Cinderella Review

York Theatre Royal.  Reviewed by Michelle Richardson

Written and co-directed by Berwick Kaler, also directed by Damian Cruden, York Theatre Royal brings you their tale of the classic story of Cinderella. Showing until Saturday 28th January 2017.

This is Berwick Kaler’s 38th outing as a dame, an annual tradition, and much loved in York, playing the spiteful Ugly Sister, Hernia. We are treated to a “middle aged Cinderella”, their words not mine, played wonderfully by Suzy Cooper, the wicked step mother, David Leonard, and the other Ugly Sister, Priscilla played by A J Powell, loved his brummie accent. Powell worked well alongside his fellow sister and with the role of Kaler’s stooge, a role usually reserved for Martin Barrass, who was involved in a very serious motorcycle crash earlier this year. I’m pleased to say that after making a brief appearance with a standing ovation, he looks like he is on the mend.

From the onset with Kaler and Powell appearing to still be in costume from last year’s panto, Dick Whittington and his Meerkat, we were treated to lavish sets, colourful costumes and some great singing and dancing from all the cast, well supported by the live band. It was good to see the use of new stage and the scene changes were seamless and I must say the carriage scene when Cinderella goes to ball was stunning and magical.

All the cast did a great job and I must mention Pocklington’s own, Harry Hughes as Buttons, because that it where I live, cheesy I know, but it is nice to get a mention for our small Market Town. I have also got to comment on Leonard’s legs, they are to die for, and those kicks, I was certainly impressed and envious. He played a great villain, as always and great switching during the Baroness and Baron scene.

We were treated to a couple of film sequences, which were a bit odd, especially the one involving Suzi Quatro, a bit pointless I thought, even though it was very current and a take on the very popular Carpool Karoke. At least the one involving Harry Gration and The Rocky Horror Show gave us all a giggle, a brave man indeed.

Cinderella is my favourite fairy tale, so I may be a little biased, but this show is great family entertainment, with quite a few tongue in cheek jokes. I really enjoyed it and thoroughly recommend all to go and see it whilst you can. I look forward to next year’s panto and hopefully seeing the talented Barrass back on stage.

Sleeping Beauty Review

Sunderland Empire Theatre, 9 – 31 December 2016

Empire Theatre Sunderland’s annual pantomime, this year, comes from the reliable UK Productions stable providing all the traditional ingredients such a glitzy show should offer. Sleeping Beauty was warmly received by a packed auditorium of excited youngsters on press night

Sleeping Beauty tells the well-known story of a Princess (Amy-Leigh Hickman) who is cursed by evil witch Carabosse (Vicky Entwistle) and is in danger of death if she pricks her finger on a spinning wheel before she turns 18. Thankfully the Princess has a Fairy Godmother (Faye Tozer) that changes the curse so that if the Princess does prick her finger, she’ll go to sleep for 100 years rather than die.

As is tradition with panto, the plot is merely a vehicle to hang the set pieces and jokes on whilst keeping the audience’s attention. The show mixes in pop culture references with well-known songs, regional mentions such as Fairy Primarni from Marley Pots to the brilliantly-named King Winston of Witherwack and topical jokes.

The first act of this well known fairy tale whizzes along at breakneck speed, the cast are on fire and the chemistry between them is fun, it’s great to see them all attacking the show with plenty of energy and commitment. None more so than from the excellent Andrew Agnew as Silly Billy, he whizzes around the stage like a Duracell bunny on speed, he has a great rapport with the audience and never fails to bring a sense of mischief to proceedings with his slapstick humour and infectious audience interaction.

Vicky Entwistle’s delightfully evil Carabosse steals the show and performs brilliantly whenever she’s onstage – on the ground, in the air, singing. Imagine Janice Battersby playing Angelina Jolie’s Maleficent  and you’ll get the idea.  She can sing and she has a fabulous pair of legs for her high kicking dance number.

