The York Mystery Plays, have returned once again to the beautiful city of York, for two weeks only. As part of the festival, Friargate Theatre is currently showing Riding Lights Theatre Company’s adaptation of Dario Fo’s Mistero Buffo, under the direction of Paul Birch, and Ollie Brown as production designer and composer. A satire, written and performed in the 1960’s, it attracted a lot attention and controversy, from the Vatican especially, declaring it blasphemous.
Mistero Buffo was written as a solo piece of work, but this is a two-hander, with Cathy Sara as a cleaner and storyteller, and Thomas Frere as a drunk, and Jongleur. It’s follows Biblical stories, but often with a modern twist, with references to Donald Trump, Elon Musk and Russell Brand, to name a few, as examples of how we aren’t all equal, and how power can corrupt.
On entering the studio there’s a cleaning lady frantically mopping the black shiny floor. She is muttering to herself, and huffs and puffs at everyone walking over it to get to their seats, then starts all over again. During the mumblings she takes on the role of Adam, complaining to God of being overworked. God then creates the Villeyn from a donkey, a symbolism of the downtrodden, to ease Adam’s burden. Frere stumbles onto centre stage, interrupting, he’s drunk and just want to tell everyone about the great time he’s had. The water has been turned into wine and created the most magical drink, and party, ever.
At this stage it is very comical, but things become more serious. Frere explains how he became a Jongleur. The Villeyn’s land is desired by the local Lord, using his privilege to pillage his way through, until the Villeyn can only see one way out, death. The appearance of Christ saves him, empowering him to become a Jongleur.
The Resurrection of Lazarus. Sara is truly magnificent here, switching roles with a blink of an eye. I lost count of the different characters she portrayed here, all with a change of accent and demeanour, it was fabulous to watch and stunning to witness. Finally it is The Crucifixion, a ladder taking centre stage, a mother pleading to stop her sons suffering, to no avail.
Although Sara and Frere share the stage, their interactions are limited, with their stories unfolding alongside one another. When they do connect, they work well together. Both performers take on several characters, shifting facial expression, voice and, at times, adding or removing a jacket. Frere adds live music, playing a couple of instruments and singing. I’m always impressed by performers who deliver such wordy monologues with such eloquence, and both excelled here.
The set is stripped back, props kept to a minimum, but wonderfully utilised, bin bags rustled to create rain, a jacket embellished with feathers to depict Archangel Gabriel.
Mistero Buffo is a series of satirical monologues inspired by medieval mystery plays, biblical stories and popular folklore. This adaptation takes the audience on an emotional rollercoaster, drawing you in with laughter, music and silliness before moving into darkness and heartbreak.
I have never visited this theatre before, it’s a small intimate studio theatre, set back from the River Ouse, with parking a couple of hundred metres away. On entering the stage you could sit wherever you wished.
Bringing Roald Dahl’s much-loved story to Birmingham Hippodrome, the Royal Shakespeare Company’s touring production of Matilda The Musical celebrates 15 years of delighting audiences of all ages, combining unforgettable songs with an uplifting message about courage, kindness and believing in yourself. It’s easy to see why the show has won over 100 awards worldwide, including an impressive 25 Best Musical awards.
At the heart of the story is Matilda Wormwood, an extraordinary young girl whose love of books and remarkable intelligence set her apart from her neglectful parents and the fearsome Miss Trunchbull. While many audience members will already know the story, this production still feels fresh and inventive, balancing laugh-out-loud comedy with genuinely touching moments.
The role of Matilda is shared by four talented young performers- Madison Davis, Mollie Hutton, Olivia Ironmonger and Sanna Kurihara. At this performance, Sanna Kurihara took centre stage. She delivered an exceptional performance, capturing Matilda’s intelligence and quiet determination with real maturity. It’s an incredibly demanding role, but she clearly took it all in her stride. The role of Bruce Bogtrotter is shared by Oisin-Luca Pegg, Carter-J Murphy, Brodie Robson and Takunda Khumalo. Bruce was played by Oisin-Luca Pegg for this performance. He stole the show on several occasions, especially during the infamous chocolate cake eating scene, and again as the opening notes of the song Revolting Children rang out, when Bruce suddenly appeared clutching a microphone.
Richard Hurst is deliciously intimidating as Miss Trunchbull. Towering over the cast with commanding presence, he embraces the character’s revolting nature, drawing huge laughs while never losing the menace that makes the role such an unforgettable villain. Tessa Kadler brings a warmth to Miss Honey, creating a compassionate presence that provides the emotional heart of the production. Esther Niles also shines as Mrs Phelps, the kind librarian who revels in listening to Matilda’s stories.
Adam Stafford and Rebecca Thornhill throw themselves wholeheartedly into the exaggerated comedy as Mr and Mrs Wormwood, delivering brilliantly over-the-top performances that perfectly capture Roald Dahl’s eccentric world. Although his stage time is relatively short, special mention must go to Ryan Lay as Mrs Wormwood’s flamboyant dance partner Rudolpho. His high-kicking, flashy dance routine with Mrs Wormwood showcased the pair’s impeccable comic timing, providing some of the evening’s biggest laughs. The ensemble are equally impressive, maintaining boundless energy throughout while moving seamlessly between lively musical numbers and slick scene changes with remarkable precision.
Tim Minchin’s catchy score, under the musical direction of Andrew Corcoran, is undoubtedly one of the musical’s greatest strengths. From the empowering spirit of Naughty to the gloriously chaotic The Smell of Rebellion, every song blends infectious humour with genuine emotion. Peter Darling’s inventive choreography keeps the production constantly moving, while Rob Howell’s imaginative set design transforms the stage into a vibrant playground of letters, books and school desks. Every element works together to create a visually inventive world that captures the wonder of childhood while allowing the story itself to remain the clear focus. Dennis Kelly’s witty and heartfelt book and direction by Matthew Warchus ensures the production maintains a brisk pace, keeping the audience captivated throughout. What makes Matilda The Musical so enduring is its ability to speak to every generation. Children will delight in its cheeky humour, colourful characters and energetic musical numbers, while adults will appreciate the sharp wit and darker humour.
More than fifteen years after its premiere, the production continues to enchant audiences. Magical, mischievous and magnificent, Matilda The Musical is a theatrical triumph fully deserving of the prolonged standing ovation it received.
