Month: May 2018

The Cockpit – until 24 June

Reviewed by Claire Roderick

4****

Tim McArthur’s 21st century take on Into The Woods is a delight, crammed with wit and wisdom, and performed by a ridiculously talented cast.

James Lapine’s book, with the characters from Perrault and the Brothers Grimm fairy tales discovering the harsh consequences of their wishes and actions, gets a British reality TV makeover. Jack and his mother (with show-stealing performances by Jamie O’Donnell and Madeline MacMahon) are straight from Jeremy Kyle – a Glaswegian teenaged mother clutching her can and her rollup, lurid pink thong on display and calling her thick son a wee shite; TOWIE looms large in Cinderella’s stepfamily, and the princes are narcissistic vacuous hoorays we see in Made In Chelsea. The Witch is an Irish bag lady, and Rapunzel’s eventual spiral into despair sees her become a coke fiend. Even the Narrator’s Geordie tones evoke Big Brother, but the evictions from the woods are a little more permanent and brutal.

Performed in the round, with the stage strewn with bark chips and the set wooden pallets and ladders, Tim McArthur’s staging is deceptively simple, with the intricacies only revealed in the ensemble numbers as the 17 cast members use expertly choreographed movement to circle the stage. Sondheim’s musical style isn’t for everyone, but he’s at his snarky lyrical best with these numbers. Florence Odumusu’s headphone wearing Red Riding Hood gives a deliciously petulant twist to I Know Things Now, and Abigail Carter-Simpson is divine as the social-climbing Cinderella experiencing severe buyer’s remorse. Tim McArthur and Jo Wickham are fantastic as the Baker and his Wife, with Wickham shining in Moments In The Woods. Michele Moran gives a powerhouse performance as the Witch – making Last Midnight a real showstopper in its emotional punch, but just as you’re recovering from that, along comes a glorious rendition of No One Is Alone, a song with the best moral message of any musical, and your bottom lip is trembling again.

There are a few technical issues with sound, making it hard to hear some of the funniest lyrics from the princes, but I am sure that these will be ironed out as the run continues. There are no issues with the band however, with musical director Aaron Clingham excelling yet again.

If you love Sondheim, then get to this show. All Star Productions have worked their magic yet again and created a joyous musical gem that will make you laugh, cry and be very careful what you wish for.

Jack Studio Theatre – until 9 June

Reviewed by Claire Roderick

4****

Conor McPherson’s skill in creating characters on the fringes of society scraping along and doing whatever they must to get by shines through in The Night Alive. Set in Tommy’s Dublin “flat” (really a room in his uncle’s house) the repercussions of his good deed, stepping in to rescue Aimee from her violent boyfriend, impact on the lives of everyone in the house.

Tommy (David Cox) is a bit of a chancer, separated from his wife and trying to stay in his teenaged children’s lives. Making a living doing odd jobs and clearing with his van, stuck back in his uncle’s house and using the same euro coin to feed the meter every time, his life is going nowhere. The beautifully realised set tells the story of Tommy’s life and dreams – among the squalor of bin bags and boxes of junk are piles of paperbacks – all westerns or James Bond – and a poster of Steve McQueen in The Great Escape takes pride of place on the wall. Cox is wonderful as the lonely, decent man endlessly frustrated with his situation, making Tommy’s hope of a new beginning with Aimee completely believable. Doc (Eoin Lynch) is Tommy’s friend who helps out on the van, drifting between his sister’s house and Tommy’s, sleeping in the van or the camp bed, and waiting patiently for his wages. At first sight, Doc is a total caricature – stained shell suit, woolly hat, wonky glasses and learning difficulties – but McPherson’s writing and Lynch’s finely nuanced performance draw you in, helping you understand the sympathy, annoyance and protective love that Tommy feels for Doc, and drawing moans of “noooo” and gasps from the audience at the end of the first act. Uncle Maurice (Dan Armour), scared of death and filled with guilt about the death of his wife, takes his frustrations out on Tommy, longing for the days when their relationship was simpler and happy – although this nurturing side emerges with Aimee and Doc. Bethan Boxall impresses as Aimee with a wonderful mix of toughness and vulnerability, and is devastating in her scenes with Kenneth, flitting between freeze, flight and fight modes brilliantly. Howie Ripley is vile as Kenneth (I mean that as a compliment), giving the manipulative, violent creature no redeeming features at all in a performance that will make you squirm with discomfort.

