Month: September 2017

FULL CAST ANNOUNCED FOR SMASH HIT MUSICAL

SUNSET BOULEVARD

 

One of the all-time great musicals, Sunset Boulevard, is returning to Newcastle Theatre Royal this Autumn (Mon 9 – Sat 14 Oct ’17).

 

Ria Jones stars as ‘Norma Desmond’ – a role she received rave reviews and standing ovations for every night when performing at the London Coliseum – with Danny Mac as ‘Joe Gillis’, the impoverished screen writer who stumbles into her reclusive world and is seduced by her and her luxurious lifestyle.

 

They are to be joined by Adam Pearce as ‘Max Von Mayerling’, Molly Lynch as ‘Betty Schaefer’, Dougie Carter as ‘Artie Green’ and Carl Sanderson as ‘Cecil B DeMille’.   The rest of the company includes Bernadette Bangura, Matthew Barrow, Benjamin Chambers, Joanna Goodwin, Kristoffer Hellström, Iain Mattley, James Meunier, Gemma Naylor, Fiona O’Carroll, Joanna O’Hare, Jessica Paul, Sam Peggs, Tom Vincent and Barney Wilkinson

 

Ria Jones has recently starred as ‘Dorothy Brock’ in 42nd Street at the Théâtre du Châtelet in Paris. Her West End credits include ‘Fantine’ in Les Misérables, ‘Grizabella’ in Cats and ‘Florence’ inChess.

 

Danny Mac made it all the way to the 2016 final on BBC1’s Strictly Come Dancing. He most recently starred as ‘Gabey’ in On The Town at Regent’s Park Open Air Theatre. His other musical theatre credits include Wicked and Legally Blonde.

 

Adam Pearce’s many West End credits include Les Misérables at the Queen’s Theatre, Love Never Dies, Evita, Joseph and the Amazing Technicolor Dreamcoat and Sweeney Todd all at the Adelphi,The Light Princess at the National Theatre and Urinetown at the St James Theatre.

Molly Lynch most recently appeared in English National Opera’s Carousel at the Coliseum, where she has also appeared in Sweeney Todd.

 

Dougie Carter recently played ‘Jean-Michel’ in the national tour of La Cage Aux Folles. His West End theatre credits include Les Misérables at the Queen’s Theatre and Alice at St James Theatre.

 

Carl Sanderson’s many West End credits include Cats, The Phantom of the Opera, Acorn Antiques – The Musical and Starlight Express. His other theatre credits include the national tours of My Fair Lady and Hairspray as well as Guys and Dolls, The Music Man and The Pajama Game all at Chichester Festival Theatre.

Andrew Lloyd Webber’s Tony Award-winning masterpiece Sunset Boulevard is a compelling story of romance and obsession, based on Billy Wilder’s legendary film, with Don Black and Christopher Hampton’s wonderful book and lyrics. This much-loved score includes the title number Sunset Boulevard, With One Look, As If We Never Said Goodbye, The Greatest Star Of All and The Perfect Year and will be performed by a full orchestra.

 

In her mansion on Sunset Boulevard, faded, silent-screen goddess, Norma Desmond, lives in a fantasy world and persuades Joe Gillis, on the run from debt collectors, to work on her ‘masterpiece’, a film script that she believes will put her back in front of the cameras.  Joe becomes entrapped in a claustrophobic world until his love for another woman leads him to try and break free with dramatic consequences.

Sunset Boulevard plays at Newcastle Theatre Royal from Mon 9 – Sat 14 Oct 2017.  Tickets are from £17.50 and can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 08448 11 21 21 (calls cost 7ppm plus your phone company’s access charge).

Casting announced for Daniel Kehlmann’s
CHRISTMAS EVE
At Theatre Royal Bath’s Ustinov Studio

• NIAMH CUSACK AND PATRICK BALADI WILL STAR IN DANIEL KEHLMANN’S CHRISTMAS EVE, TRANSLATED BY CHRISTOPHER HAMPTON AND DIRECTED BY LAURENCE BOSWELL
• FORMS PART OF THE USTINOV STUDIO’S SEASON OF INTERNATIONAL UK PREMIERES
• PRODUCTION WILL RUN FROM 19 OCTOBER – 18 NOVEMBER, WITH PRESS NIGHT ON 25 OCTOBER

Theatre Royal Bath announces full casting for Christmas Eve, which today begins rehearsals.Niamh Cusack will play philosophy professor Judith and Patrick Baladi will play police officer Thomas. The new thriller is the latest play from multi-award winning writer Daniel Kehlmann and will be directed by Laurence Boswell, in a translation by Christopher Hampton. The production will run at the Ustinov Studio from Thursday 19 October to Saturday 18 November, with opening night for press on Wednesday 25 October.