YORK THEATRE ROYAL ANNOUNCES MAJOR NEW REVIVAL OF DEATH OF A SALESMAN AS PART OF THEIR NEW SEASON
York Theatre Royal today announces a major new revival of Arthur Miller’s seminal work Death of a Salesman, as part of their new season. In a first for the theatre, they will co-produce with Glasgow’s Citizens Theatre. Directed by Citizens Theatre’s Artistic Director Dominic Hill, the production opens on 2 March 2027, with previews from 24 February, and runs until 27 March 2027 at York Theatre Royal, before transferring to the Citizens Theatre from 7 April until 1 May 2027.
In another major co-production, York Theatre Royal will continue their creative collaboration with the Emma Rice Company and Nottingham Playhouse with a revival of Kneehigh and Emma Rice’s Tristan & Yseult. Last seen on stage in 2017,the production will be staged at York Theatre Royal in April as part of a nationwide UK tour.
Paul Crewes, CEO of York Theatre Royal said, “We’re very excited about this upcoming season – most notably in a first for us, we will be working with our friends at Citizens Theatre in Glasgow on Arthur Miller’s modern classic Death of a Salesman, directed by the fabulous Dominic Hill. This is a wonderful collaboration with a great theatre.
“Spring 2027 will also see us co-producing again with the Emma Rice Company and Nottingham Playhouse on a revival of Tristan and Yseult. I have such fond memories of originally producing this show with Emma when we were both at Kneehigh alongside Mike Shepherd. I can’t wait for York audiences to have the chance to finally see this production that successfully toured the world for many years.
“These productions join the line-up of our other produced work already onsale – including our revival of Margaret Atwood’s The Penelopiad later this year with Amelia Bullmore, our Youth Theatre production of Wendy and Peter Pan and the highlight of the festive season, our panto Snow White and the Seven Dwarfs.
“Our dance programme also continues to be one of the most exciting in the North of England, with the return of London City Ballet, the world premiere of the latest show from Carlos Acosta and the Acosta Danza Company and Ben Duke’s Lost Dog coming to York for the first time. I hope we have given audiences plenty to look forward to with a range of classics, new work and family favourites on our stage.”
Dominic Hill, Artistic Director of Citizens Theatre said, “I am delighted to be directing a new production of this brilliant Arthur Miller play that is one of the most influential works of the 20th century. It could not be more timely in the age of Donald Trump’s politics of greed and toxic masculinity. But Death of a Salesman is also an ordinary working man’s story, as a family tries to wrestle with living up to expectation and forging their own path. I can’t wait to see the reaction from audiences in York and Glasgow to this new production.”
Other highlights of the season include the UK premiere of Acosta Danza’s Cuban Baroque, in collaboration with York Theatre Royal, running from 1 to 3 October. The visiting programme also includes the UK premiere of London City Ballet: Firebird – A Mixed Bill, with Firebird co-produced by York Theatre Royal, London City Ballet and Opera De Vichy, from 18 to 19 September. In a new touring production, Daisy Goodwin’s By Royal Appointment,whichstars Jane Asher and Samantha Womack, tells the story of Queen Elizabeth II’s life behind-the-scenes and runs from 10 to 14 November. Also in the season is Lost Dog’s Juliet and Romeo, a dance-theatre duet flipping the story of Romeo and Juliet on its head blending dance, comedy and theatre, from 20 to 21 November.
Tickets for the newly announced productions will go on sale on 6 July at 1pm for Members Priority, with general onsale on 11 July at 1pm.
“You can’t eat the orange and throw the peel away – a man is not a piece of fruit.”
After thirty-four years on the road, Willy Loman returns home exhausted. A man who has sacrificed everything in pursuit of success and recognition. Yet the American Dream seems always just out of reach. As his career falters and the debts mount, Willy is lost in memories of the past as his family try desperately to reconcile the man they love with the tragic consequences of his delusions.
For the first time York Theatre Royal and Glasgow’s Citizens Theatre will partner on this new production of Miller’s timeless masterpiece, directed by Dominic Hill.
A powerful and heartbreaking story about the pursuit of wealth and popularity, it remains devastatingly relevant today.
Presented by arrangement with Music Theatre International: www.mtishows.co.uk
Arthur Miller (1915–2005) was born in New York City and studied at the University of Michigan. His plays include The Man Who Had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980) and Playing for Time (1980). Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998) and Resurrection Blues (2002). Among his other works are Situation Normal (1944), the novel Focus (1945), screenplay The Misfits (1960), and texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs include ‘Salesman’ in Beijing (1984), and Timebends, an autobiography (1987). Short fiction includes the collection I Don’t Need You Any More (1967), the novella Homely Girl, a Life (1995) and Presence: Stories (2007). Essay collections published in his lifetime include The Theater Essays of Arthur Miller (1978) and Echoes Down the Corridor: Collected Essays 1944–2000, as well as individually published volumes ‘The Crucible’ in History (2000) and On Politics and the Art of Acting (2001). He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy Awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement.
He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. Among other honors, he received the Pulitzer Prize for Drama and the John F. Kennedy Lifetime Achievement Award.
Dominic Hill is the Artistic Director and Joint CEO of the Citizens Theatre since 2011. During his tenure at the Citz, he has secured an unrivalled reputation for presenting bold new interpretations of classic texts. He has frequently directed co-productions with the National Theatre of Scotland, Royal Lyceum Theatre, Bristol Old Vic and many other partners across the UK, as well as for Scottish Opera, Royal Shakespeare Company and Regent’s Park Open Air Theatre. Before joining the Citizens Theatre, he was Artistic Director of the Traverse Theatre in Edinburgh and Joint Artistic Director of Dundee Rep. He has directed in theatres in London and throughout the UK.
York Theatre Royal, Emma Rice Company and Nottingham Playhouse present
Music: Stu Barker; Original Set and Costume Designer: Bill Mitchell; Set and Costume Designer:
Vikki Mortimer; Choreographer and Intimacy Coordinator: Etta Murfitt; Sound Designer: Simon Baker; Lighting Designer: Malcolm Rippeth
6 – 17 April 2027
Experience the original, critically acclaimed production of Tristan & Yseult – one of the most influential theatre productions of the 21st century. Adapted and Directed by Emma Rice, this iconic show returns to the UK for the first time in ten years, offering a rare chance to encounter a modern masterpiece fresh and live on stage.
First created in 2003, Tristan & Yseult took the theatrical world by storm. Visceral, playful, and heartbreakingly beautiful, this internationally celebrated production blends myth, music, movement, and storytelling into an unforgettable theatrical night out. This landmark show, that has inspired a global generation of artists and audiences, is now remade, remastered – and truly unmissable.