There is a lot of humour to be found amongst the despair and drama of the characters’ situations, and McPherson’s writing throws in social comment, philosophical musings and moral dilemmas that keep the audience on its toes – Doc’s spiritual and poetic description of black holes is a standout moment. Dan Armour’s confident and instinctive direction lets the cast shine and the scene changes are marked with some lovely and fitting song choices. First Knight Theatre’s production is nuanced and thoughtful but unflinching, packed with fantastic and authentic performances. This is a rare opportunity to see The Night Alive in London – grab a ticket while you can

Lawrence Batley Theatre, Huddersfield – Saturday 26th May 2018

Reviewed By Dawn Smallwood

4****

Mikron Theatre is a very unique theatre company and is renowned to reach audiences at many venues possible across the country with their British themed productions. Founded in 1972 they have approximately written 60 plays including one of their latest, Revolting Women, and opens at Huddersfield’s Lawrence Batley Theatre. This new production coincides with 100th anniversary of the women’s suffrage.

Written by Vashti Maclachlan, Revolting Women is about Sylvia Pankhurst (Daisy Ann Fletcher), the less well-known one than to her mother (Emmeline) and her sister (Christabel), during the suffrage movement around the First World War. She gets acquainted with Lettie (Rosamund Hine) and they together fight for women to get the vote and persistently push this right with parliament including the prime minister. Pankhurst with the support of the women in London’s East End faces opposition and imprisonment with her commitment.

The four person cast (Fletcher, Hine, Christopher Arkeston and James McLean) performs all the characters; doubling up as live musicians, introducing and narrating text and facts, playing and singing songs which are full of political and social satire which are controversial and thought provoking. The theme focuses on how Pankhurst and her supporters address this universal suffrage before the war and 10 years after the war when all the women here got the vote. Celia Perkins’ staging is simplistically small but importantly versatile, bearing in mind that Revolting Women will tour many venues including non theatrical ones, and does fully serve the production’s purpose.

This production excellently gives insight into the women’s suffrage movement from the eyes of a lesser well known member of the Pankhurst family. Sylvia Pankhurst was determined to fight, more so after when the women began getting the votes, against social inequality and discrimination around the world including fascism experienced in Ethiopia. Similar parallel plights, particularly for women rights and equality, are still fought and drawn today. There are the notable victories achieved especially in light of the very recent events in Ireland.

Under the direction of Jonny Kelly this is a production worth seeing on its 2018 tour across the many venues scheduled to host Revolting Women. It is an excellent production with a stellar cast who portray the roles well, first class entertainment, wit, and memorable catchy tunes and songs (composed by Kieran Buckeridge).

On tour until October 2018

Athena Stevens has been nominated for an Offie for ‘Best Female in a Play’ for her role in Schism at Park Theatre. She is the first ever actress in a wheelchair to be nominated for the award.

Schism is a play by Athena Stevens, a groundbreaking playwright with cerebral palsy. Athena’s mainstream cannon of work speaks to the experience of disability in the human condition. Questioning the power dynamics between genders and abilities; at its heart, Schism is a play about two people finding each other, asking at what point dreams and relationships become unrealistic or out of date.

Failed architect Harrison had plans end his life. The last thing he needed was Katherine, a young student with cerebral palsy, breaking into his house begging for his help…

 

As their chaotic first encounter turns into the beginning of a twenty-year relationship, the unlikely couple grow to realise that they are capable of either building something great together – or absolutely destroying each other.

Athena Stevens says:

“The industry has a very long way to go to break down their self-created barriers towards disabilities. I’m thrilled that my work as an actor has been recognised in this way and will keep fighting to get diverse voice heard in the mainstream.”

DEAFINITELY THEATRE ANNOUNCE THE HUB –

A NEW THEATRE TRAINING COURSE FOR DEAF ARTISTS

Deafinitely Theatre today announce the creation of the Hub – a new theatre training course for emerging deaf artists to gain structured, accessible, professional theatre training, with the aim of equipping participants for mainstream arts employment. The Hub will launch its inaugural year in September 2018.