On Christmas Eve 2017, a philosophy professor is on her way to celebrate Christmas when she is bundled into police headquarters and an interrogation room. Opposite her the senior officer is cynical, smart and relentless. Played out in real time, two powerful antagonists are pitted head to head against each other. Both think they are saving their country but only one of them will win.

Niamh Cusack (Judith) has recently been seen on screen in feature films including The Ghoul andTestament of Youth. Television credits include Rebellion (RTE / Netflix), The Best of Men (BBC) andThe Hollow Crown (BBC). Her extensive theatre work includes The Curious Incident of the Dog in the Night-time (National Theatre and West End), Playboy of the Western World, Cause Celebre andDancing at Lughnasa (The Old Vic), The Enchantment, His Dark Materials (National Theatre) andBreathing Corpses (Royal Court).

Patrick Baladi (Thomas) is known for his television roles which include Neil Godwin in The Office, Stephen Holmes in Marcella, Michael Jackson in Stella and Jimmy Lakewell in Line of Duty. Theatre credits include Loyalty (Hampstead Theatre), Albert Speer, Battle Royal (National Theatre) and Camino Real (RSC).

Daniel Kehlmann is a German-language author whose novel Measuring the World, sold three million copies in Germany alone and has been translated into more than 40 languages.

Christopher Hampton previously translated Florian Zeller’s play The Father for the Ustinov Studio, launching its international success. He won an Academy Award for the adaptation of his own play, Dangerous Liaisons.

Laurence Boswell is an Olivier Award winner, Artistic Director of the Ustinov Studio and an Associate Artist of the RSC. His recent productions include The Mentor, A Midsummer Night’s Dream in the Theatre Royal’s Main House, and Trouble in Mind, The Mother, Intimate Apparel and The Spanish Golden Age Season in the Ustinov Studio.

Christmas Eve is the first play in the Ustinov Studio’s season of International UK Premieres. It will be followed by Will Eno’s The Open House, directed by Michael Boyd, which will run from Thursday 23 November to Saturday 23 December.

LISTINGS

Ustinov Studio, Theatre Royal Bath, Sawclose, Bath, BA1 1ET
Box Office: 01225 448844
Website: www.theatreroyal.org.uk
Facebook: TheatreRoyalBath
Twitter: @TheatreRBath

Christmas Eve
By Daniel Kehlmann
In a translation by Christopher Hampton
Directed by Laurence Boswell
Dates: Thursday 19 October – Saturday 18 November
Press Night: Wednesday 25 October, 7pm*
Performance schedule: Mon – Sat 7.45pm, Matinees Thu & Sat 2.30pm
Tickets: £22.50 / £17.50 discounts (Preview Perfs and Mondays, all seats £15)

*Please note updated press night date

Park Theatre, 19 September – 14 October.  Reviewed by Claire Roderick

5*****

Well, that was emotional. Neil Anthony Docking’s play is sidesplitting and heart breaking in equal measure. Based on the true story of the mothers who met regularly (and still do) after losing their children in the Aberfan disaster, The Revlon Girl captures the grief and strength of the women perfectly.

The play is set in 1967, 8 months after the colliery waste slipped and engulfed Pantglas Junior School, killing 116 children and 28 adults. The women secretly arrange for a Revlon representative to visit their group – the constant indecision about whether to say she is from the W.I. or another respectable organisation is a wonderful running joke that underlines their guilt about wanting something as trivial as makeup tips. In a poky room above the hotel, with a leaky roof – another running joke – Sian prepares for the meeting. Jean, Marilyn and Rona arrive early, and they convince “Revlon” to give them a preview.