Emma Rice is the Artistic Director of Emma Rice Company (formerly Wise Children) and is an internationally respected theatre-maker and director. For Wise Children she has adapted and directed A Child’s Christmas in Wales, The Buddha of Suburbia, Blue Beard, The Little Matchgirl and Happier Tales,Wuthering Heights, Bagdad Café, Angela Carter’s Wise Children, Enid Blyton’s Malory Towers and Romantics Anonymous. As Artistic Director of Shakespeare’s Globe: Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). Rice worked for Kneehigh as an actor, director and Artistic Director, creating critically acclaimed productions including: The Flying Lovers of Vitebsk, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. She received the Outstanding Contribution to British Theatre award at the 2019 UK Theatre Awards.
IMMERSIVE CONSPIRACY PHENOMENON HEADS ON 32-DATE AUTUMN TOUR
Thrilling unique live experience set to captivate and entertain audiences at leading venues nationwide
A bold and immersive live theatre experience which plunges its audience deep into the world of conspiracy theories and hidden narratives is embarking on a major UK tour this autumn.
The Forbidden Realm of Conspiracies: Uncovered will visit 32 venues across the country from August to November.
Tickets for all venues are on sale now.
Conspiracy theories have moved from the margins of the internet to the centre of mainstream culture, with debates now dominating podcasts, social feeds and everyday conversations.
This autumn, audiences will experience those conversations brought to life on stage when The Forbidden Realm of Conspiracies: Uncovered visits key towns and cities up and down the country.
The extensive tour is set to open at Liverpool’s Epstein Theatre on Wednesday, 26 August.
It will then go on to visit Bridlington Spa on 1 September, the Albany Theatre in Coventry (6 September), The Hafren at Newtown (11 September), Medina Theatre, Isle of Wight (12 September), Carmarthen’s Lyric Theatre (13 September), the Princess Theatre at Hunstanton (18 September), Rhyl Pavilion Theatre (20 September), Grimsby Auditorium (21 September), Worcester’s Swan Theatre (22 September), The Eric Morecambe Centre in Harpenden (24 September), Wyllyotts Theatre, Potters Bar (27 September) and Theatre Royal Wakefield on 29 September.
The tour continues with visits to the Marina Theatre, Lowestoft on Thursday, 1 October, Key Theatre, Peterborough (3 October), The Met at Abertillery (7 October), Paignton’s Palace Theatre (8 October), Weymouth Pavilion (11 October), Blackpool Grand (13 October), Beck Theatre in Hayes (14 October), Royal Hippodrome Theatre, Eastbourne (17 October), Queen’s Theatre in Barnstaple (22 October), Cambridge Corn Exchange (26 October) and Swansea’s Brangwyn Hall on 28 October.
And it concludes in November with dates at Southside Lincoln (1 November), Stockport Plaza (3 November), Redditch’s Palace Theatre (4 November), The Platform in Morecambe (6 November), Floral Pavilion at New Brighton (8 November), Trinity Arts Centre, Gainsborough (14 November), Dudley Town Hall (19 November) and Greenwich Theatre on 22 November.
Blending cinematic projection, immersive soundscapes, live polling and audience participation, the production transforms the theatre into a charged, shared environment where ideas collide in real time.
Audiences are guided through some of the most debated topics and themes of the modern era including the moon landing, simulation theory, the Mandela Effect and hidden power structures.
The room responds collectively. Opinions surface, certainty shifts, and the atmosphere evolves with every reaction.
Performer Marco Quille says:“Conspiracy theories are powerful because they sit right on the edge of what people think they know. In an immersive setting, you can feel that uncertainty shift in real time.
“Every audience responds differently – and that makes each performance unpredictable and electric.”
Producer Charlie Aspinall, founder of CAJ Productions, adds:“The Forbidden Realm of Conspiracies: Uncovered has been designed to create a shared experience unlike anything audiences encounter online. The theories may be familiar but experiencing them collectively in a theatre is something entirely different.”
THE FORBIDDEN REALM OF CONSPIRACIES: UNCOVERED UK TOUR LISTINGS
Epstein Theatre, 85 Hanover Street, Liverpool L1 3DZ
PRODUCERS MARK GOUCHER, MATTHEW GALE AND LAURENCE MYERS ANNOUNCE HAIRSPRAY THE MUSICAL MAJOR UK AND IRELAND TOUR IN 2027.
THE TOUR WILL OPEN AT MANCHESTER PALACE IN JULY WITH BRENDA EDWARDS AND PAUL KERRYSON RETURNING TO DIRECT ALONGSIDE ACCLAIMED CHOREOGRAPHER DREW MCCONIE.
NEIL HURST WILL REPRISE THE ROLE OF EDNA TURNBLAD WITH FURTHER CASTING TO BE ANNOUNCED.
Today, producers Mark Goucher, Matthew Gale and Laurence Myers are delighted to announce the return of Brenda Edwards (Loose Women, ITV; Paddington The Musical, Savoy) and Paul Kerryson’s production of Hairspray, which will embark on its second major national UK and Ireland tour in 2027. Choreographed by Olivier Award winner Drew McOnie, further venues and dates will be announced soon with tickets available from www.hairspraymusicaltour.com.
The tour will open in Manchester at the Palace Theatre on 2 July until 19 July 2027 before travelling to Glasgow Kings Theatre (20-25 July), Edinburgh Playhouse (27 July – 1 August), Cardiff Wales Millenium Centre (3-7 August), Dublin Bord Gáis Energy Theatre (9-14 August), Belfast Grand Opera House (16-21 August), Southend Cliffs Pavilion (24-29 August), New Wimbledon Theatre (31 August – 4 September) Liverpool Empire (13-18 September), Bradford Alhambra Theatre (20-25 September), Sunderland Empire (27 September – 2 October), Milton Keynes Theatre (4-9 October), Malvern Theatres (11-16 October), Birmingham Hippodrome (25-30 October), York Grand Opera House (1-6 November), Leicester Curve (8-13 November), Theatre Royal Brighton (15-20 November), Woking Theatre (22-27 November) and Bristol Hippodrome (10-15 January 2028).
This iconic musical comedy features some of musical theatre’s best hit songs including Welcome To The 60s, You Can’t Stop The Beat and Good Morning Baltimore by Academy Award, Tony and Emmy winning duo Marc Shaiman and Scott Wittman.