With Princess Rose kissed and awoken ten minutes into the second act, extra plot is required to fill the remaining scenes. Here, in the lead up to the Royal Wedding, Carabosse decides to kidnap the Happy Couple and marry the Prince, only to be thwarted when Princess Rose escapes and revives Prince Phillip with true love’s kiss

Marcus Knibbs, as the King, gives a jolly performance and his rap attack with Silly Billy is a real highlight. Amy-Leigh Hickman and Arthur Boan as Sleeping Beauty and the Prince are a well matched and a believable couple.  And Bobby Crush is outstanding as Nurse Nelly, the outfits are as fabulous as a Dame should be and his flirting with Danny in the audience is hilarious.  For me, it was a shame, that he only had a tiny segment in which he could play piano – and I would have liked to have seen and heard more.  Faye Tozer’s Fairy Snowflake was good – with her script  packed with Step’s references and she got to sing a Steps medley during the show

The Kathleen Davis Stage School, Muriel Harrison School of Dance and Drama and the Shameem Karim School of Performing Arts provided the dancing village children – including a tiny tot who played an adorable lamb.

Packed to the rafters with joke after joke and obligatory digs at the local area the humour is well balanced for the children as well as the adults in the audience. The visual highlight of the show is during the Prince’s time travelling journey, utilising a clever use of lighting and projections. Directed by Andrew Agnew he has delivered a fast-paced and slickly produced pantomime that provides plenty of fun – the magic mirror scene is a hoot and a stunning lighting design brings plenty of colour to the proceedings. An enjoyable evening in Pantoland with a first-rate cast.  At two hours forty five minutes including the interval it is a little long and some of the younger members of the audience start to lose their attention spans towards the conclusion of the evening.  But for an evening of family fun it would be hard to beat

The Screwtape Letters Review

Park Theatre 8 December – 7 January.  Reviewed by Claire Roderick

Dramatising CS Lewis’ epistolary novel is a huge task, especially as it deals with now archaic Christian dogma. Fellowship for Performing Arts (whose mission is to present theatre from a Christian worldview that engages a diverse audience) have made an admirable attempt, with some ingenious dramatic flourishes, but this adaptation by Max McLean and Jeffrey Fiske, although an entertaining entry point to the book for new readers, doesn’t quite achieve the magic of CS Lewis’ words inside your own head.

The set is magnificent, cobbled, up lit floor, a backdrop of piled bones and skulls, a rickety ladder linking the levels of hell and a comfy leather wing backed chair kitting out Screwtape’s office in hell. To emphasise Screwtape’s standing, the show includes a prologue based on “Screwtape Proposes a Toast” with Screwtape giving a speech at the Tempters Training College. This allows McLean to dive straight into the first letter from nephew Wormwood, a novice tempter without any further explanation, and works well. As Wormwood’s efforts at tempting the human “patient” away from the Enemy go awry, Screwtape gives a masterclass in setting up the small seemingly insignificant steps and actions that can have huge impact. He is assisted by his assistant Toadpipe – a wordless, animalistic demon who scribes and delivers his letters.

McLean’s performance as Screwtape is full of bluster and very, very theatrical. He has a mellifluous voice, rolling around those wonderful vowel sounds that only American actors can achieve when attempting an upper-class English accent. He portrays Screwtape’s emotional journey with ease, but is slightly too slick for my taste. In his smoking jacket, and with his mostly smiling delivery of evil instruction, he seems more like an aging playboy than a demonic entity – with only a few glimmers of truly satisfying evil coming through. Lewis’ words would be much more effectively delivered with the malice behind the eloquent charm more explicit. This would enhance the humour and drama of the piece too. Lewis’ wit is sharp, but delivered like this it provokes smiles and a few chortles rather than belly laughs.

The most effective moments were when Toadpipe (Karen Eleanor Wight – a fantastic mime) became the human characters in the letters – adding soul and a sense of immediacy to the monologue. The final scene is a triumph, with the wickedness that I wish had been evident throughout finally shining through.

Lewis’ Christian views, like any late convert were strong and uncompromising, and don’t sit too comfortably in modern London, even with such a mocking tone, and, to be brutally frank, the idea of free will and morality has been explored much more effectively and creatively on stage since the novel was published.

The Screwtape Letters is entertaining but flawed, much like Screwtape himself. It just feels a little worthy, which is hard to say about a play starring a demon. The show is a little too long, but it’s worth hanging on in there for the final moments.