The year-long programme, which has been developed and expanded from a previous pilot scheme, includes a variety of workshops in acting, writing and other aspects of the theatre industry, including stage management, through its Industry Insights workshops. The Hub will also provide two year-long one-to-one mentorship schemes as well as a series of networking events and other opportunities throughout the year. Interpreter and caption support will be offered across the whole programme.

Following the programme Deafinitely Theatre continues its long-term commitment to supporting deaf artists across the industry, inviting participants to apply for paid internships and acting roles with the company.

Paula Garfield, Artistic Director of Deafinitely Theatre said today, “For the last few years, it has been amazing to see more and more mainstream theatre companies hire deaf actors, yet while it’s an exciting time for deaf actors to work in high-profile companies – a vital opportunity for them to learn their craft from other trained actors and from mainstream directors and creative teams – we do need deaf actors and theatre makers to have accessible opportunities to drama training.

 

Sadly, currently no drama school in London is fully accessible to deaf BSL users. There is only one specific course at the Royal Conservatoire of Scotland. We need to see more like this all over the UK and so we are delighted to announce today our new project, the Hub. It is specifically aimed at deaf adults who have no other opportunities to train in theatre practices and learn their craft. There is proof that there is currently high demand in the industry for deaf actors and theatre makers and it is essential they have the same access to training so they are ready to start out in their chosen theatre careers. The long-term aim for the Hub is to establish tailor-made, full-time drama courses accessible for both deaf and hearing.

 

We are so excited that the Hub will be this first step, a multi-year course of training available to deaf adults wanting to learn theatre practices here in London. I am delighted that we have wonderful partners on board supporting us with this project. Thank you to Arts Council, England, without their generous funding this would not be possible. Thank you also to our partners – City Lit (City Literary Institute), RADA (Royal Academy of Dramatic Art) and the Royal Court Theatre – who are helping us to curate and design an incredible activity full of exciting opportunities for the participants. I am grateful to these partners for being willing to work with us here at Deafinitely to create and build more opportunities for the deaf community, enabling us to be more creative within the arts.”

Joyce Wilson, London Area Director for Arts Council England, said, “Through its ambitious and pioneering work with deaf artists, Deafinitely Theatre is an exemplary champion of Arts Council England’s mission of Great Art and Culture for Everyone. We are thrilled about the launch of the Hub – this is the first training scheme of its kind for deaf adults in London, and will be central to supporting the strong, emerging talent we have in our capital. We hope that deaf artists are as excited about this programme as we are, and that the audiences who experience the work of Deafinitely Theatre in the future enjoy it even more.”

Membership is £5 and participants will receive their first workshop free as well as a discount on subsequent classes. Further benefits include free tickets to theatre shows, invites to networking events and the opportunity to take part in the showcase.

A taster day for prospective members will take place on Saturday 14 July at RADA. Further details about this and information on how to become a Hub member will be available at www.deafinitelytheatre.co.uk from next month.

Deafinitely Theatre is partnering with RADA, the Royal Court Theatre and City Lit in support of the Hub.

The programme will run annually and includes:

Actors Course 

Participants will take part in a series of workshops exploring various acting techniques that will culminate in a final showcase, providing an opportunity to engage with and present CVs to the wider industry. The showcases will be fully accessible and archived on film.

Writers’ Group

Participants will take part in a series of workshops led by some of Britain’s top playwrights to provoke, develop and explore their writing for live performance. Throughout, the writers will get first-hand experience of the practicalities of playwriting and have the opportunity to grow their professional networks.

Industry Insights

Hub members will have the opportunity to participate in eight one-off workshops throughout the year offering training in areas of theatre practice, such as theatre design and stage management, led by professional theatre practitioners.

Mentoring Scheme

Two mentors will work across 12 months with two mentees. Mentors will be committed professionals selected according to the skills and needs of each mentee. Each mentee will receive a bursary and have a bespoke brief to design and complete a ‘set task’ with ongoing support from their mentor.

 

Networking events and experiences

Four networking events will take place annually. These will be structured activities enabling all Hub participants to interact with industry professionals, present ideas and share their CVs. It will also provide the opportunity for Hub members to develop networking skills as a result of attending, very important to those whose first language is BSL.