Neil Hurst will return to play the iconic role of Edna Turnblad. A much-loved British actor, comedian and writer, Neil began his career touring the country in comedy and variety shows, supporting comedy legends such as Bruce Forsyth, Ken Dodd and Cannon and Ball. His recent theatre credits include The Full Monty (national tour) as well as being an award-winning pantomime favourite headlining the annual panto at Nottingham Theatre Royal. His television credits include two series in a recurring live improvisation role on Michael McIntyre’s Big Show, working alongside Michael to set up his Unexpected Star of the Show.
Brenda Edwards who has previously played Motormouth in three tours of Hairspray, said: “I am so thrilled that this wonderful musical is returning to cities across the UK as it holds a very special place in my heart! I had so much fun making my directorial debut as a co-director with Paul Kerryson first time round. The show’s story and themes continue to remain as relevant as ever and I cannot wait to share this vibrant new production of this timeless musical with even more people.”
Spanning a career of more than 18 years across television, film and stage, Brenda Edwards rose to fame following her success on The X-Factor in 2005. In 2006, she was presented with the Screen Nation Award for Favourite Reality TV Star and went on to become a regular panellist on ITV’s Loose Women as well as presenting BBC’s Songs of Praise and ITV’s Carols at Christmas (both in 2021). Brenda’s extensive career on the stage has seen her play iconic roles including Killer Queen in We Will Rock You (Original UK Tour, West End and London Coliseum), Mamma Morton in Chicago (West End and UK Tour) and Maybelle in Hairspray (UK Tour). Other highlights include sold out concerts at the world-famous Ronnie Scott’s, London’s Pigalle Club, and at the Barbican for Brenda Edward’s Gospel Christmas produced by Raymond Gubbay. Brenda is proud to have independently released her Debut Album “Bring It Back”.
Completing the creative team is Set and Costume Design by Takis, Lighting Design by Philip Gladwell, Sound Design by Ben Harrison, Musical Supervising and Arrangement by Ben Atkinson, Musical Direction by Richard Atkinson, Projection Design by George Reeve, Casting by Grindrod Burton, Associate Director Juliet Gough and
Associate Choreographer Shaquille Brush.
After breaking box office records and delighting audiences in the West End, on Broadway and on the big screen since 1988, the timeless story of Hairspray centres around heroine Tracy Turnblad, who has big hair, a big heart, and big dreams to dance her way onto national TV, and into the heart of teen idol Link Larkin. When Tracy becomes a local star, she is able to use her newfound fame to fight for liberation, tolerance, and interracial unity in Baltimore. But can she win equality – and Link’s heart – without denting her ’do?
Hairspray is a musical based on the 1988 film of the same name which starred Divine and Ricki Lake by cult filmmaker John Waters. With music by Marc Shaiman, lyrics by Scott Wittman Marc Shaiman and book by Mark O’Donnell and Thomas Meehan, the stage production of Hairspray originally opened to rave reviews on Broadway in 2002 and subsequently won eight Tony Awards. The production opened in London at the Shaftesbury Theatre in 2007 and won four Olivier Awards including Best New Musical. Proving to be an international success, Hairspray has also played in South Africa, Japan, South Korea, China and Dubai. Following the musical’s phenomenal success on stage, a film of the musical was released in 2007 which starred John Travolta, Michelle Pfeiffer and James Marsden.
Hairspray is produced by Mark Goucher, Matthew Gale, and Laurence Myers
TOUR DATES:
Opens 2 July 2027, w/c 5 July 2027 and w/c 12 July 2027
I have always loved Oscar Wilde’s works and found his life fascinating. So this play tonight by Micheál Mac Liammóir, with a title playing cleverly on an allusion to his most famous work, promised much.
The set was a stark affair – in effect, a luminous “O” and raised stage area which loomed like the shadow of the O, or the shadow of the man himself, reaching out towards the audience. The only other set decoration was a lamp in the first half and a seat in the second. This, coupled with some judicious use of light and shade at emotive moments, focused the attention on our star, his delivery and the script – and was all the more effective for that. So a massive pat on the back to Set & Costume Designer Madeleine Girling and Lighting Designer Chris Davey.
The sole performer was Alastair Whatley, playing every role – and in this tale there were plenty as Oscar was a gregarious fellow with a rich tapestry of a life! Alastair’s stage presence was immense, his delivery flawless, his inhabiting of the characters and their emotion (especially Oscar himself) awe inspiring… But all these things were eclipsed by the sheer density of the script itself – including many an Oscar letter and poem etc. performed in full and from memory. Delivered with conviction, panache and verve which took the breath away. And that’s not even mentioning the feat of remembering it all when you are the only person performing and all 2 hours plus are yours to fill. An incredible, powerhouse performance deserving of awards!
But more than the sheer awesomeness of the performance was the depth of emotion that Alastair produced. This was especially noticeable in the gaol scenes which were heart rending. To achieve all this with a skill which looked so effortless was breathtaking – as he switched perfectly between characters with just a vocal inflection and/or a shift in posture. Truly stunning.
Although sad in places (as you’d expect if you know the sorry tale of Oscar’s trial and later years) it is also a very joyous play. The “a handbag” monologue from The Importance of Being Earnest is always a thing to tickle the funny bone (and behold) and so it was tonight. One of the highlights that whizzed by far too quickly but was welcome nonetheless. It was by no means the only highlight though – so rest assured there’s something for everyone here.
There is so much to love with this work. It is so artfully done, delivered with skill by all concerned (stage and technical team) and is both interesting in a historical sense but also thought provoking in social commentary aspects – giving us an impactful evening’s entertainment that I have no hesitation in heartily recommending. It’s a shame that the auditorium wasn’t more full to witness this masterpiece – I presume the England match had a lot to do with that and this was a damn sight more entertaining than the big match. The show deserves to be seen and you would do well to catch it while you can.
Royal Concert Hall, Nottingham – until Saturday 4th July 2026
Reviewed by Chris Jarvis
5*****
I was delighted to be asked to review the Nottingham performance of The Jersey Boys 20th Anniversary tour. A first for me, it has been seen by more than 30 million people and spent 12 years on Broadway and 9 years in the West End.
This biographical juke-box musical tells the story of four young Italian/American boys from New Jersey some of whom knew each other through childhood and others introduced by fellow musicians and writers. Nick Massi played tonight by Lewis Kennedy, had noticed Frankie Valli’s amazing vocal ability so introduced him to fellow band member Tommy DeVito (Carlo Boumouglbay) and later the famous actor, then musician Joey Pesci (Aiden Carson) introduced keyboard player and song writer Bob Gaudio (Toby Miles) to the group.