The Cat in the Hat Review

Pleasance Theatre 6 December – 2 January,  Reviewed by Claire Roderick

The Cat in the Hat is a perfect Christmas treat for younger children. Dr Seuss’ best known book is brought to anarchic life in this revival of the National Theatre production full of wit and wonder.

On a rainy afternoon, Sally and her brother are left alone in their house by their mother (a fact that shows the age of the book and obviously bothered one young audience member “She’s a naughty mummy!”) Boredom rules, until a mysterious cat in a hat turns up, with Thing 1 and Thing 2, to wreak havoc.

The set and props are all true to the original book’s illustrations – all pencil lines and primary colours (which caused a few problems in the early show for a few bleary-eyed adults who’d been enjoying themselves the night before) and instantly recognisable for the children. The rhyming text of the book is used religiously, along with lots of Tweeniesque oohs and awwws to create a truly childlike and innocent show. Large chunks rely solely on sound effects and music, with some great slo-mo sections amid the cat’s chaos. The cast are in nonstop movement, with great physical comedy and silly tricks. The introduction of Thing 1 and Thing 2 worked well, with only the older children spotting the stage trickery. The adults portraying the two children use childish voices, but don’t go overboard in channelling their inner child. The fish puppet is inspired, with fantastic use of the bowl and the teapot. There are lots of moments that had the young audience cheering and laughing, and the section with bubbles and balloons moved them from gasps of wonder to mass hysteria. The biggest laugh from the grownups came when we saw the Cat’s pimped up mobility scooter.

This production is a fantastic introduction to theatre for children, and will surely have them begging for more. At only 45 minutes, even the most Dr Seuss hating parents can sit through this – it’ll be worth it just to see the joy on the children’s faces.

MUTED – A New British Musical Review

The Bunker 7 December – 7 January,  Reviewed by Claire Roderick

The Bunker’s inaugural season continues with MUTED, a stunning show that has obviously been a labour of love for Tim Prottey-Jones, Sarah Henley and Tori Allen-Martin throughout its long genesis.

MUTED has a simple plot, told sparingly. Just as his band Lost Boy was on the brink of success, Michael’s overprotective alcoholic mother is killed in a hit and run accident. He hasn’t spoken since, only voicing his thoughts internally through his teenage self, and haunted by guilty memories of his mother, he isolates himself in his room under the care of his uncle. Michael’s former bandmate, Jake, sends his girlfriend Lauren – who used to be with Michael – to see Michael in the hope of getting him to play with the band again. Her visits reawaken hidden feelings for them both.

Having seen the showcase performance of MUTED in the spring, I was keen to see a theatrical production, and director Jamie Jackson has created a slick stylish show. The set is simple but full of meaning, all black, with a walkway around an island surrounded by water – Michael’s room. The water was puzzling at first, but becomes integral during later songs where it is part of the choreography and works incredibly well with the sensitive lighting effects. Prottey-Jones and Allen-Martin’s songs are fantastic and memorable – highly emotional but not soppily sentimental. There are no big show stopping numbers, and the songs don’t actually move the plot along, but they externalise the characters’ inner voices and feelings – most effectively through teenage Michael. That’s what MUTED is all about – NOBODY in the show can voice their true thoughts, and there are a lot of silences, interruptions and inane babbling from the damaged characters as they interact – all beautifully written by Sarah Henley. This is probably the quietest musical you’ll ever see. The characters only become eloquent through music, accompanied by repeated stylised “armography” that is strangely beautiful, especially in the low key but eminently satisfying closing number.

Tori Allen-Martin knows the part of lost girl Lauren inside out, and gives a stunningly natural and emotive performance. Helen Hobson is phenomenal as Michael’s mother, keeping her sympathetic even when she’s raging at her son. Jos Slovick’s Jake just needs a slap – his convincing performance makes you want to slap Lauren for staying with him! Edd Campbell Bird and David Leopold, as Teenage Michael and Michael, have a wonderful relationship on stage – the expressions and glances they share are the heart of the show – gorgeous. Mark Hawkins as Uncle Will makes his character much more than comic relief – his solo and final scene with Michael get right to the soul of the character. The whole cast have wonderful voices, and create a little piece of magic when they sing together.

