Month: May 2018

Theatre Royal Haymarket 15 – 17 May

Reviewed by Claire Roderick

5*****

The Mali Drama Theatre of St Petersburg add a touch of light relief to their season at the Theatre Royal Haymarket with a delightful version of Uncle Vanya. Director Lev Dodin injects energy and humour into the most stifling of scenes without completely dissipating the sense of hopelessness and ennui of Chekhov’s characters.

On a simple set with the bare minimum of props, the focus is on the actors, and yet again this company excels. Hearing Chekhov performed in Russian is a real treat.

The inactivity and lethargy of the household as they tiptoe around Professor Serebryakov (the wonderfully understated Igor Ivanov) is portrayed with a charming comedic lightness, with Sergei Kuryshev’s grand clowning gestures making Uncle Vanya more manic and desperate in this stifled house. Dodin pushes Sonia (Ekaterina Tarasova) and Elena (Ksenia Rappoport) to the forefront, and the two actors ensure their characters are much meatier than in some productions. Their bonding scene is a joy to watch and this is where Rappoport’s physical comedy talent is first seen after playing aloof and intense earlier in the play.

I really didn’t expect to laugh as much as I did, after watching many of this cast in the intense Life and Fate, but the deftness of comic timing, gestures and glances is incredible. Of course, being Chekhov, the ending isn’t exactly uplifting, but the simple shift of scenery, where the rafters of the house seem to finally crush Vanya and Sonia, and not just their spirit, is a remarkably effective choice.

With only 3 performances, this production of Uncle Vanya is a hidden gem that is unmissable for lovers of Chekhov, or just lovers of theatre.

Lyceum Theatre, Sheffield – until 19th May 2018.

Reviewed by Sophie Dodworth

5*****

For the majority, Cinderella is an ingrained tale from childhood, full of excitement, magic and pretty dresses. This theme is transferred on to the stage at The Lyceum but with so much more to offer. This version of Cinderella will have you pause in time, while you drink up the atmospheric elixir that Matthew Bourne is about to serve to you.

Matthew Bourne is well known for adapting popular plots and really filling out the content to the nth degree. The way that he almost finishes off adding the ingredients to story lines that you think can go no further, leaves audiences full of admiration.

The story is set in the 1940s and the essence of the era is delivered to you with gust in the first few scenes. The magnificent way that the performance starts with a cinema like screen, introducing the company is a real treat, moving on to a humorous version of what to do in the case of an air raid. In the first few scenes you see the Lindy Hop, Jive and some Charleston to really get you tasting the war time air.

Ashley Shaw, playing Cinderella is the star of the show with some fantastic duets, solos and innovative routines; for instance, in one scene she dances with 5 men all at once, assuming the typical male/female dancing hold position, done so tightly. The Angel, played by Liam Mower is one of the most captivating, professional performers. He manages to really capture the qualities of an angel and even though the costume is without wings, his fluid movements and wing like arms, almost paint them on with the imagination.

The ensemble were absolutely spot on, not a movement out of place, or at least not noticed. Clearly a very professional and well rehearsed cast with some great choreographic moments. A particular stand out moment is a scene when they are depicting drunken people in a bar, all extremely accurate and humorous.

Bournes’ choreography is challenging, intricate and ambitious; executed to perfection. Some very clever moments throughout the whole piece, keeping the audience on their toes and visually entwined in the artistic flair. A moment that must be mentioned is Cinderella dancing with a mannequin, a short way in to this scene, a dancer from the cast becomes the mannequin and it is such a show of talent, leaving you smiling in awe.

Lez Brotherston must take credit and a pat on the back for some beautiful costumes, especially the ball gown of Cinderellas’ which glistens and gleams on what seems like every single silver sequin that is sewn on. He also orchestrated the most interesting, accurate to the times, but almost modern-gothic set; an eye catching triumph.

Cinderella is a dance piece that dreams are made of. If you are a dance fan, a Cinderella fan or just a fan of jam-packed, joyful, whimsical theatre this is a must see.