The stage is set in the early ‘60’s with these 4 musicians coming together under numerous band names, and variable success finally taking off under the name The Four Seasons – the original members Franki Valli – lead vocalist, with the 3 backing vocalists Tommy DeVito – lead guitar, Nick Massi – lead bassist and Bob Gaudio – keyboard.
As soon as they started playing, we were immediately transported back to the late 50’s/early 60’s with some sensational music, singing and dancing with similarities to African/American music. In fact, you could be forgiven for thinking you were listening to 4 black singers.
It became known as doo-wop – a blend of rock and roll/R&B with rich vocal harmonies, often with nonsense syllables from the backing singers alongside highly choreographed dancing and moves. Luke Baker ‘nailed it’ tonight reaching Frankie Valli’s renowned falsetto notes with apparent ease, as well as the deeper tones in ‘Can’t Take My Eyes Off You’ but all vocals were brilliant.
It’s a fascinating and true story that took us on a rollercoaster ride through the highs and lows of the band’s journey to success. We saw power struggles, band members falling out, links with the mob, massive mafia debts accumulated by Tommy DeVito, yet their ‘connection’ and support for each other came across, particularly from Frank Valli.
It’s not just a musical with fantastic songs – they’re there for a reason – to tell the compelling and fascinating true story. I learned a lot while being entertained!
The music is brilliant and it was great to hear all those back-to-back hits from the early sixties – Sherry, Big Girls Don’t Cry, Walk Like a Man …… that I remember my Mum singing along to!
In fact, I had no idea just how many amazing songs come from this collaboration of band members particularly writer Bob Gaudio and Bob Crewe (Michael Levi), band manager/lyricist, that have been covered by a myriad of well-known artists since.
The acting was amazing and it was hard to imagine how difficult it was for the actors who were miming their instruments while a band of professional musicians played behind the scenes, to make it look so real while singing and dancing the dozens of different coordinated moves.
Frankie Valli now age 92, would be proud of the performance and I’d wholly recommend it.
A standing ovation for the finale showed the audience’s appreciation last night while also giving the opportunity to join in the doo-wop!
With The Guilty currently running at the theatre, the Donmar’s Artistic Director Tim Sheader and Executive Director Henny Finch today announce the full cast and creative team for A Month in the Country, by Brian Friel, after Ivan Turgenev.
Sophie Okonedo leads the company as Natalya Petrovna, and she is joined by Thomas Arnold (Arkady Islayev), Jessica Brindle (Katya), Susan Brown (Anna Islayeva), Rachelle Diedericks (Vera Aleksandrovna), Patrick Gibson (Aleksey Belyayev), Mark Hadfield (Herr Schaaf), Michael Hodgson (Alfanasy Bolshintsov), Jonathan Livingstone (Matvey), Alistair Petrie (Michel Rakitin), Daniel Rigby (Ignaty Shpigelsky), and Amanda Wilkin (Lizaveta Bogdanovna).
Joining Lyndsey Turner to complete the creative team are Leslie Travers (Designer), Max Pappenheim (Sound Designer), Tim Lutkin (Lighting Designer); Anna Morrissey (Movement Director & Intimacy Coordinator), Angus MacRae (Composer), and Lotte Hines CDG (Casting Director).
A MONTH IN THE COUNTRY
By Brian Friel
After Ivan Turgenev
Cast: Thomas Arnold (Arkady Islayev), Jessica Brindle (Katya), Susan Brown (Anna Islayeva), Rachelle Diedericks (Vera Aleksandrovna), Patrick Gibson (Aleksey Belyayev), Mark Hadfield (Herr Schaaf), Michael Hodgson (Alfanasy Bolshintsov), Jonathan Livingstone (Matvey), Sophie Okonedo (Natalya Petrovna) Alistair Petrie (Michel Rakitin), Daniel Rigby (Ignaty Shpigelsky), Amanda Wilkin (Lizaveta Bogdanovna)
Director: Lyndsey Turner; Designer: Leslie Travers; Sound Designer: Max Pappenheim;
Lighting Designer: Tim Lutkin; Movement Director & Intimacy Coordinator: Anna Morrissey;
A life of order, tranquillity and quiet restraint.
It’s enough to make you scream.
Natalya Petrovna looks to all the world like a contented woman, but the arrival of a penniless young tutor stirs a restless heart, igniting a spark of desire that sets the Summer ablaze.
A Month in the Country pits passion against propriety, as a cast of characters struggle to reconcile the lives they lead with the happiness they crave. Lyndsey Turner directs Brian Friel’s reworking of Turgenev’s most famous play.
With thanks to Season Supporter Charles Holloway OBE.
The Donmar Warehouse would also like to thank their Production Supporters for A Month In The Country, Charles J Burdick and Tiina Lee CBE.
Thomas Arnold plays Arkady Islayev. His theatre credits include Mnemonic, Oslo, Henry IV Parts 1 and 2, Cyrano de Bergerac, Mourning Becomes Electra, Three Sisters,The Stoppard Trilogy (National Theatre), A Very Expensive Poison, Fanny & Alexander, Dr Seuss’s The Lorax (The Old Vic), The Kids Stay In The Picture (Royal Court Theatre), Hamlet, Orlando (Royal Exchange Theatre), and Drive Your Plow Over the Bones of the Dead and The Master and Margarita (Complicité). His television credits include Doctor Who, Such Brave Girls, Wolf Hall, A Very Royal Scandal, A Spy Among Friends, Echt, Falling, I Hate Suzie, A Christmas Carol,The Aeronauts, MotherFatherSon, The Missing, War and Peace, Call the Midwife, Homeland, This is England ’86; and for film, Peaky Blinders: The Immortal Man, Heart of Stone, Matilda: The Musical, The Murder Network, The Riot Club, Thor: The Dark World, Bel Ami, One Day, and The Golden Compass.
Jessica Brindle plays Katya. Her theatre credits include Christmas Day (Almeida Theatre), Emma (Rose Theatre Kingston), A Midsummer Night’s Dream; Much Ado About Nothing (Sh!t-faced Shakespeare), Top Girls; Absolute Hell (National Theatre), Pleasure and Pain (Citizens Theatre, Glasgow), Dream On (BBC Arts), and Used Blood Junkyard (Arcola Theatre). Her television credits include Sweetpea.