MUTED is already a thing of wonder, but I don’t think the writers are done with it yet. I’m not sure if they’ll ever stop trying to make their baby perfect. As it is – this is a fantastic new musical that deserves a bigger audience.

Get down to the bunker and watch the best of British.

Edinburgh sell-out one-woman family drama comes to VAULT Festival in February 2017

Impi Theatre Company presents:

February 15th – February 19th 2017, VAULT Festival

After a critically acclaimed, sell-out performance at the Edinburgh Fringe Festival 2016, Robyn Paterson’s one-woman family drama The South Afreakins transfers to the Vaults Festival in February 2017. Inspired by Paterson’s own parents’ experience of emigrating from South Africa to New Zealand, she rapidly switches between Helene and Gordon to create a very human story of loss and family.

**** “spot-on observations & a snappy script” The Stage

Helene and Gordon are stuck. Stuck in their arm chairs, stuck in the same house and stuck in their rut. As Gordon’s work-life comes to an end, and with the murder of their son four years previously still tainting their everyday lives, Helene is determined to leave everything behind and start again in the quiet sheep-filled hills of New Zealand. Gordon’s dream is to stay right where he is – until Helene confirms that their extended holiday to New Zealand is, in fact, a permanent move to a new home. Feeling progressively more culturally isolated, will the arrival of his best friend Clive make a difference? And does our home really lie in places, or within people?

***** “Paterson takes us all on this journey with wit & emotional insight” Sunday Express

Robyn Paterson’s play examines the pragmatic decisions behind immigration, intentional displacement and the push and pull challenges of adapting into a new culture. Critically, the play unpicks what happens when the head seeks safety and security, the heart, home.
Robyn has been an award-winning actress/playwright for over 14 years in theatre, film and television in Australia, New Zealand and London. She played the lead in the London immersive theatre show The Generation of Z and Channel 4’s Anzac Girls, which premiered in 2015.

**** “Robyn Paterson gives a tour de force performance” One4Review

Scenes From The End Review

Tristan Bates Theatre, 6 – 10 December.  Reviewed by Claire Roderick

Jonathan Woolgar’s one-woman opera exploring grief and loss is a thing of wonder.
I must admit, for the first few minutes I was a little unsure, wondering what the hell I was going to have to sit through, but Héloïse Werner’s brilliant performance soon had me hooked.
The show is in three parts, signalled by title projections on the otherwise black and bare stage. Quotes from Carl Sagan, TS Eliot and many other notable minds are displayed, which at first feels like a philosophy lecture, but becomes an integral part of the performance as the audience’s engagement grows. Part one deals with the end of the universe, part two with the end of humanity, and part three with the end of a human life.
The cosmic beginning, with musings on oblivion and heat death is interesting and intense – with a strangely hypnotic soundscape produced by Warner bashing a piano stool and showcasing some Olympic strength breath techniques – but the concept of the universe ending is so abstract that this section, although entertaining, doesn’t really engage emotionally. This is probably intentional though, as the grief becomes more personal in each section.
Part two – the end of humanity, sees more vocal gymnastics from Werner as she laughs her way to the end that everyone knew would come. There is a lot of gallows humour here, with Werner portraying rising hysteria and final dull acceptance. The bluesy interlude is a lovely witty touch.
The final part, dealing with personal grief sees a mind blowing performance from Werner, with a long silent fidgety beginning as she steels herself to speak. As she admonishes her listeners to not speak in platitudes and treat her like a child, the raw emotions are extraordinary  – you’ll just want to give her a hug.
Woolfgar’s composition is clever and hypnotic, with soaring laments and edgier rhythms all coming together to a gloriously calm and hopeful ending. Werner puts body and soul into her performance, and is a name to watch. Stunning.

Darlington Civic Theatre – 2017 pantomime announcement

Civic-Theatre-Hi-Res-Logo-1-117x300365 DAYS TO HIPPODROME PANTO

Darlington Civic Theatre is pleased to announce their 2017/18 magical pantomime will be the fairest of them all, Snow White and the Seven Dwarfs.

Running from Saturday 9 December 2017 until Sunday 14 January 2018 Snow White and the Seven Dwarfs will be the first major production at the newly re-opened Darlington Hippodrome following its 18 month restoration.

