Month: October 2018

Theatre Royal Bath Productions and Jonathan Church Productions present
SWITZERLAND
By Joanna Murray-Smith
Directed by Lucy Bailey

• WEST END PRODUCTION ANNOUNCED STARRING PHYLLIS LOGAN AS PATRICIA HIGHSMITH
• AMBASSADORS THEATRE, LONDON FROM 10 NOVEMBER TO 5 JANUARY

• AWARD-WINNING PSYCHOLOGICAL THRILLER BY JOANNA MURRAY-SMITH AND DIRECTED BY LUCY BAILEY

• THE SECOND WEST END TRANSFER TO BE CONFIRMED FROM ARTISTIC DIRECTOR JONATHAN CHURCH’S 2018 SUMMER SEASON AT THEATRE ROYAL BATH

• TICKETS GO ON SALE TODAY, FRIDAY 19 OCTOBER 2018, VIAWWW.THEAMBASSADORSTHEATRE.CO.UK

A West End production has been announced for Switzerland starring Phyllis Logan as renowned author Patricia Highsmith with Calum Finlay as Edward Ridgeway. The award-winning psychological thriller is written by Joanna Murray-Smith and directed by Lucy Bailey and will run at the Ambassadors Theatre in London from Saturday 10 November 2018 until Saturday 5 January 2019.

This critically-acclaimed production ran at Theatre Royal Bath’s Ustinov Studio earlier this year and marks the second production from Jonathan Church’s 2018 summer season to confirm a West End transfer.

Switzerland paints a portrait of one of the great writers of the 20th century, Patricia Highsmith, famed for writing The Talented Mr Ripley, Strangers On A Train and The Price of Salt. The play originally premiered in Australia in 2015 where it won Best New Australian Work at the Sydney Theatre Awards.

1995, the Swiss Alps. Patricia Highsmith, the queen of the thriller, now ageing and ailing, hides away in her study, surrounded by her collection of books and antique weaponry, finding solace in her seclusion, her cats and cigarettes. A polished young man turns up, sent by her New York publisher to persuade the great writer to pen one final instalment of her best-selling series featuring the master manipulator, Tom Ripley. But as day breaks over the mountains, it becomes clear that the charming stranger is set on a far more sinister mission.

Phyllis Logan (Patricia Highsmith) is well-known for her role as Mrs Hughes in ITV’s Downton Abbey and as Lady Jane Felsham in Lovejoy. Her extensive television credits include Girlfriends, The Good Karma Hospital, Bones, Wallander, Silent Witness and Vera. Her film appearances include Secrets & Lies and Another Time Another Place for which she won the BAFTA for Most Promising Newcomer to Film and the Evening Standard British Film Award for Best Actress. Her theatre credits include Richard III (Crucible Theatre), The Case of David Anderson Q.C. (Traverse Theatre) and Marvin’s Room (Hampstead Theatre).

Calum Finlay (Edward Ridgeway) recently appeared on stage in Mary Stuart and Hamlet (Almeida / West End). He has performed regularly with the RSC in The Merry Wives of Windsor, Macbeth, The Mouse and His Child and Jubilee. Other theatre credits include The Ghost Train (Told By An Idiot / Manchester Royal Echange), Dunsinane (RSC / National Theatre Scotland / international tour) and Tartuffe (Birmingham REP).

Lucy Bailey was co-founder and co-artistic director of The Print Room (2009 – 2012) in Notting Hill Gate. Recent productions include Love From a Stranger (UK Tour), Witness for the Prosecution by Agatha Christie (London County Hall), The Graduate (West Yorkshire Playhouse),Comus (Sam Wanamaker Playhouse) and Kenny Morgan (Arcola Theatre). Opera/music theatre credits include Gudrun Fier Sang (Copenhagen Dry Dock), Jenufa (English National Opera) andPasolini’s Teorema (Maggio Musicale Florence/ Munich Biennale/ Queen Elizabeth Hall).

Joanna Murray-Smith’s work features the plays Honour, Ridge’s Love, Scenes from a Marriage, The Female of the Species, The Gift, Day One, a Hotel, Evening, True Minds, Fury, Switzerlandand Three Little Words as well as novels including Truce, Judgement Rock and Sunnyside. Among others, she won the 2004 Fringe First Award, Edinburgh Festival Fringe for Bombshells and co-winner New South Wales Premier’s Literary Awards (Play Award) in 2012 for The Gift.

LISTINGS

Switzerland
By Joanna Murray-Smith
Directed by Lucy Bailey

Ambassadors Theatre
West Street
London WC2H 9ND

Saturday 10 November 2018 to Saturday 5 January 2019
Press Night: Monday 19 November 2018

Monday – Saturday at 7.45pm
Thursday at 3pm & Saturday at 4pm
See website for full Christmas schedule

Ticket Prices from £19.50

www.theambassadorstheatre.co.uk

Box Office: 020 7395 5405

WHATSONSTAGE ANNOUNCES WINNERS

OF BRAND NEW AWARDS – THE WHATSOFFSTAGE AWARDS

 

At a ceremony held at The May Fair Hotel, London, WhatsOnStage today announced the winners of the WhatsOffStage Awards – a brand new initiative recognising venues and their staff for the work they do off stage and celebrating their contribution to the industry and theatregoing experience. As with the WhatsOnStage Awards, nominees and winners for the WhatsOffStage Awards were voted for by the public.

 

This year sees the Hope Mill Theatre leading the pack across the 10 categories with two wins for Best Front of House Team and Favourite Theatre. Hull Truck Theatre received the Best Box Office Award, with Best Stage Door being won by the Prince Edward Theatre.