There will also be theatre trips with an enhancement package attached offered each year. For deaf people, theatres can seem an intimidating place so these will offer a curated opportunity for participants to experience mainstream theatre and also benefit from backstage tours and staff-led Q&A sessions.

ABOUT DEAFINITELY THEATRE

In 2002 Paula Garfield set up Deafinitely Theatre alongside Steven Webb and Kate Furby after becoming frustrated at the barriers that deaf actors and directors face in mainstream media. The company launched with a sell-out première of Deaf History at the Gate Theatre in London. In May 2012, the company performed the first ever British Sign Language Shakespeare play at the Globe Theatre, Love’s Labour’s Lost, celebrating its 10-year anniversary. In 2018 Deafinitely won the Off West End Award for Best Production for its site-specific production of Mike Bartlett’s Contractions.

The company’s vision is a world where deaf people are a valued part of the national theatre landscape, recognised for the excellence of their work. Deafinitely Theatre is the first professional deaf-launched and led theatre company in the UK that works bilingually in British Sign Language and spoken English and produces work that caters to audiences of all ages. Deaf theatre has a vital contribution to make to the UK’s diverse and vibrant theatre landscape. Deafinitely Theatre challenges barriers to training and opportunities and embraces the deaf world’s diversity. The company work hard to nurture the next generation of deaf actors, writers and audiences through its Deafinitely Youth Theatre and Deafinitely Little productions for young people, plus its Hub training and development programme for adults.

KEITH JACK, MICA PARIS AND JORGIE PORTER

TO STAR IN

FAME – THE MUSICAL

Selladoor Productions are pleased to confirm that Keith Jack, Mica Paris and Jorgie Porter will star in the stunning new production of Fame, which will be touring the UK

Based on the 1980 phenomenal pop culture film, Fame – The Musical is the international smash-hit sensation following the lives of students at New York’s High School For The Performing Arts as they navigate their way through the highs and lows, the romances and the heartbreaks and the ultimate elation of life. This bittersweet but uplifting triumph of a show explores the issues that confront many young people today: prejudice, identity, pride, literacy, sexuality, substance abuse and perseverance.

Keith Jack, playing Nick Piazza, is best-known as runner-up on BBC1’s Any Dream Will Do. His extensive theatre credits include: Joseph and the Amazing Technicolor Dreamcoat (UK Tour) Only The Brave (Edinburgh Festival) Sincerely Mr Toad (Edinburgh/Greenwich) HMS Pinafore (UK Tour) Forever Plaid (St James Theatre, London) and many pantomimes across the UK. Keith’s concert appearances include performing for HM The Queen at the Parliament Picnic, Choices for Life, Lauder Live and BBC 2’s Friday Night is Music Night; Music, Music . He also has appeared on John Barrowman’s album tour, Sir Andrew Lloyd Webber’s Birthday Concert (Hyde Park) and BBC’s Songs of Praise.

Keith says; “I am really looking forward to performing the role of Nick in the UK Tour of Fame and I’m excited about working with Selladoor again”

Mica Paris who joins the cast as Miss Sherman is one of the UK’s most respected female singers with top 10 hit singles and albums worldwide spanning her 30 year career. Most recently, Mica recorded a new single in honour of Ella Fitzgerald with Guy Barker orchestra. A well-known face on TV Mica has appeared as a broadcaster and presenter on shows including BBC 1’s What Not To Wear. Gok Wan’s Miss Naked Beauty for Channel 4 and ITV’s CelebAir and is also a regular guest on ITV’s This Morning and Loose Women. Mica also played American Jazz Singer, Amelia Walker in At Bertram’s Hotel – Miss Marple for ITV Productions. She presented The Gospel of Gospel for Channel 4 and was also a contestant on BBC’s Strictly Come Dancing 2006. Mica’s stage credits include Mama I Want To Sing, The Vagina Monologues and Sweet Lorraine in the West End and more recently Sylvia in the UK tour of Love Me Tender, based on the music of Elvis and Mama Morton in the UK Number one tour of Chicago.

Mica says; ‘The movie Fame was a big favourite of mine because it really was the first glimpse of what the beginning process of becoming trained artist entailed – I’m so happy to be in the musical!’