The King’s Theatre, Glasgow – until 19 May 2018

Reviewed by Linda McLaughlan

5*****

Exceptionally Emotional Vocal Performance which would melt the most hardened of hearts Andrew Lloyd Webbers productions are always a fantastic experience and never fail to entertain. This was no exception. Having never had the pleasure to see the theatre production of Eva Peron’s life story I was privileged to experience the wonderful vocals of Madalena Alberto (Eva Peron), Gian Marco Schiaretti (Che) and Jeremy Secomb (Peron).

The story of Eva Peron has been well documented through media, film and theatre genres as we follow her rise to fame as one of the most powerful influences behind Peron’s political career, enabling hm to achieve a third of a million votes propelling Eva to the first Lady of Argentina. Over the coming years Eva or Evita as she be-comes known as “stretches a rainbow of beauty’ across Europe.

The musical score was outstanding with the epic well done song ‘Don’t Cry for Me Argentina’ which was very emotionally charged as Eva sings from the balcony to the public below and also to the ladies of Argentina who continue to turn their noses up to the once common actress and radio presenter. A past that Evita fights to defend and overcome through her fight for women’s right to vote, which was passed by law in September 1947.

Evita health is slowly deteriorating as she fights the crippling effects of cancer to which she undergoes treatment and operations. In 1951 Evita undergoes an operation which is unsuccessful. From her hospital bed Evita takes her first ever vote and sadly passes away at the tender age of 33. A loss to Argentina and Womens fight for equality.

Circa: Peepshow
Underbelly Festival, Jubilee Gardens, London SE1 8XX
Wednesday 27th June – Sunday 18th August 2018

Circa come to London with Peepshow, an exciting European premiere that turns cabaret on its head, literally. Join ‘the rockstars of the circus world’ as they embark on a seductive dance through the hall of mirrors that is your imagination. Peepshow lurches from the thrillingly acrobatic to the comically playful with teetering towers of balanced bodies, extreme bending and devilishly precarious aerials

By makers of the smash-hit shows Humans, Beyond, Wunderkammer and Closer, Peepshow combines some of the finest acrobatic talent on the planet under the direction of circus visionary Yaron Lifschitz to create an exhilarating ride into the beautifully bizarre recesses of your mind

Playing with the extreme physicality of this troupe of phenomenal acrobats, Circa blur the lines between movement, dance, theatre and circus. Exploring the concept of looking and being looked at, Peepshow uses circus to explore themes of gender and sexuality on the stage

Yaron Lifschitz comments, I hope that Peepshow is one of those shows which is able to transform people’s expectations, bringing us new sensibilities with unexpected pleasures, and bridges the world between art and entertainment. Peepshow is the latest in Circa’s latest postcabaret adventure. These take the form of cabaret and Circa’s medium of circus, add some extra ingredients (in Peepshow’s case a nightclub, a dream and ideas of looking) and shake. They shake so hard things break, stick together and turn wonderfully weird. The resulting cocktail is a
fantasia designed to thrill and delight

Taking over Underbelly’s spiegeltent with a nightclub vibe, most of Peepshow’s music is an original track written by Ori Lichtik (Batsheeva Dance Company) with an interlude of Sweet Dreams (originally by Eurythmics). Peepshow lets audiences see the world from the other side of the mirror

Circa Contemporary Circus is one of the world’s leading performance companies. To date, Circa has toured to 39 countries across six continents and in 2016 alone performed over 450 performances to over 180,000 audience members locally, nationally and internationally. As a champion of live performance, Circa manages arTour and was the Creative Lead for the Gold Coast 2018 Commonwealth Games arts and cultural programme

Circa acknowledges the assistance of the Australian Government through the Australia Council, its arts funding and advisory body and the Queensland Government through Arts Queensland

CLIVE FRANCIS ON 84 CHARING CROSS ROAD

Star of stage and screen Clive Francis offers an insight into his pivotal role in 84 Charing Cross Road coming to Darlington Hippodrome from Wednesday 23 May.

This will now be my third voyage down Charing Cross Road to mix with the worthy inhabitants at number 84; only this time with fresh eye on the production. James Roose Evans, who not only cleverly adapted the letters in the first place, but has directed practically every major production in this country and Broadway since the plays birth in 1981, has now relinquished the reins to director Richard Beecham, who has brilliantly assembled a cast of actor musicians making up the staff of the shop, so that the evening is cleverly punctuated with music and song.

