sound effects they provided were pretty cool but the songs, shouted into the microphone by the cast, were disastrous. Deaths of major characters in Greek Tragedy always involve long last breath speeches, but David Furlong’s death as Aegisthus was laughable – in a play that is supposed to be blood and carrion-filled, not a drop of blood and a comedy death. And as for the Furies… Fanny Dulin, Soraya Spiers and Christopher Runciman give their all physically, but in costumes that look like your middle-aged aunt and uncle at a BDSM themed party on a SAGA cruise, there is nothing they can do to strike fear into anyone’s heart.

Unfortunately, in a play that should build to a tense and violent standoff between authoritarian mindless obedience and free will, there is no tension, no passion and no spark. The flies will be the only ones creating a buzz about this misfire.

The Vaults Theatre, London – until 22 June 2019

Reviewed by Lisa Harlow

2**

The show is billed as a mind-reading show based on CIA’s psychic spying programme run in the Cold War and disbanded in 1995. A number of techniques from the programme are attempted with audience members throughout the evening.

David Narayan, the sole presenter and performer, peppers the show with details of participants of the Stargate programme and excerpts of the CIA declassified documents, parts of which are still redacted (on changes to human cells).

The information highlights that the show ‘is unusual in that the performer, David Narayan, does not demonstrate any psychic powers’. David Narayan is an amiable host and generally presents information with sincerity. But increasingly through the evening it feels more like a high brow magic show, and my desire to learn more about the findings of psychic phenomenon is left wanting.

The audience is rather muted throughout and some become rather hysterical after the interval as the different techniques are tried out with various success. Hints are given to what psychological cues might really be happening, yet they are never really followed up (“Note that I am going first, that will become important later”). This is a shame as the premise of learning about the findings and experiencing the practices is enticing yet there are sleights of hand occurring that leave us constantly scrutinising the illusions at play.

There are a number of successful results throughout the night but the failure to really have won over the audience impacted greatly on the general atmosphere of the evening, unfortunately hampered further with technological issues. The finale does win sincere investment in the outcome given its hazardous nature, with genuine gasps from the audience.

Overall, this show has good potential and a fascinating premise to draw people to the show, but its execution is somehow lacking. As a performance, more sparkle is needed, or if it is to veer more to really digging into the psychic programme, then far greater material woven into the show would be an improvement.