Docking’s characterisation is pitch perfect, and these women are instantly recognisable to anyone from the Welsh valleys. Sian (Charlotte Gray) is the smiling peacemaker who would do anything to help anybody, but has a habit of putting her foot in it; Jean (Zoe Harrison) is one of the crachach, the wife whose husband has a higher status job, and looks down her nose at her school friends’ coarse behaviour; Marilyn (Michelle McTernan) is the quiet, dour member of the group and Rona (Bethan Thomas) is the mouthy, sweary one. They all went to school together, and all married miners. Listening to the rhythm and humour of the women’s language, and all the offers of cups of tea, transported me back home to South Wales. Revlon (Antonia Kinlay) is bewildered by the women’s attitudes, but gets a chance to pull one over on the overbearing Rona, and ultimately helps the women reconnect with each other.

The women all have different ways of coping with or denying their grief and each character gets a moment to bring tears to your eyes. When each character allows their true feelings to burst through it is cathartic and devastating, especially when Sian finally breaks down. The cast effortlessly portray the rage that is inside the women. Their explanations about how the disaster should have been avoided and their treatment by the coal board are written sympathetically, feeling organic rather than included as a history lesson.

The women’s fractious relationships, but underlying deep bond of friendship and shared grief treats the audience to a laugh-out-loud sob fest – honestly, I have never heard so much snuffling in a theatre as I did in the last 20 minutes of this play.

The cast are all fantastic – beautifully nuanced performances and onstage relationships. This is basically a masterclass in ensemble acting.

At one point in the play, Rona rails that in 50 years nobody will remember what happened in Aberfan. The Revlon Girl ensures that the strength and spirit of those left behind is immortalised and celebrated. A true Welsh wonder – I urge you to go see this play.

Slot Machine Theatre with Turtle Key Arts present
Your Toys
Press Night: Sunday 24th September 2017, artsdepot

Turtle Key Arts, one of the UK’s most exciting creative producers, have partnered up with Slot Machine Theatre for Your Toys – a innovative family show that incorporates the children’s toys as puppets into the story.

Using their unique style of puppetry, original live music and quirky humour, Your Toys takes your beloved friend on a gigantic adventure. Enjoyed by both adults and children, there is no limitation to whose toy can take part. Everyone is invited to hand in their toy at the beginning of the show to see them included in this magical journey

Your Toys was developed by Slot Machine Theatre, an associate company at Norden Farm Arts Centre in Berkshire. Experimenting with the idea of creating a show that taps into children’s extensive imaginations, Your Toys brings to life the world that they only could imagine.

Nick Tigg, one of the Artistic Directors from Slot Machine Theatre comments, Having made a number of shows over that included puppetry we were struck by how strongly both children and adults relate to these make-believe beings – especially if the object being animated has some relationship with them already. Many children imagined their toy going on an adventure – and we loved this idea. Some children had fantastical suggestions about where these adventures might take place – in the mountains, a storm at sea, in the desert, flying with eagles. We also loved the idea of unlikely characters being thrown together and having to work as a team.

Your Toys is an accessible show and has worked really well when performed in Special Education Needs schools as part of Turtle Key Arts’ extensive work into forging the path for disabled and socially disadvantaged people by ensuring that participation and education is embedded into the heart of everything they do.

Development Director of Turtle Key Arts, Shaun Dawson, comments, “When Slot Machine Theatre first mentioned the concept of Your Toys we instantly loved it and wanted to make it a reality, now here we are touring it nationally and we’re looking forward to hearing the gasps of excitement, when their toy appears on stage, from hundreds more children.”

Magical, an ideal introduction to the theatre for children (The Stage)

Paperbark Theatre in association with Thinking Aloud and Theatre503 presents
The Dark Room
Theatre503, The Latchmere, 503 Battersea Park Road, London SW11 3BW
Wednesday 8th November – Saturday 2nd December 2017
Press Night: Monday 13th November, 7:45pm

This November, the UK premiere of Angela Betzien’s award-winning The Dark Room (Best New Australian Work, Sydney Theatre Awards) will be staged at Theatre503. This intricately layered psychological thriller takes a sober look at one of the devastating issues of contemporary Australian discourse – the abuse of defenceless children.