84 Charing Cross Road is a love story between two people who never, in the twenty years of corresponding with each other, actually ever meet. It is a quietly joyful, meditative portrait between the New York screenwriter Helene Hanff and the London based bookseller Frank Doel, a correspondence that touches them both profoundly.

Frank Doel is a fascinating character and being a book collector myself (my interest being 20th century English first editions), someone I would love to have met. His knowledge and passion for book collecting is clearly illustrated by the reverential respect shown to him by the owners of every London based bookshop; all of whom turned out in force to attend his funeral in1968. Doel was meticulous to a fault, and when he wasn’t racing around the country buying up books to replenish the stock of Marks and Co, he made it his job to know and compare prices of anything of interest that might be on offer in those of his rival shops too. An extremely private man and very protective of his family he nevertheless strikes up an extraordinary plutonic friendship with Helene Hanff; a friendship that’s never fully realised. It begins quite formally between bookseller and customer, he referring to her as ‘Madame’ and she to him as ‘Sir.’ By the end all formality is dropped and a deep loving understanding between them grows. The letters also gives the audience an insight into a particular kind of English civility that has in effect sadly passed away.

As actors the difficulty for both myself and Stefanie Powers is that we have to conduct this relationship without ever once being unable to look at each other; a difficult exercise, and yet at the same time, thanks to the brilliant way that the letters have been edited and adapted for the stage, rewarding. People tend to think of 84 Charing Cross Road is a two hander. This is not strictly true as we get to know and delve into the lives of each member of staff as well, who in turn all become as close to Helene Hanff as Frank Doyle eventually does. It is an evening full of nostalgia and fun and I would like to think timeless.

84 Charing Cross Road runs at Darlington Hippodrome from Wednesday 23 to Saturday 26 May.

For more information or to book call 01325 405405 or visit www.darlingtonhippodrome.co.uk

Can’t get a ticket for Hamilton…

THE UK PREMIÈRE OF SPAMILTON: AN AMERICAN PARODY

GOES ON SALE AT 9AM ON 16 MAY

£19.50 TICKETS AVAILABLE FOR EVERY PERFORMANCE –

WITH OVER 1000 TICKETS AVAILABLE ACROSS THE RUN

ALSO ON SALE TODAY £19.50 TICKETS ACROSS ALL PERFORMANCES OF

THE UK PREMIÈRE OF THE GRÖNHOLM METHOD

As the UK première of Spamilton: An American Parody goes on sale to the public, the Menier Chocolate Factory announce a brand new pricing policy across the season – tickets will be available for all performances of Spamilton, and The Grönholm Method from just £19.50. These tickets go on sale at 9am on 16 May, and are available to everyone to enable work at the company’s home to be accessible to all.

With The Grönholm Method currently previewing at the Menier, the critically acclaimed Travesties recently opened on Broadway and The Color Purple on tour in the US, Spamilton: An American Parody opens at the theatre on 24 July, with previews from 12 July and runs until 8 September. The production renews Gerard Alessandrini’s collaboration with the Menier following two critically acclaimed seasons of Forbidden Broadway which ran both at the theatre and in the West End. Over 1000 tickets across the run will be available at £19.50.

Hamilton – Olivier, Tony, Pulitzer and Grammy Award-winning musical. Very few tickets available.                                                                      

Spamilton: An American Parody – Hamilton and much more. With tickets available…

Gerard Alessandrini brings his singular wit to the all-conquering musical Hamilton – in the words of its creator Lin Manuel Miranda, “I laughed my brains out”. Following the success of Forbidden Broadway, Alessandrini returns to the Menier to lampoon the multi-award-winning Hamilton, with Spamilton: An American Parody, which not only takes target at Broadway’s biggest export, but a host of the theatre world’s biggest names and musicals.

Described by the New York Times as “smart, silly and convulsively funny”, Spamilton: An American Parodymakes its UK debut at the Menier Chocolate Factory, where unlike the Victoria Palace, there are tickets available – at a fraction of the price.