Jorgie Porter, playing Iris Kelly, is best known for her role as Theresa McQueen in the Channel 4 drama serial Hollyoaks. Her nominations include Best Serial Drama Performance at the National Television Awards and Best Newcomer at the British Soap Awards. She played the role of Miss Croft in BBC1’s highly acclaimed remake of Are You Being Served.

Jorgie was a contestant on the seventh series of Dancing On Ice on ITV and made it all the way to the final where she finished runner up, returning for Dancing On Ice: Champion Of Champions. Jorgie has also starred in many award-winning shows including I’m A Celebrity… Get Me Out Of Here! (ITV), Lip Sync Battle (Channel 5) & Celebrity First Dates in aid of Stand Up To Cancer (Channel 4).

Jorgie says: ‘I am so excited to be making my stage debut playing Iris Kelly in Fame. The musical is one of my favourite ever films and I can’t wait to open the show in Manchester, my home town. I’ve not had a chance to perform ballet for a long time, it’s what I originally trained in – so I’m looking forward to getting my ballet shoes on!’

Keith, Mica and Jorgie will be joined by cast; Hayley Johnston, Stephanie Rojas, Molly McGuire, Jamal Crawford, Albey Brooks, Louisa Beadel, Simon Anthony, Alexander Zane, Katie Warsop, Dermot Canavan, Cameron Johnson, Rebecca French, Daisy Twells, Tom Mussell, Morgan Jackson, Ryan Kayode

The extensive UK tour will be presented by Selladoor Productions producers of Footloose, Avenue Q, Little Shop of Horrors and Flashdance –  The Musical, with Gavin Kalin Productions, Dan Looney & Adam Paulden, Stephen McGill Productions and Jason Haigh-Ellery in association with BrightLights Productions and Big Dreamer Productions.

Fame will be directed and choreographed by Nick Winston with design by Morgan Large, lighting design by Prema Mehta and sound design by Ben Harrison. Mark Crossland is Musical Supervisor.

Featuring the Oscar-winning title song and a cast of outstanding dancers, singers, musicians and rappers as they transform from star struck pupils to superstars. Fame – The Musical will indeed live forever.

Tickets are on sale now visit www.fameuktour.co.uk  for more information.  Please note Mica and Jorgie are scheduled to perform in fame until Mica Paris 02 Dec 2018 and Keith Jack until 16 Jun 2019

MEET THE UGLY SISTERS! 
A LOOK BEHIND THE SCENES AND FIRST IMAGES RELEASED OF
CONNOR McINTYRE AND LES DENNIS IN COSTUME FOR CINDERELLA 2018

Manchester Opera House have today released the first images of Coronation Street’s Connor McIntyre and Les Dennis in costume as the Ugly Sisters ahead of this year’s pantomime, Cinderella.

Connor McIntyre, who currently plays Pat Phelan in the ITV soap and is set to make a dramatic return next week, has said that his first stint in pantomime this Christmas will be ‘a welcome antidote’ to playing the villainous Pat Phelan for the last few years.

Les Dennis has also exclusively revealed that it was his suggestion for the double-act to appear as the Ugly Sisters after seeing last year’s Opera House panto, Dick Whittington, where Cinderella was being advertised: ‘I remember getting on the phone to Michael Harrison (Managing Director of Qdos Entertainment’s pantomime division) and suggesting it. It’s Michael and Phelan – it’s Michael’s chance to get revenge!’

Cinderella will once again be produced by Qdos Entertainment, the world’s biggest pantomime producer. This year’s production will have the same level of laugh-out-loud comedy, stunning special effects and beautiful costumes that Manchester’s audiences have become accustomed to and, with further star casting still to be announced, Cinderella has all the ingredients for a must-see family pantomime this Christmas. 

Cinderella plays at the Opera House from 8^th – 30^th December with tickets from £12. For more information, or to book, visit www.atgtickets.com/Manchester.