Deep into the night, in a run-down motel somewhere in central Australia, six lost souls collide in a distant tragedy of love sickness and social breakdown – only it’s not the same night. A teenage boy from a nearby country town longs for a stranger. Pregnant Emma longs for her husband, a country cop, drunk after his best friend’s wedding. Anni, a government youth worker accompanied by a withdrawn and violent fourteen-year-old girl, longs for the dawn. As the night draws on, each of them become trapped in a dark and dangerous territory, all searching for a way out.

Directed by Audrey Sheffield (Don Juan in Soho, Wyndham’s Theatre – understudy run; We Too Are Giants, Tricycle Theatre; Dead Funny, Vaudeville Theatre – understudy run), The Dark Room draws attention to the abuse, neglect and limited social care in remote communities in Australia. Betzien wrote the play after having witnessed first-hand the shortage of accommodation for children in care in these communities.

Betzien comments, I’m thrilled that Theatre503 are producing The Dark Room. This will be the first time the play will be performed beyond Australian borders. In Australia, we have a long and dark history of neglecting, abusing and forgetting the most vulnerable in our communities and it is this disturbing reality that formed on of the starting points for the play. I hope London audiences will find The Dark Room a haunting and illuminating theatrical experience.

Paperbark Theatre’s Shaelee Rooke comments, The Dark Room thrusts us into the heart of an isolated community in the Northern Territory of Australia. While the setting may seem incredibly foreign to a London audience, the issues that are addressed in the play are frighteningly familiar – police brutality, child abuse and a lack of social justice where it is needed most. I believe this is an important play and one that should reach far beyond the white sandy beaches of Australia.

The Dark Room explores the heartache and corruption of a far away, yet all too familiar world. It serves as a timely reminder that no matter how far apart we are in distance and time, we are all responsible for each other’s lives.

Edinburgh Playhouse – Tuesday 19th September 2017. Reviewed by Linda McLaughlan

5*****

 

The evening begins with the young Cilla singing in her bedroom like all teenagers like to do. The part being played by the very talented Kara Lily Hayworth, who provides the true reflection of Cilla’s Liverpudlian roots.

The story of Cilla of late teenage years continue as she meets with friends in the local dance hall and takes to the stage for the occasional appearance not truly believing that her voice is star quality. In an era when the music industry was experiencing the rise of the Beatles and Gerry and the Pacemakers, Cilla was fortunate to mingle in the circles of the upcoming stars. Coming from a traditional northern family Cilla was brought up by hard working parents who wanted the best for her. Her mother believing that working in an office was the perfect future for her as a stable job. Cilla was given the opportunity to audition for Brian Epstein and this was a disaster

After her backing group for the audition the Beatles played in the wrong key and this knocked her confidence. Fortunately for the British public her friends and more importantly Bobby Willis who had been trying to woo Cilla for a while encouraged her to take a payed slot in one of the local dance halls with the Big Three as her backing group. The Blue Angel Jazz club would be the launching pad for Cilla has Epstein seen her singing confidently and at ease and made a point of speaking to her parents and signing her to his record company Parlophone.

The rest you could say was history after a disappointing first record her single Anyone who had a Heart and You’re My World put Cilla’s name in lights. Her background and roots kept her in touch with the public and she was taken into everyone’s hearts.

Bobby Willis played by Carl Au, another amazing talent, stood by Cilla’s seat as she toured and hit the big time. After what Cilla felt was a disaster in New York on the Ed Sullivan Show Bobby and Cilla went their separate ways for a while, with Cilla believing that she was the star and Bobby should not even be thinking of signing his own record deal with Epstein, a position Bobby had already turned down. Cilla soon realised how much she missed Bobby and their love story was rekindled and they went on to spent many happy years together and Cilla always remained her bubbly positive self throughout her career.

The evening was amazing with pine-tingling performances from Kara who portrayed the life of Cilla so expertly and helped the audience remembered the late star with laughter and joy, just as Cilla would have wanted. A northern lass who was taken to the hearts of many regardless of age or background, and a legacy who will be remembered as one of the great voices to come out of Liverpool on par with all the other greats. A first class evening that should be enjoyed by everyone.