Susan Brown returns to the Donmar to play Anna Islayeva – she previously appeared in Julius Caesar, Making Noise Quietly, and The Wild Duck. Her other theatre credits include Under Milk Wood; Home, I’m Darling – Olivier Award nomination for Best Supporting Actress, Husbands and Sons, Harper Regan, The Hour We Knew Nothing of Each Other, Henry IV Parts 1 and 2, Playing with Fire, Cardiff East (National Theatre), Angels in America – Tony Award nomination for Best Featured Actress in a Play (National Theatre and Broadway), Image of an Unknown Young Woman, The Chairs, The House of Bernarda Alba (Gate Theatre), Good People (Noël Coward Theatre), If You Don’t Let Us Dream, We Won’t Let You Sleep, Goodbye to All That, Seagulls, Gibraltar Strait, Road (Royal Court Theatre); Saved (Lyric Hammersmith), The Contingency Plan (Bush Theatre), Dying for It, Butterfly Kiss (Almeida Theatre), Twelfth Night (English Touring Theatre), Iphigenia, Small Change (Sheffield Theatres), Bad Weather, Romeo and Juliet, Richard III, Easter (RSC), You Be Ted and I’ll Be Sylvia (Hampstead Theatre), Playing Sinatra (Croydon Warehouse, Greenwich Theatre), The Beaux’ Stratagem, The Way of the World, and A Woman of No Importance (Cambridge Theatre Company). Her television credits include Falling, Bridgerton, Mr Bates vs the Post Office, The Crown, It’s a Sin, Good Omens, Partners in Crime, Atlantis, Father Brown, Call the Midwife, Broadchurch, Silent Witness, Stella, Game of Thrones, Waking the Dead, Torchwood, Coronation Street (as series regular Connie Clayton), Pinochet’s Progress, Rose and Maloney, Brides in the Bath, Dalziel & Pascoe, When Hitler Invaded Britain, Blue Dove, Wire in the Blood, The Best of Both Worlds, The Vice, Where the Heart Is (as recurring character June Wrekin), Anorak of Fire, Taggart, Wokenwell, A Touch of Frost, September Song, The Riff Raff Element, Absolute Hell, Making Out, Nona, Prime Suspect, Road and Loving Hazel; and for film, Mary, Belle, Now Is Good, The Iron Lady, Brideshead Revisited, and Hope and Glory.
Rachelle Diedericks plays Vera Aleksandrovna. Her theatre credits include Mother Courage and Her Children (Shakespeare’s Globe), Pericles (RSC, and Chicago), The House Party (Headlong/Chichester Festival Theatre), A View From The Bridge (Headlong), The Walworth Farce (Southwark Playhouse), The Crucible, Our Generation (National Theatre), Harry Potter and The Cursed Child (Palace Theatre), and The Band (Theatre Royal Haymarket and UK tour). Her television work includes Up To No Good,Grace, Andor and Speechless; and This Time Next Year and The Silence and the Noise.
Patrick Gibson returns to the Donmar to play Aleksey Belyayev – he previously appeared in Clyde’s and Sweat. His other theatre work includes Bengal Tiger at the Baghdad Zoo (Young Vic). His television work includes Dexter: Original Sin, Shadow and Bone, Before We Die, The Spanish Princess, The OA, The White Princess, Guerilla, The Passing Bells and Neverland; and for film, Play Dead, The Portable Door, Good Girl Jane, Tolkien, The Darkest Minds, In a Relationship, Their Finest, Property of the State, Cherry Tree and What Richard Did.
Mark Hadfield plays Herr Schaaf. His theatre work include Dr Strangelove (Noël Coward Theatre), Accidental Death of an Anarchist (Theatre Royal Haymarket), Cymbeline, Henry VI: Open Rehearsal, Tamburlaine, Two Gentlemen of Verona, The Talk of the City, The Seagull, Twelfth Night, The Canterbury Tales, Love’s Labour’s Lost, Hamlet, A Midsummer Night’s Dream (RSC), Notes from a Small Island (The Watermill Theatre), Dmitry (Marylebone Theatre), Sydney and the Girl, The Weatherman (Park Theatre), Vanya and Masha and Sonya and Spike, The Tempest, Jeffrey Barnard in Unwell, Man and Superman, Don Juan (Theatre Royal Bath), Pinocchio, Thérèse Raquin, The Hour We Knew Nothing of Each Other (National Theatre), Road (Royal Court Theatre), Richard III (Almeida Theatre), The Painkiller (Lyric Theatre, Belfast; Garrick Theatre), The Meeting, Matchbox Theatre (Hampstead Theatre), Made in Dagenham (Adelphi Theatre), Jeeves and Wooster: Perfect Nonsense (Duke of York’s Theatre), Singin’ in the Rain (Palace Theatre), Uncle Vanya (Vaudeville Theatre), The Lion King (Lyceum Theatre), The 39 Steps (West Yorkshire Playhouse), Donkey’s Years (UK tour), Into the Woods (Regent’s Park Open Air Theatre), Rookery Nook and Talent (Menier Chocolate Factory). For television his work includes Outlander, Maigret, From the Cradle to the Grave, Trollied, Wallander, The Wyvern Mystery, The Vice, and Headless; and for film, Belfast, Football Monologues, Girls’ Night Out, Mary Shelley’s Frakenstein, In the Bleak Midwinter, Felicia’s Journey, A Cock and Bill Story, and Hamlet.
Michael Hodgson plays Alfanasy Bolshintsov.His theatre work includes Waiting For Godot (Citizens Theatre Glasgow and tour), Macbeth (UK and US tour), Romeo and Juliet, The Shoemaker’s Holiday, Macbeth, The Mouse and His Child (RSC), Sing Yer Heart Out For The Lads, Strife (Chichester Festival Theatre), Treasure Island (Birmingham Rep), A Christmas Carol, Road, Catch 22, Get Carter (Northern Stage), Noir (Live Theatre), Oliver Twist (Regents Park Open Air Theatre), The Pitmen Painters (National Theatre, West End, UK tour, Broadway), The Wind In The Willows, The Devil’s Disciple (National Theatre), Bones (Hampstead Theatre), The Tower (Almeida Theatre), Brilliant Adventures (Royal Exchange Theatre), Death of a Salesman, The Last Yankee (Leeds Playhouse), The Three Musketeers (UK tour), Travels With My Aunt, Jane Eyre (West End), The Guise (Edinburgh Festival, Off-Broadway), and King Lear (Young Vic, Japan tour). His television work includes Smoggie Queens, Passenger, Accidental Farmer,George Gently, Skins, Spooks, The Ghost Squad, Instinct,Spit Game, The Visit, Angel Cake, Two Thousand Acres Of Sky, 55 Degrees North, The Babywar, Lawless, and Touching Evil; and for film, The Duke, The One And Only, The Lowdown, The Last Minute, Wonderland and First Knight.