Gerard Alessandrini is best known for creating and writing all 25 editions of Forbidden Broadway in New York, Los Angeles, London and around the world. He features in the original 1982 cast of Forbidden Broadway, and can be heard on four of the show’s twelve cast albums. He also sings on the soundtracks of the Disney classics Aladdin and Pocahontas. Television credits include writing comedy specials for Bob Hope, Angela Lansbury, and Carol Burnett. Directing credits include Maury Yeston’s musical In the Beginning, and a revue focusing on Yeston’s songs Anything Can Happen (In the Theatre). Recent musicals which he co-wrote and/or directed include Madame X (NYMF 2011) and The Nutcracker and I (a complete Tchaikovsky score with all new lyrics by Alessandrini). He is the recipient of an Obie Award, two Lucille Lortel Awards, a Lifetime Achievement Award from the Drama League, and seven Drama Desk Awards – including two for Best Lyrics, and two Special Lifetime Awards. He was also awarded an Honorary Tony Award for Excellence in Theatre.

Choreography is by Gerry McIntyre, with Arrangements by Fred Barton and Musical Direction by Simon Beck; Set Design is by Morgan Large, with Costume Design by Dustin Cross, Lighting Design by Tim Lutkin, and Sound Design by Gregory Clarke and Jon Everett.

Produced in association with John Freedson, David Zippel and Christine Pedi.

Listings Information

Spamilton: An American Parody

Venue:                                Menier Chocolate Factory

Address:                             53 Southwark Street, London, SE1 1RU

Press performance:         24 July at 8pm

Dates:                                 12 July – 8 September

Times:                                Tue – Sat 8pm, matinees Sat and Sun 3.30pm

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                        www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

                                             Prices from £19.50

A meal deal ticket includes a 2-course meal from the pre-theatre menu in the Menier Restaurant as well as the theatre ticket.

www.menierchocolatefactory.com

Twitter: @MenChocFactory

Casting announced for I AM OF IRELAND
Old Red Lion Theatre, 418 St John Street, London EC1V 4NJ
Tuesday 5th – Saturday 30th June 2018

Richard Fish (Sherlock Holmes, The Invisible Thing, Tabard Theatre; Peter Hamilton’s Playground, Old Red Lion), Euan Macnaughton (The Crown, Netflix; The Replacement, BBC 1), Sean Stewart (Lone Star, Art’s Theatre; Coward, Different Productions), Angus Castle-Doughty (Loves Labours Lost, Rose Playhouse; The First Great Escape, Channel 5), Saria Steel (Silent Witness, BBC; Flight Lessons, Jermyn Street Theatre), Shenagh Govan (The Bill, ITV; The Mill on the Floss, BBC) and Jerome Ngonadi (The Man in the Mirror, Channel 5; The Divine Chaos of Starry Things, White Bear Theatre) will complete the dynamic ensemble for I AM OF IRELAND at the Old Red Lion Theatre

I AM OF IRELAND is an exciting new play by one of Ireland’s most perceptive writers, Seamus Finnegan (Act of Union, Soldiers, North). Directed by Ken McClymont, the play examines the state of a divided nation and Ireland’s increasingly important role in Europe

For some in Ireland, immigration and the border between the North and South have replaced sectarianism as central issues needing discussion. As a result, aggressive, passionate personalities may intrude on those who want only calm, peace and generosity. I AM OF IRELAND strives to remind us that there is still compassion and understanding in Ireland

Through multiple storylines, the characters explore and examine the loss of religious faith, the disillusionment of Irish Republican ideals, the confusion of the Roman Catholic Church and the self destruction of Ulster Loyalism

Since 1998, Seamus Finnegan has worked closely with Scottish theatre director and artist, Ken McClymont. This has included seven productions at the Old Red Lion most notably Dead Faces Laugh, Disapora Jigs and Murder In Bridgport. For this state of the nation play, the Celtic duo reunite once again

Director Ken McClymont comments, It is a great challenge and privilege to be asked to direct a new Seamus Finnegan play in the venue where we first met and worked together. Through the years Seamus’s works demand that we watch, listen and ask questions of ourselves, I AM OF IRELAND is this; a touching, funny, brutal and special play that provokes and seduces our emotions