Bread & Roses Theatre, 17 – 27 September.  Reviewed by Claire Roderick

2**

Choosing to stage a play about the sisters Constance Markievicz and Eva Gore-Booth as your first production is a brave step by Urania. These political radicals and anti-imperialist feminists aren’t the most familiar names on people’s historical radar. When I told my work colleagues what the play was about, the common answer was “Oh yes, weren’t they Irish?”

Urania state in the play text that their aim is to create non-linear and non-narrative theatrical experiences, but I am afraid this production just felt non-theatrical. I have no problem at all with using verbatim text and found footage, but Constance & Eva in its current form is more akin to an overlong multimedia installation in an art gallery rather than a satisfying theatrical experience.

The use of film and sound can add so much to a production, but some of the choices made here were baffling. The director obviously wanted to highlight parallels between the sisters campaigning and activism and what women face in the modern world, but tagging on film of the Palestinian conflict and protest marches at the end felt clumsy and clunky. There seemed to be more thought put into using different technologies than the script – how using cassette tapes to play interviews relates to the sisters’ time or the present is a mystery to me. The staging also did not help. The traverse succeeded in separating the sisters, but also meant that from some seats in the second row of the theatre, whole scenes occurred where you couldn’t see the actor as they spoke sitting on the floor.

Hannah Berry as Eva and Charlotte Gallagher as Constance were committed, but their characterisation was quite blank. Although when I did crane my neck and saw Gallagher’s face as she reacted to Eva’s letters, I saw some emotive expressions, but this was the only time. I am sure that both actors are talented, so why weren’t they allowed to flesh out the characters? Instead, the women remained ciphers. Whether this was a directorial decision by Luke Davies or a collaborative decision, I’m unsure, but it fitted in with the entire feel of the production. These were two passionately committed women, but this show is devoid of passion and fire, and politically toothless. To state in the first scene that the play wants to make clear who these characters are and then just brush quickly over their achievements is a huge missed opportunity. I can understand why the company wanted to concentrate on the letters between the sisters when Constance was imprisoned after the Easter Rising, but these scenes need a lot of work to create dramatic impact. The one time the characters actually touch, which should have been charged with tension and emotion, was a damp squib, as the actors had nothing upon which to build.

Urania’s intention with Constance & Eva is worthy and interesting, but the production needs a complete overhaul to develop into entertainment rather than a dry as dust documentary.

53Two, Albion Street, Manchester.  18th September 2017.  Reviewed by Julie Noller

5*****

53Two was a new venue for me, wow what a perfect place, welcoming and inviting, cosy yet expansive. We were a small audience with just 3 rows of 8 seats and some smaller tables and chairs looking like a club set up. Periodically you could hear the rumble of the trams overhead but it didn’t detract from the performance, the cavenous feel of the old arches aided the sound effects.

Royal Vauxhall more than met my expectations, it was naughty but hilarious, extremely well acted with any slips easily covered with ad libs. The acting was delivered from the stage and from within the audience itself, some even being included. I never thought I’d have Freddie Mercury singing directly to me!

Royal Vauxhall is basically 3 extremely well loved and well known characters from 1980’s Britain. Each facing their own demons and battles from within themselves. Desmond O’Connor dons the moustache and tight trousers of Freddie Mercury he is also the talented writer and composser, Joe Morrow in the best possible taste as Kenny Everett and Carrie Marx sweet and devilish as Princess Diana. I was only a young child (ahem) in the 1980’s and as such I had no concept of the story unfolding. I watched with wide eyed innocence picking snipets out from the story, why they dressed Diana as a king, understanding how different and yet how alike they all were, Kenny facing the guilt of his catholic upbringing yet not knowing how to accept himself and sinking further into depression, Diana who felt the depression of living a life she hated without the freedom of expression or indeed feeling loved, Freddie who lived to express himself on stage yet lived with the fact he had Aids and faced discrimination should the public who adored him found out.

Of course this tour coincides with the 20th Anniversary of Diana’s death, it is long enough for people not to be outraged at seeing Diana portrayed as bored, naughty, guilt free. For those men in the audience this is quite possibly the closest you’ll get to an Ann Summers party, rude words, skits and silly games abound. The ruder version of Blankety Blank had us in stitches and poor Stew who was pulled out of the audience, normally I’d say lucky was the guy who got to introduce himself to ‘disguised’ Diana sitting amongst us but his partner wasn’t too impressed. The portrayal of RVT (Royal Vauxhall Tavern) is as I’d imagine and quite possibly true to the era, loud, brash, fun with a capital F.