Jonathan Livingstone plays Matvey. His theatre credits include A Ghost In Your Ear,Cash Cow (Hampstead Theatre), Troilus and Cressida, After Edward, Edward II, Romeo and Juliet (Shakespeare’s Globe), Hamlet, Twelfth Night, Now We Are Here (Young Vic), Machinal (Almeida Theatre), The Caretaker (Bristol Old Vic), Our Country’s Good, Treasure Island (National Theatre), White Hot and Weak (Old Vic New Voices Festival), Superior Donuts (Southwark Playhouse), ‘Tis Pity She’s A Whore (Cheek by Jowl), 7 New Plays By Young Writers (National Theatre Studio), Pocket Comedy (Propellor), The Taming of the Shrew (RSC), and Pandora (Arcola Theatre). His television work includes Entitled, Bridgerton, Criminal Record, Peacock, The Pentaverate, Pls Like, Death in Paradise and Chewing Gum; and for film, Hard Truths, Trouble with Jessica, The Witches, Treasure Island and Still Life.
Sophie Okonedo makes her Donmar debut as Natalya Petrovna.Her theatre credits include Medea (@sohoplace) and Antony and Cleopatra (National Theatre). Her television credits include Ratched, Slow Horses, andModern Love; and for film, Clarissa, Mouse and Janet Planet.
Alistair Petrie plays Michel Rakitin. His theatre credits include Hamlet (National Theatre and New York), Time and the Conways, Henry IV Parts 1 and 2,His Dark Materials, Playing with Fire (National Theatre), Shakespeare in Love (Noël Coward Theatre), The Importance of Being Earnest (West End and Australia), Troilus and Cressida (RSC and US), and Mine (Hampstead Theatre). His television credits include Sex Education, The Night Manager, Andor, Utopia, Death by Lightning, Funny Woman, The Following Events are Based on a Pack of Lies, The Terror, Emma, Cranford, The Forsyte Saga,Deep State, Sherlock, Undercover, Why Didn’t They Ask Evans?, Agatha and The Midnight Murders, Genius,Year of The Rabbit, Harley and The Davidsons,The Game, Lucan, The Escape Artist, Whitechapel, The Whistleblowers, and State of Mind; and for film, Rogue One: A Star Wars Saga, Cloud Atlas, Rush, The Bank Job, The Mark of Cain: The Cursed,The Duchess, A Bunch of Amateurs, A Little Chaos, The Face of An Angel, Victor Frankenstein, Hellboy, Sulphur and White, Magpie, and Oddly Flowers.
Daniel Rigby plays Ignaty Shpigelsky. His theatre credits include One Man Two Guvnors (National Theatre, Adelphi Theatre, Music Box Theatre New York), The Witches, Twelfth Night (National Theatre), Accidental Death Of An Anarchist (Sheffield Theatres, Lyric Hammersmith, Theatre Royal Haymarket – UK Theatre Award for Best Performance in a Play), Noises Off (Lyric Hammersmith, Garrick Theatre), A Midsummer Night’s Dream, Frost/Nixon (Sheffield Theatres), Breaking the Code (Royal Exchange Theatre – Manchester Theatre Award for Best Actor), Holes (Arcola Theatre), Daniel Rigby: Berk In Progress, Daniel Rigby: Afterbirth, The Mothwokfantastic, Pleasance Comedy Reserve (Edinburgh Fringe Festival), The Count Of Monte Cristo (West Yorkshire Playhouse), Beyond The Front Line (The Lowry), Natural Selection (Theatre503), Great Expectations (Aberystwyth Arts Centre), All Quiet On The Western Front,The White Album, Burial At The Thebes (Nottingham Playhouse), Romeo and Juliet (Nuffield Southampton Theatres), and Hamlet (Barbican, UK tour). His television credits include I, Jack Wright, Harry Potter, Summerwater, Bladerunner 2099, The Ballad of Renegade Nell, Tom Jones, The Witchfinder, After Ever After, Landscapers, Defending the Guilty, Gameface, Timewasters, Flowers, Plebs, Sick Note, Gap Year, Jericho, Undercover, Big School, That Day We Sang, Agatha Christie’s Marple: A Caribbean Mystery, Black Mirror: The Waldo Moment, Cardinal Burns, The Function Room: Meet The Police, Eric & Ernie – BAFTA TV Award for Best Actor, Ideal, Watson andOliver, The Street, Lilies; and for film, Cold Storage, The Electrical Life of Louis Wain, and Stand Up Short and Flyboys.
Amanda Wilkin plays Lizaveta Bogdanovna. Her theatre includes The Resistible Rise of Arturo Ui (RSC), Bacchae (National Theatre), Otherland (Almeida Theatre), Dr Semmelweis (Harold Pinter Theatre), Shedding A Skin (Soho Theatre – also playwright, Verity Bargate Award winner), A Midsummer Night’s Dream, Hamlet, Gabriel, The Tempest (Shakespeare’s Globe), Emilia (Vaudeville Theatre), The Little Sob (Sam Wanamaker Playhouse), White Teeth (Kiln Theatre), La Ronde (The Bunker Theatre), The 306: Day (National Theatre of Scotland), The Grinning Man (Trafalgar Studios), Pilgrims (Theatre Clwyd/HighTide Festival/The Yard Theatre), Hopelessly Devoted (Paines Plough and Birmingham REP), Arabian Nights (The Watermill Theatre), Blood Wedding, The Bacchae (Royal and Derngate),and A Midsummer Night’s Dream and Marat/Sade (RSC). Her television work includes Delia, Am I Being Unreasonable?, Spent, Until I Kill You,High End Homeless, The Split, The Girlfriend Experience, Finding Alice, Unforgotten, Berlin Station,and Gavin and Stacey; and for film, Mamma Mia: Here We Go Again!.
Brian Friel (1929 – 2015) is widely regarded as one of Ireland’s greatest dramatists, having written over 30 plays across six decades. He was a member of Aosdána, the society of Irish artists, the American Academy of Arts and Letters, the Irish Academy of Letters, and the Royal Society of Literature where he was made a Companion of Literature. He was awarded the Ulysses Medal by University College, Dublin. His major works include Afterplay, The Bear, The Yalta Game, Molly Sweeney, Wonderful Tennessee, Dancing at Lughnasa, Making History, The Communication Cord, Translations, Aristocrats, Faith Healer, Living Quarters, Volunteers, The Freedom Of The City, The Gentle Island, Philadelphia Here I Come!, and The Enemy Within; and other major adaptations include Hedda Gabler, Uncle Vanya, and Three Sisters.