-ENDS-

LISTINGS

Saturday 8^th December – Sunday 30^th December
Opera House, Manchester – http://www.atgtickets.com/venues/manchester/
Tickets from £12.00

• West End LIVE returns to Trafalgar Square on 16 & 17 June
• Performances from long-running favourites alongside debuts from new hit shows
• New partnership with Magic Radio announced, with Magic presenters including double Olivier Award-winner Ruthie Henshall hosting the weekend
• Variety of family-friendly stalls and activities

The full list of shows for West End LIVE 2018 has been released. A packed schedule of productions will be performing, featuring popular crowd-pleasers Disney’s The Lion King, Wicked, Les Misérables, Mamma Mia!, The Phantom Of The Opera, Disney’s Aladdin, Dreamgirls, Bat Out Of Hell The Musical, Kinky Boots, Matilda The Musical, Motown The Musical, Everybody’s Talking about Jamie and Thriller Live.

Several new arrivals to London’s West End will also be making their West End LIVE debuts, including Tina: The Tina Turner Musical, Strictly Ballroom The Musical, Eugenius!, Brief Encounter, Little Shop Of Horrors, Chicago, Heathers The Musical, Kiss Me, Kate, Knights Of The Rose, Six, Circolombia and Madagascar – A Musical Adventure.

The colourful showcase will culminate in a performance from chart-topping Britain’s Got Talent winners Collabro on Saturday 16 June, and an exclusive cabaret of West End stars on Sunday 17 June.

Produced and organised by Westminster City Council and Society of London Theatre (SOLT), with support from the Mayor of London, West End LIVE is an annual highlight of London’s cultural calendar, with performances, fun photo opportunities, meet-and-greets, merchandise stalls, refreshments and sing-alongs attracting thousands of theatre fans young and old across the weekend.

London theatre audiences topped 15 million last year for the first time since records began, and West End LIVE – the largest free event of its kind and now in its 14th year – demonstrates the continuing strength of the city’s world-leading theatre landscape.

Cllr Nickie Aiken, Leader of Westminster City Council and Chair of the West End Partnership, said:

‘We are proud that the amazing West End LIVE has become an unmissable fixture in the London calendar and remains the largest free event of its kind in the world. We look forward to welcoming around 200,000 people over the event weekend to the heart of London’s iconic West End to enjoy best of the London theatre scene, as well as the unrivalled offer of the wider district with world-class entertainment, retail, restaurants and culture. London’s Theatreland is a jewel in our West End crown, with annual attendance numbers larger than the entire populations of Greece or Belgium, and we will do all we can to support it.’

Julian Bird, Chief Executive of SOLT and UK Theatre, said:

‘We are delighted to be continuing our partnership with the City of Westminster to bring the casts of London’s great shows to Trafalgar Square, giving theatre fans the chance to see exclusive performances for free. West End Live is a unique celebration of our world-leading theatre industry, and this year promises to be as diverse and entertaining as ever.’

 

Full list of shows participating in West End LIVE 2018

Disney’s Aladdin

Bat Out Of Hell The Musical

Brief Encounter

Chicago

Circolombia

Dreamgirls

Eugenius!

Everybody’s Talking About Jamie

Heathers The Musical

Kinky Boots

Kiss Me, Kate

Knights Of The Rose

Disney’s The Lion King

Little Shop Of Horrors

Madagascar

Mamma Mia!

Matilda The Musical

Les Misérables

Motown The Musical

The Phantom Of The Opera

Six

A Spoonful Of Sherman

Strictly Ballroom The Musical

Thriller Live

Tina: The Tina Turner Musical

Wicked

 

Performance schedules for the weekend will be released soon via the West End LIVE website.

For the first time, West End LIVE has partnered with Magic Radio, and top Magic presenters Ruthie Henshall, Emma B, Harriet Scott, Richard Allinson, Paul Hayes, Tom Price and Lynn Parsons will be hosting the weekend and introducing performances from the West End LIVE stage.

Official London Theatre (SOLT’s public-facing website) will be backstage at West End LIVE throughout the weekend sharing exclusive behind-the-scenes content.

West End LIVE will be BSL interpreted by Sue MacLaine and Marco Nardi.

@SOLTNews  @WestEndLIVE @CityWestminster @london_theatre #WestEndLIVE

westendlive.co.uk   solt.co.uk   westminster.gov.uk london.gov.uk

officiallondontheatre.com/west-end-live

GAVIN AND STACEY’S MATHEW HORNE AND DOWNTON ABBEY’S ED SPELEERS ANNOUNCED 

FOR 

THE CLASSIC SCREEN TO STAGE THEATRE COMPANY’S PREMIERE PRODUCTION OF

RAIN MAN

BY DAN GORDON

Directed by Jonathan O’Boyle

 

Based on the MGM motion picture · Story by Barry Morrow · Screenplay by Ronald Bass and Barry Morrow ·

Produced by special arrangement with Metro-Goldwyn-Mayer Studios Inc.