Snow White and the Seven Dwarfs will see the return of the World’s biggest pantomime producer, Qdos Entertainment, to Darlington, bringing with them their trademark combination of large-scale productions with West End production values, stunning sets, beautiful costumes and live music.

Tickets will be on sale on Tuesday 10 January 2017 – 9am online, 10am for telephone bookings – providing the opportunity to be the first to experience the venue following its restoration.

Darlington Civic Theatre Director Lynda Winstanley said she was looking forward to welcoming another spectacular pantomime from Qdos Entertainment.

She said: “Pantomime during the festive season is always a special time of year for families at the theatre. I can’t wait to see what is in store with this enchanting story. Darlington audiences love pantomime, with many telling us year after year that it wouldn’t be Christmas without our festive fayre so we will make sure we deliver another spectacular show.

Key dates around Christmas are expected to sell fast, so make sure to secure your seats if you want to experience this festive treat.”

Managing Director of Qdos Entertainment, Michael Harrison said “Qdos Entertainment is honoured to be the first production to be staged at the newly refurbished Theatre. All of our creative team are very much looking forward to creating a show especially for the Darlington Hippodrome.”

Cast for Snow White and the Seven Dwarfs will be announced later in 2017.

Snow White and the Seven Dwarfs runs at Darlington Hippodrome from Saturday 9 December 2017 to Sunday 14 January 2018.

Tickets go on sale on Tuesday 10 January 2017 – 9am online, 10am for telephone bookings. To book contact the Box Office on 01325 486 555 or visit

Full casting announced for THE WILD PARTY at The Other Palace

Full casting announced for


Michael John LaChiusa’s  



Directed and Choreographed by Drew McOnie  


At The Other Palace (formerly St. James Theatre) 

From Monday 13 February to Saturday 1 April 2017 



Full casting is announced today for Michael John LaChiusa’s The Wild Party, which receives its first major London production at The Other Palace, playing from Monday 13 February to Saturday 1 April 2017, with a press night on Monday 20 February. The Wild Party will be the inaugural production at The Other Palace, formerly St. James Theatre, when it reopens in February 2017 as the newest addition to The Really Useful Theatres Group and a home for new musical theatre.


Joining the previously announced Frances Ruffelle as Queenie are John Owen-Jones as Burrs, Simon Thomas as Black, Donna McKechnie as Dolores, Dex Lee as Jackie, Victoria Hamilton-Barritt as KateAko Mitchell as Eddie, Gloria Obianyo and Genesis Lynea as The D’armano Bros, Melanie Bright as Sally, Lizzy Connolly as Mae, Steven Serlin as Goldberg, Sebastian Torkia as Gold, Bronté Barbé as Nadine and Tiffany Graves as Madelaine.


John Owen-Jones is best known for his performance as Jean Valjean in Les Misérabes, playing the role to acclaim in the West End, on Broadway and in the 25th Anniversary Production. He has also played the title role in The Phantom of the Opera in the West End many times.


Simon Thomas has played Raoul in The Phantom of the Opera (Her Majesty’s Theatre), Warner in Legally Blonde (Savoy Theatre) and Rapunzel’s Prince in Into The Woods (Regent’s Park Open Air Theatre). Television credits include Drifters (Channel 4), Jonathan Creek (BBC) and Doctor Who (BBC).


Donna McKechnie is best known for creating the role of Cassie in the original Broadway production of A Chorus Line, receiving a Tony Award for her performance. Her many other Broadway credits include Promises, Promises,in which she danced the iconic ‘Turkey Lurkey Time’, On The Town, Company and State Fair. The Wild Party will mark Donna’s return to the London stage for the first time in 20 years after appearing in Follies at Drury Lane. 


Dex Lee is currently playing Danny in Grease at Curve Theatre, Leicester, with other recent credits including In The Heights (King’s Cross Theatre), Hairspray (UK Tour) and The Scottsboro Boys (Garrick Theatre).


Victoria Hamilton-Barritt recently appeared in Murder Ballad (Arts Theatre), with other credits including In The Heights (King’s Cross Theatre), A Chorus Line (London Palladium) and Gypsy (Curve Theatre, Leicester).