Lyndsey Turner returns to the Donmar, having previously directed Far Away, Aristocrats, Faith Healer,Fathers and Sons, and PhiladelphiaHere I Come!. Other theatre credits include 1536 (Almeida Theatre, The Ambassadors Theatre), The Treatment (Almeida Theatre), Chimerica (Almeida Theatre, Harold Pinter Theatre – Olivier Award for Best Director) Coriolanus, Roald Dahl’s The Witches, The Crucible, Under Milk Wood, Top Girls, Light Shining in Buckinghamshire, There is a War and Edgar and Annabel (National Theatre), Moonlight (Harold Pinter Theatre), After the End (Theatre Royal Stratford East), A Number (The Old Vic), Hamlet (Barbican), Girls and Boys, Posh, and Contractions (Royal Court Theatre).
Maximum two tickets per person – both need to be aged 35 or under at time of the performance. Subject to availability. ID will need to be shown at Box Office to collect tickets.
DONMAR DAILY RELEASE
New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
ASSISTED PERFORMANCES If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email access@donmarwarehouse.com.
For all other access enquiries or bookings call 020 3282 3808.
DONMAR WAREHOUSE
Welcome to the Donmar, where anyone with a passion or curiosity for seriously good theatre belongs. In our powerfully intimate space, we make vivid theatre that transports. Our audience doesn’t sit in the dark; they lean into the light. You’ll want to be in the room and in the moment.
Led by Artistic Director Tim Sheader and Executive Director Henny Finch, the Donmar is an independent non-profit theatre in London’s Covent Garden.
We’re intent on making sure theatre thrives for the next generation by inviting in new younger audiences, inspiring original voices and building the workforce of the future.
We’re grateful for the loyalty and generosity of our many donors and supporters who share our commitment to making this happen.
Last night’s press performance of The Rocky Horror Show at Storyhouse Chester demonstrated, once again, why this iconic production remains popular decades after its debut, and why its cult following shows no signs of diminishing. Having seen this production three times now, I entered with very high expectations, and I am delighted to report that I was not disappointed
When I first watched the show, I was utterly enchanted by its spectacle and remarkable originality. However, my second viewing was rather disappointing, primarily because the audience’s reaction was lacklustre, even with a celebrity in the cast. Therefore, when I had the chance to attend press night at Storyhouse, I was eager for the complete Rocky Horror experience—and this audience certainly did not disappoint.
From the very beginning, the atmosphere was vibrant. Fans arrived in elaborate costumes, equipped with props and ready with perfectly timed, often irreverent yet hilariously clever callouts. The interactive traditions that characterise Rocky Horror were flourishing. By the time the first performance of “Time Warp” commenced, audience members were already on their feet, dancing and completely engaged. It was everything one hopes for from this show and more—an uninhibited, joyful celebration of theatre and community.
Stephen Webb’s portrayal of Frank-N-Furter was a standout for me. Having witnessed his performance during the 2022 World Tour, I was already aware of the high calibre he brings to the role, and he certainly did not disappoint. Webb takes command of the stage with both confidence and ease, fully embodying the character (not to mention the suspenders). His performance is charismatic, authentic, and utterly captivating, establishing a benchmark that is challenging to surpass.
Jackie Clune took on the role of the Narrator, and she was a true delight. Recognised by many from her work on Motherland, she adeptly managed the audience’s constant callbacks with remarkable quick wit, even cleverly responding to jokes about “Motherland reruns.” Her strong rapport with the audience enhanced the enjoyment of the evening even further.
James Bisp, as Brad, delivered a compelling and convincing performance, adeptly conveying Brad’s awkwardness and gradual unraveling with both subtlety and humour. Similarly, Haley Flaherty’s portrayal of Janet was equally impressive, reminiscent of her captivating performance in 2022. She expertly balances Janet’s innocence with her transformation, showcasing both vocal strength and emotional depth throughout.
Beyond the lead roles, the entire cast merits recognition for their outstanding ensemble performance. Each performer brought energy, precision, and dedication, ensuring that the show maintained its momentum throughout. The chemistry on stage was palpable, and the uniformity of talent throughout the production lent it a polished, vibrant, and thoroughly enjoyable quality from beginning to end.
This production reminded me precisely why I adore The Rocky Horror Show. The performances were outstanding, but it is the traditions and audience participation that elevate it to something truly remarkable. It was an absolutely brilliant evening.
Mother? Is a 1 hour play written and performed by Rachel Stockdale. It is based on interviews and workshops Rachel recorded with around 100 women and caregivers in the North East in an attempt to answer the question, “What and who is a mother?” The performance investigates a wide range of aspects of motherhood including adoption, fostering, IVF treatment, and women’s experiences of pregnancy and birth. It explores the definition of a mother in its broadest sense.
The set for this play represents a school nursery where there are lots of soft toys and a ball pool which is used to illustrate aspects of the narrative. Although Rachel is the only actor on stage, she is quickly able to change her demeanour, expression and tone of voice to represent a diverse range of interviewees. The only other technique used to represent the views of the women interviewed is recordings of other actors speaking the words of these women. One stand out recording for me is the recollections of a midwife from Trinidad who came to Britain as part of the Windrush generation.
During her 1 hour on stage Rachel gave a voice to the women she met as part of her research. Conversations with women about childbirth illustrated how women sometimes had their birth plans ignored and often had to endure a C section. In contrast to this distressing revelation Rachel shares observations of mums in the playground. This for me was one of the most amusing aspects of the play with the categories of mummies such as super fit gym mummy, the very posh mummy and the rather anxious mummy giving the play a laugh out loud moment.
Another aspect of this play which absolutely struck a chord was the mum who was rushing to take her children to school before work. Although it was quite funny, it was also poignant and I did connect with that mum! The use of puppetry around this point was quite simple but added an effective dimension to the play.
There were one or two stand out lines in this performance, one of which was, “It takes a village to support a mother” which I thought was an interesting twist on the usual idea that it takes a village to raise a child. The other stand out line for me was, “No body’s perfect, we’re just trying our best.” As a mother I would absolutely agree with this statement! I would love to see the themes explored from interviews developed further. The material used for this performance has the potential to grow.