 

Bill Kenwright presents the inaugural Classic Screen to Stage Theatre Company production of RAIN MAN. Mathew Horne (Gavin & Stacey, The Catherine Tate Show) stars as Raymond Babbit opposite Ed Speleers (Downton Abbey, Wolf Hall) as Charlie Babbit. RAIN MAN opens at Windsor Theatre Royal on 21 August, before embarking on a UK tour to Milton Keynes, Cardiff, Eastbourne, Southend, Edinburgh, Cambridge, Brighton, Guildford, Leeds, Richmond, Derby and Northampton. Further dates and casting to be announced in due course. 

 

Mathew Horne is best known for playing Gavin in the much-loved, double BAFTA winning comedy series Gavin and Stacey, as well as the BBC series The Catherine Tate Show, and Jack Whitehall’s Bad Education. His most recent West End stage credit was The Miser opposite Griff Rhys Jones and Lee Mack. Ed Speleers starred as Jimmy Kent in the Golden Globe award winning series Downton Abbey. His breakthrough came after landing the lead role in the fantasy blockbuster Eragon, since then he has starred in many films and TV series and has just been announced as joining the cast of Outlander.

 

TWO BROTHERS. ONE DESTINY.

 

When self-centered salesman Charlie Babbitt discovers that his long-lost brother

Raymond, an autistic savant with a genius for numbers, has inherited the family fortune; he sets out to get ‘his half’.

 

Charlie ‘borrows’ Raymond from the institution where he has spent most of his life and the two brothers embark on a trip across America where Charlie soon discovers that Raymond is worth more than he could have ever imagined…

 

 

Inspired by the heart-warming Oscar-winning film, which famously starred Tom Cruise and Dustin Hoffman and won Oscar’s for Best Picture, Best Screenplay, Best Director and Best Actor, Rain Man follows previous acclaimed Bill Kenwright productions of films to the stage such as A Few Good Men, The Shawshank Redemption and Twelve Angry Men.

 

The production will be directed by Jonathan O’Boyle whose credits include Rasheeda Speaking (Trafalgar Studios), This House (UK Tour); Pippin (Hope Mill Theatre/Southwark Playhouse); and Hair (Hope Mill Theatre/The Vaults) winner of the WhatsOnStage Award for Best Off West End Production.

 

 

BILL KENWRIGHT 

Presents

The Classic Screen to Stage Theatre Company

MATHEW HORNE                                           ED SPELEERS

IN

RAIN MAN

BY DAN GORDON

 

DIRECTED BY JONATHAN O’BOYLE

Based on the MGM motion picture · Story by Barry Morrow · Screenplay by Ronald Bass and Barry Morrow ·

Produced by special arrangement with Metro-Goldwyn-Mayer Studios Inc.

 

Designed by Morgan Large

Lighting by Jack Weir

Sound by Dan Samson 

LISTINGS

 

BILL KENWRIGHT PRESENTS THE CLASSIC SCREEN TO STAGE THEATRE COMPANY

RAIN MAN

BY DAN GORDON 

21 AUGUST – 24 NOVEMBER 2018

UK TOUR

 

Website: www.kenwright.com

Twitter: @BKL_Productions

 

DATES AND VENUES

WINDSOR Theatre Royal – theatreroyalwindsor.co.uk – 01753 853 888

Tues 21 Aug – Sat 1 Sept                                                                 

 

MILTON KEYNES Theatre – atgtiickets.com/miltonkeynes – 0844 871 7652

Mon 3 Sept  – Sat 8 Sept                                                                             

 

CARDIFF New Theatre – newtheatrecardiff.co.uk – 029 2087 8889

Mon 10 Sept – Sat 15 Sept                                                              

 

EASTBOURNE Devonshire Park Theatre – eastbournetheatres.co.uk – 01323 412 000

Tue 18 Sept – Sat 22 Sept                                                                

 