Coming towards the end of the musical we see a subtle change in our 2 male characters, Kenny sinking lower, dependant on drugs to just be him. The sketch with him on a drug fuelled high is quite possibly the best of the night. Freddie continues to struggle to admit he’s dying and why. Diana has the biggest change from the meek and mild quipping about horses, to bold and proud singing ‘Don’t fuck with Diana’. We then hear the genuine announcements of each persons death, how sad, how different each one was. But then back to humour with the waiting area of Heaven still Freddie and Kenny are bickering. Then in walks Diana once again a looking a little lost, but wait shes fasttracked through the pearly gates. Her explanation ‘must be Dodis Dad, he’s very influential’

We left and spent the entire journey home discussing what we’d seen, debating how much if any could be true. But does it matter? No it’s just brilliant escapism, I haven’t laughed so loud in ages. If you want fun, inclusive theatre, talented actors, good story, naughtiness and a little education thrown in, then this is a must see. I would without doubt go and see it again.

Marble Arch Theatre – booking until 17 February.  Reviewed by Claire Roderick

5*****

The Deep South has come to London, with a sign saying welcome to New Orleans above the entrance, Five Guys Named Moe isn’t just a show, it’s a party. Arrive early to enjoy the 1940’s style cocktail bar (with live band above it that have the audience singing along in the interval) and carry on partying after the show until 11.

Staging the show in a Speigeltent allows this production to completely reinvent itself, and director Clarke Peters has embraced the opportunity to immerse the audience in the show, with those nearest the stage in the pit at club tables, surrounded by a revolve/walkway with further seating around that. My one word of warning to the vertically challenged is DON’T book seats in rows D or E of the stalls. If there are tall people in front of you, you won’t see a thing. The front of house staff (the friendliest and most helpful in London) will reseat you if possible, but if it’s a full house, you’re scuppered.

Clarke Peters loving tribute to the songs of Louis Jordan has the feel of a musical revue rather than a deep plot, but that if fully and humorously acknowledged with groaned lines like “Oh no, that sounds like a cue for another song”, and characters sweetly apologising for any misogynistic lyrics.

Nomax (Edward Baruwa – wonderfully dishevelled and shuffling compared to the Moes) is a drunken bum, whose girlfriend has finally had enough and dumped him. As he drowns his sorrows with music and drink, five guys burst out of his radio and furniture and try to show him the error of his ways. The second act shifts to the Moes’ cabaret at The Funky Butt Club, with Nomax sitting in the audience as the Moes do their thing. That’s about it. The show touches on Nomax’s possible alcoholism, but the Moes main aim is to get Nomax to stop taking his girl for granted.

The five Moes, Big Moe (Horace Oliver), Know Moe (Dex Lee), Little Moe (Idriss Kargbo), Four-Eyed Moe (Ian Carlyle) and Eat Moe (Emile Ruddock) are sublime. Choreographer Mykal Rand has created some intricate numbers, with a beautifully authentic and timely feel, and the cast make it all look ridiculously effortless. Dex Lee’s splits are a thing to behold, and Kargbo is a whirlwind on stage – just wait until you see his hat collection! Each Moe gets his own solo numbers, and the voices are as good as the dancing. Standouts for me were Ruddock’s smooth rendition of Don’t Let The Sun Catch You Cryin’, a gloriously silly Ain’t Nobody Here But Us Chickens, and a magical medley including Is You Is Or Is You Ain’t My Baby? All the songs are phenomenal, with lots, especially in the second act, instantly recognisable. Jordan’s influence on jazz, R&B and rock and roll is legendary, and every number gets your foot tapping. There is a lot of audience participation, developing a real party atmosphere.

Five Guys Named Moe is feel-good entertainment at its best – joyous and celebratory, this is the best party in London. Let’s face it, when the cast lead the entire audience in a conga line to the bar at the interval, you know that everyone’s having a blast. Get a ticket and warm the cockles of your heart this Winter.