THE INHERITANCE
By Matthew Lopez | Directed by Stephen Daldry

• WEST END TRANSFER ANNOUNCED FOR MATTHEW LOPEZ’S MAJOR NEW TWO-PART PLAY, THE INHERITANCE, FOLLOWING ITS WORLD PREMIERE, SOLD-OUT RUN AT THE YOUNG VIC

• STEPHEN DALDRY DIRECTS A LARGE ENSEMBLE CAST, INCLUDING JOHN BENJAMIN HICKEY, ANDREW BURNAP, PAUL HILTON, SAMUEL H. LEVINE, KYLE SOLLER AND VANESSA REDGRAVE.

• 30,000 TICKETS ARE AVAILABLE AT £25 OR UNDER THROUGHOUT THE RUN

• THE INHERITANCE PARTS 1 & 2 WILL PREVIEW FROM 21 SEPTEMBER 2018AT THE NÖEL COWARD THEATRE IN LONDON’S WEST END, WITH TICKETS ON GENERAL SALE FROM FRIDAY 18 MAY

Producers, Sonia Friedman and Nattering Way are today delighted to announce the West End transfer of the Young Vic production of The Inheritance by Matthew Lopez. Directed by multi Olivier Award winner Stephen Daldry, Lopez’s major two-part world premiere will play a strictly limited season at the Nöel Coward Theatre, beginning previews on 21st September with an official opening performance on Saturday 13th October.

The Inheritance will finish its sold out run at the Young Vic Theatre on Saturday 19th May, where it opened to huge acclaim. Critics recognised Matthew Lopez’s play as a modern classic, and one of the most important plays for many years.

A generation after the peak of the AIDs crisis, what is it like to be a young gay man in New York? How many words are there now for pain and for love? Matthew Lopez’s major new two-part play explores profound themes through the turbulent and often hilarious experiences of a group of young, ambitious New Yorkers.  What is the legacy left to them by previous generations? What do they owe the future and each other?

Spanning generations and many interlinking lives, The Inheritance brilliantly transposes EM Forster’s novel ‘Howards End’ to 21st century New York.

Playing across two parts, which can be seen either in one day or across two evenings, Matthew Lopez’s epic new play is directed by Stephen Daldry with set and costumes by Bob Crowley, lighting by Jon Clark, sound by Paul Arditti & Chris Reid, music by Paul Englishby, UK Casting by Julia Horan CDG and US Casting by Jordan Thaler CSA & Heidi Griffiths CSA.

David Lan, who programmed the original production as Artistic Director of the Young Vic, joins as Executive Producer for the West End production.

The majority of the original Young Vic cast will transfer with the production, including: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H. Levine, Syrus Lowe,  Michael Marcus,  Vanessa Redgrave,  Kyle Soller and Michael Walters.

Andrew Burnap, John Benjamin Hickey and Samuel H. Levine are appearing with the permission of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity.

LISTINGS

Tom Kirdahy, Sonia Friedman Productions, Hunter Arnold,
1001 Nights Productions, Bruce Cohen, Elizabeth Dewberry, Rupert Gavin, Robert Greenblatt, Ali Ahmet Kocabiyik, Mark Lee, Peter May, Scott Rudin, Tulchin Bartner Productions, Bruno Wang, Richard Winkler
present
the Young Vic production of

THE INHERITANCE
By Matthew Lopez
Director Stephen Daldry
Design Bob Crowley
Lighting Jon Clark
Sound Paul Arditti & Chris Reid
Music Paul Englishby
UK Casting Julia Horan CDG
US Casting Jordan Thaler CSA & Heidi Griffiths CSA

Executive Producer David Lan

Nöel Coward Theatre
St Martin’s Lane, London WC2N 4AP

First performance: Friday 21st September 2018
Opening Night: Saturday 13th October 2018
Final Performance: Saturday 5th January 2019

Monday to Saturday at 7.15pm
Wednesday & Saturday matinee performances at 1.15pm

For full Part 1 and Part 2 performance schedule see HERE

Audio Described Performance:
Part 1: 22nd November 2018
Part 2: 23rd November 2018      