SOUTHEND Palace Theatre – southendtheatres.org.uk – 01702 351 135

Mon 24 Sept – Sat 29 Sept                                                              

 

EDINBURGH King’s Theatre – capitaltheatres.com/kings – 0131 529 6000

Mon 1 Oct – Sat 6 Oct                       

 

CAMBRIDGE Arts Theatre – cambridgeartstheatre.com – 01223 503 333

Mon 8 Oct – 13 Oct  – On Sale Soon                                      

 

BRIGHTON Theatre Royal – atgtickets.com/Brighton – 0844 871 7650

Mon 15 Oct – Sat 20 Oct                                                                   

 

GUILDFORD Yvonne Arnaud – yvonne-arnaud.co.uk – 01483 440 000

Mon 22 Oct – Sat 27 Oct                                                                   

 

LEEDS Grand Theatre – leedsgrandtheatre.com – 0844 848 2700

Mon 29 Oct – Sat 3 Nov                                                                    

 

RICHMOND Theatre – atgtickets.com/Richmond – 0844 871 7651

Mon 5 Nov – Sat 10 Nov                                                                   

 

DERBY Theatre – derbytheatre.co.uk – 01332 593 939 

Mon 12 Nov – Sat 17 Nov     

 

NORTHAMPTON Royal & Derngate – royalandderngate.co.uk – 01604 624 811

Mon 19 Nov – Sat 24 Nov  On Sale 1 June

York Theatre Royal – until Saturday 26th May 2018.

Reviewed by Michelle Richardson

2.5**

Produced by The Original Theatre Company and Ghost Light Theatre Productions, York Theatre Royal presents Monogamy, as part of a small national tour before heading to London.

Caroline Mortimer (Janie Dee) is a TV cook adored by nation and appears to have it all – a sparkling career, a big house with the perfect kitchen, a wealthy (golf) loving husband, smart kids, the perfect life. Behind the camera though all is not as it seems as we watch Caroline’s life unravelling before our eyes.

Staged solely around the kitchen, the play begins with a rehearsal for her TV show with her new assistant Amanda (Genevieve Gaunt) standing in for the Michelin starred Swiss chef who will be appearing in the final show. The hat comes off, and the phone loving, coke snorting, cocky and belligerent PA comes to life trying to minimise the impact of some embarrassing photos that a Sunday rag have gotten of Caroline, after a drunken night out. Caroline is unwinding with a few glasses of wine, even though she is giving up, and her son Leo (Jack Archer) has just returned home from Cambridge with a first-class degree, now vegan and has just had his heart broken.

As Caroline prepares a special meal to toast Leo’s success the façade is rapidly slipping with each sip of wine that passes through her lips. Leo is berating his mother for not telling his father, Mike (Patrick Ryecart) something important and as it happens, not a surprise to anyone when he finally blurts its out. When we get to see Mike, he is the shade of bright red beetroot after playing golf out in the sun all day, self-absorbed, loud and domineering, and showing all the traits of a male chauvinist harking back to the 70’s, incapable of showing any of his family any affection, maintaining that stiff upper lip.

The other players are Sally (Charlie Brooks), mistaken for a new lottery winner who is interested in buying their perfect house, and Graeme (Jack Sandle), their builder and as it turns out Sally’s husband. Something has been going on between Caroline and Graeme, and the mentally unstable Sally is there to beg Caroline not to steal her husband away. As we hear the storm outside getting worse, with the wine free flowing, everyone becoming more unstable and with all those knives around, one can only ask what is going happen?

Billed as a comedy I unfortunately found it somewhat lacking in laughs and was a bit of a disappointment. Though parts of the play resonated with me, the vegan, lovelorn son, I just could not get involved with the characters and ultimately didn’t really care what happened to them. I found some of the acting a bit too much, Leo continuously shouting out for his secret to be heard, the interaction with Caroline just didn’t ring true, and Amanda with her behaviour and attitude literally all over the place, nobody is surely like that. The only exception was Brooks as Sally, watching her meltdown was convincing and believable, but unfortunately her time on stage was limited.

The first act was drawn out with a lot of dialogue between mother and son, but not a lot of action and at times was dull. The second act had a bit more excitement but at times was bordering on the ridiculous, including the glorious nail biting end. Somewhat lacking, it just did not push the right buttons for me