Ako Mitchell is currently starring in Ragtime at Charing Cross Theatre with other credits including Grey Gardens(Southwark Playhouse), Little Shop of Horrors (Royal Exchange, Manchester) and Sister Act (London Palladium).


Gloria Obianyo’s recent credits include The Grinning Man (Bristol Old Vic) and Jesus Christ Superstar (Regent’s Park Open Air Theatre). Genesis Lynea’s recent credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Bend It Like Beckham (Phoenix Theatre) and The Bodyguard (Adelphi Theatre). Melanie Bright has recently appeared in Les Misérables (Queen’s Theatre), Tommy (English Theatre Frankfurt) and We Will Rock You(UK Tour). Lizzy Connolly is currently starring alongside Harry Enfield in Once in a Lifetime at the Young Vic. Other recent credits include Vanities The Musical (Trafalgar Studios) and Xanadu (Southwark Playhouse). Steven Serlin is currently playing Jerry in Charlie and the Chocolate Factory (Theatre Royal Drury Lane) with other recent credits including The Infidel (Theatre Royal Stratford East) and I Can’t Sing (London Palladium).Sebastian Torkia is currently appearing in Peter and the Starcatcher (Northampton Royal & Derngate) with other credits including Travels with my Aunt (Chichester Festival Theatre), Top Hat (UK Tour) and Sweeney Todd(West Yorkshire Playhouse). Bronté Barbé’s credits include Princess Fiona in Shrek (UK Tour), Jest End(Waterloo East) and Cool Rider (Lyric Theatre). Tiffany Graves’ many theatre credits include Kiss Me Kate(Opera North), The Producers (UK Tour), Piaf (Curve Theatre, Leicester), Wonderful Town (UK Tour) and Sweet Charity (Menier Chocolate Factory).


As previously announced, Frances Ruffelle will play Queenie. Frances is perhaps best known for originating the role of Eponine in Les Misérables in the West End and on Broadway, winning a Tony Award for her performance. Her many other stage roles include Dinah in the original company of Andrew Lloyd Webber’s Starlight Express(West End), Roxie Hart in Chicago (West End), Frastrada in Pippin (Menier Chocolate Factory) and the title role in Piaf (Leicester Curve).


Set against a backdrop of Manhattan decadence and 1920’s excess, The Wild Party tells the story of Queenie and Burrs, a Vaudeville showgirl and a Vaudeville clown whose relationship is marked by vicious behaviour and recklessness. In an attempt to salvage their toxic union, they decide to throw a party to end all parties. The guests are a vivid collection of the unruly and the undone: a cocaine-sniffing bisexual playboy; a washed-up boxer; a diva of indeterminate age; a fresh-faced ingénue; and a handsome Valentino who catches Queenie’s roving eye. The jazz and gin soaked party rages to a mounting sense of threat, as artifice and illusion are stripped away. But when midnight debauchery turns into tragedy, the revellers must sober up and face reality. After all, no party lasts forever. 


Based on Joseph Moncure March’s narrative poem of the same title, The Wild Party originally opened on Broadway in 2000 with a cast including Toni Collette, Mandy Patinkin and Eartha Kitt. The production received 7 Tony Award nominations, and a Grammy Award nomination for its composer and lyricist Michael John LaChiusa.LaChiusa is one of the most prolific writers for the American musical stage, with works including Hello Again(1994), Marie Christine (1999), The Wild Party (2000) and See What I Wanna See (2005). He was nominated for Tony Awards for his book and score for The Wild Party and Marie Christine, and for his book for Chronicle of a Death Foretold. 


The Wild Party will be directed and choreographed by Drew McOnie, who received the 2016 Olivier Award for Best Theatre Choreographer for his work on In The Heights (King’s Cross Theatre). Drew is directing and choreographing the European Premiere of Baz Luhrmann’s Strictly Ballroom at West Yorkshire Playhouse this Christmas, with other recent choreography credits including Jesus Christ Superstar (Regent’s Park Open Air Theatre), Bugsy Malone (Lyric Hammersmith), The Lorax (The Old Vic) and Oklahoma (UK Tour). Drew is also the Artistic Director of The McOnie Company, for which he recently created a new dance-thriller version of Jekyll and Hyde at The Old Vic.  