Captioned Performance:
Part 1: 8th November 2018
Part 2: 9th November 2018      

Website: InheritancePlay.com
Box Office: 0844 482 5140 Calls cost 7p per minute, plus your phone company’s access charge
Group Bookings: 0844 482 5100
Access Bookings: 0844 482 5165

Prices from £15

InheritancePlay.com | @InheritancePlay

DUE TO HUGE DEMAND, AN ADDITIONAL EIGHT PERFORMANCES ARE ANNOUNCED FOR

ST PETERSBURG BALLET THEATRE’S

SWAN LAKE

LONDON COLISEUM

Wednesday 22^nd August – Sunday 2^nd September 2018 

STARRING ST PETERSBURG BALLET THEATRE’S PRIMA BALLERINA,

IRINA KOLESNIKOVA

WITH GUEST STARS DENIS RODKIN AND ANNA NIKULINA FROM

BOLSHOI BALLET AND KIMIN KIM FROM MARIINSKY THEATRE

Due to huge demand for tickets, St Petersburg Ballet Theatre are thrilled to announce an additional eight performances of their full-length classic production of Swan Lake at London Coliseum this summer. The Company make a welcome return to London, with their 2015 season being a total sell-out, with over 25,000 seats sold. The strictly limited 2018 season now takes place betweenWednesday 22^nd August and Sunday 2^nd September 2018. Press night is Thursday 23^rd August at 7.30pm

Founded in 1994, St Petersburg Ballet Theatre is renowned globally not just for its beautiful Vaganova trained dancers, but also for its stunning full-length productions. Led by prima ballerina Irina Kolesnikova, the company travels internationally performing classical masterpieces from its repertoire including Giselle, Don Quixote, The Nutcracker and Sleeping Beauty. The incredibly popular Company is in such demand that it gives 200 performances every year.

Irina Kolesnikova has a wealth of leading credits under her belt, having been prima ballerina at St Petersburg Ballet Theatre since the age of 21.  Her last Odette/Odile in Swan Lake in London in 2015 was described by the Telegraph as Truly a thing of remarkable beauty and technically flawless.

Kolesnikova will be joined by an array of guest stars from the world’s leading ballet companies, including Denis Rodkin, a principal dancer from Bolshoi Ballet who has been hailed by the Guardian as Sensational. Irina and Denis will be dancing the roles of Odette/Odile and Prince Siegfried.

Other guest stars include Bolshoi Ballet principal dancer, Anna Nikulina, and Mariinsky Theatre’s principal dancer, Kimin Kim, who will also dance the roles of Odette/Odile and Prince Siegfried at selected performances.

As producer of the tour with decades of experience in presenting quality Russian ballet around the world, Andrew Guild said:

“We are delighted to announce a further eight performances of Swan Lake at London Coliseum following huge demand for the original week of performances. Without doubt, Swan Lake is the world’s most famous classical ballet. And no one dances it as beautifully as The St Petersburg Ballet Theatre. The full length lavish production shows Russian classical ballet on a grand scale. It’s the real thing. Gorgeous Tchaikovsky music, magnificent sets and costumes, superb Russian classical dancers and brilliant Guest Stars. I urge every ballet lover not to miss it. See it once, remember it forever.”

Arguably the world’s most loved ballet, Swan Lake tells the immortal classic love story of Prince Siegfried and Odette, a princess turned into a swan by an evil sorcerer’s curse. St Petersburg Ballet Theatre will perform this balletic masterpiece as it was meant to be seen, boasting gorgeous traditionally painted backdrops, Tchaikovsky’s moving score, a full-sized orchestra and critically acclaimed dancers performing the full-length production for London audiences. Swan Lake is undoubtedly a production everyone must experience at least once in their life.

St Petersburg Ballet comes to the London Coliseum following performances in Spain, Germany, Belgium, The Netherlands, Ireland, France, Italy, Austria, USA, Brazil, Turkey, South Africa, South Korea, New Zealand, Japan, China, Macau, Singapore, Taiwan and Australia.

Tickets can be purchased at https://londoncoliseum.org/swan-lake-st-petersburg-ballet-theatre

The additional eight performances going on general on-sale on Thursday 24^th May at 10am.