The Wild Party is produced by Paul Taylor-Mills, who is the new Artistic Director of The Other Palace.  Paul’s recent productions as a producer include In The Heights (King’s Cross Theatre), The Last Five Years (St. James Theatre), Side Show (Southwark Playhouse) and Carrie: The Musical (Southwark Playhouse).  


The Wild Party has music and lyrics by Michael John LaChiusa and a book by George C. Wolfe and Michael John LaChiusa. It is directed and choreographed by Drew McOnie with musical direction by Theo Jamieson(Funny Girl, West End), set and costume design by Soutra Gilmour (Dr Faustus, Urinetown, The Commitments, West End) and lighting design by Richard Howell (Jekyll and Hyde, Old Vic). Casting is by Will Burton. It is presented by Paul Taylor-Mills by arrangement with R&H Theatricals Europe. 


Twitter: @TWP_London 






12 Palace Street, London, SW1E 5JA   

Performances: Monday – Saturday 7.30pm, Thursday and Saturday 2.30pm (no matinee 11 or 16 Feb) 

Tickets: £10/£30/£45/£55/£65 (Previews £5-55) 

Box Office: 0844 264 2121 | 


Lazarus Legacy Season begins with the return of our ★★★★★ Caucasian Chalk Circle!


Press Release

* Lazarus Theatre’s ★★★★★ sell-out production of Brecht’s The Caucasian Chalk Circle returns for a strictly limited run at The Greenwich Theatre!

The Caucasian Chalk Circle

Bertolt Brecht

Translated by Frank McGuinness

A girl must make a choice… to take the child and run, or leave him behind in the fury of civil war.

Brecht’s thrilling and revolutionary play follows a young girl who makes the biggest decision of her life. Set against the back drop of war and mutiny, Grusha seeks refuge and asylum.

Her crime: saving the son of the fleeing establishment. Her reward, The Caucasian Chalk Circle.

This inventive ensemble production draws on Brecht’s pioneering techniques and thrilling text, set to an original score. Our 2016 ★★★★★ sell-out production returns for a limited 7 performances only.

Lazarus is an award-winning Theatre Company, re-imagining and revitalising classic text for a contemporary audience.

Press on 2016 production:

★★★★★ “The Caucasian Chalk Circle is an exciting and engrossing piece of theatre… The overall effect is amazing” Matthew Pronchick, The Upcoming

★★★★ “This is Brecht as it should be- loud, large, with a point to make but always in control. A daring, collaborative production and one not to be missed” Siân Rowland, London Pub Theatres

★★★★ “It doesn’t get much bigger for Brecht fans thanThe Caucasian Chalk Circle” Michael Davis, Female Arts

“To kick off our 10th year with the return of our Chalk Circle is fantastically exciting! We are looking forward to returning to our home town and to The Greenwich Theatre after our epic rep of King Lear and Dido, Queen of Carthage in 2013. We can’t wait to share this remarkable play with even more people.” Director Ricky Dukes commenting on today’s announcement.

★★★★ “Bold, brisk, and bombastic, Lazarus Theatre’s Caucasian Chalk Circle is as modern and as true a whirlwind of Brecht as you can get” J Waygood, Grumpy Gay Critic


Dates 28th March – 1st April 2017, Tuesday – Saturday at 7.30pm

Wed matinee at 1.30pm and Sat matinee at 2.30pm

Venue The Greenwich Theatre

Tickets £17.50, £15.00 (Concessions) £10 (Previews 28th March) To Book

Cast; Shall be announced shortly.


Written by Bertolt Brecht, translated by Frank McGuinness

Adapted and Directed by Ricky Dukes

Designed by Sorcha Corcoran

Lighting Design by Stuart Glover

Costume Design by Rachel Dingle

New Songs and Sound Design by Neil McKeown

New Songs by Robert Locke

Associate Producer – Gavin Harrington-Odedra

Dramaturge – Sara Reimers

“Lazarus Theatre Company creates a very urban modern feel to this classic Brecht play… This is a very fine production… Extraordinarily powerful” Keith Mckenna, British Theatre Guide

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#ChalkCircle #Brecht