 

The National Theatre won Most Accessible Theatre, and Most Child Friendly went to the Unicorn Theatre, with Best Food and Drink being awarded to The Other Palace. Best Community Theatre was won by the Young Vic, Best Theatre Facilities by the newly refurbished Victoria Palace Theatre, and Best Theatre Website going to Shakespeare’s Globe.

 

WhatsOnStage’s Chief Operating Officer Sita McIntosh said today, “Theatre is so much more than what you see on stage – it’s also the culmination of so much hard work by dedicated teams behind the scenes who help lay the foundations for audiences wanting to come to the theatre. We’re thrilled today with the WhatsOffStage Awards which celebrate those brilliant people, giving them their moment in the spotlight.”

 

FULL LIST OF NOMINEES AND WINNERS

 

Best Front of House Team

Hope Mill Theatre WINNER

Hull Truck Theatre

Prince Edward Theatre

 

Best Box Office

Hope Mill Theatre

Hull Truck Theatre WINNER

Prince Edward Theatre

 

Best Stage Door

Dominion Theatre

National Theatre

Prince Edward Theatre WINNER

 

Best Food and Drink

The Bridge Theatre

National Theatre

The Other Palace WINNER

 

Most Accessible Theatre

Hull Truck Theatre

National Theatre WINNER

Shakespeare’s Globe

 

Most Child Friendly

Cambridge Theatre

Polka Theatre

Unicorn Theatre WINNER

 

Best Community Theatre

Arcola Theatre

Hope Mill Theatre

Young Vic WINNER

 

Best Theatre Facilities

National Theatre

Royal Exchange, Manchester

Victoria Palace Theatre WINNER

 

Best Theatre Website

National Theatre

The Old Vic

Shakespeare’s Globe WINNER

 

Favourite Theatre

Hope Mill Theatre WINNER

Hull Truck Theatre

Prince Edward Theatre

 

@WhatsOnStage

#WhatsOffStageAwards

A Christmas Carol
UK Tour: November – December 2018

Celebrating the 175th anniversary of the publication of Charles Dickens’s A Christmas Carol, European Arts Company return with their authentic and refreshing adaptation of this timeless tale.

Tom Paris’s design welcomes audiences into Dickens’s intimate study, a warm inviting environment full of festive cheer and hidden surprises. The set is based on Dickens’s own London rooms and takes inspiration from a rich tradition of Victorian illusion, imagination and early theatrical trickery.

Few people know that Charles Dickens originally wanted to be an actor and A Christmas Carol was the first public performance he gave of his own work. After his opening night he said The success was most wonderful and prodigious – perfectly overwhelming and astounding altogether! Dickens enacted the work over 150 times and the effect on the public was phenomenal; he had a magnetic stage presence, riveting eyes, expressive voice and wonderful powers of characterisation. Remarkably, Dickens made more money from his readings than all his novels and stories put together. This exciting production, adapted from Dickens’s own public reading scripts and eyewitness accounts of him on stage, recreates the spirit of Dickens’s original performances.

John O’Connor is an engaging and charismatic performer, slipping deftly between the characters,
aided by little more than some smartly used sound effects and tight direction from Peter Craze.
… O’Connor’s performance is a delight. A festive treat (The Stage). ★★★★

Actor, John O’Connor lives in Rochester where Dickens grew up and set many of his stories including Great Expectations, David Copperfield and The Mystery of Edwin Drood. O’Connor says, I’m delighted to be touring again in A Christmas Carol. Dickens himself toured all over the UK and America performing the tale and it is wonderful to follow in his legendary footsteps. He described his imagination as ‘a Magic Lantern’ and we use an original Victorian magic lantern in the show to help illuminate the story.

Dickens was passionately interested in the welfare of the poor and children in particular and many of his early readings were for charity. Doctor Thomas Barnardo was a contemporary of Dickens and was inspired to set up his first Ragged School partly as a result of Dickens’ writings and campaigning. This tour is in aid of the children’s charity Barnardo’s.

This Christmas, you can experience what it must have been like to be in the audience in the 1860s. Come and enjoy a seasonal treat in the spirit of Christmas past, present and future.

Performance Dates
12th November Theatre Severn, Shrewsbury
Frankwell Quay, Shrewsbury, Shropshire, SY3 8FT

27th – 28th November Greenwich Theatre Studio, London
Crooms Hill, London SE10 8ES

29th November Selby Town Hall, Yorkshire
York Street, Selby YO8 4AJ

30th November Stantonbury Theatre, Milton Keynes
Stantonbury, MK14 6BN

1st December Quay Theatre, Suffolk
Quay Ln, Sudbury CO10 2AN

3rd – 4th December Swindon Arts Centre
Devizes Rd, Swindon SN1 4BJ

5th December Rondo Theatre, Bath
St. Saviours Rd, Bath BA1 6RT

7th December Dugdale Centre, London
39 London Road, Enfield, London EN2 6DS

8th December Rochester Guildhall, Rochester
17 High Street, Rochester ME1 1PY
City of Rochester Society members only

10th December Mumford Theatre, Cambridge
Anglia Ruskin University, East Road, Cambridge CB1 1PT

11th – 12th December Loughborough Town Hall
Market Place, Loughborough LE11 3EB

13th December Rosehill Theatre, Cumbria
Moresby, Whitehaven CA28 6SE

14th December Helmsley Arts Centre, Yorkshire
Meeting House Court, Helmsley, York YO62 5DW

15th December Malton Dickensian Festival, Yorkshire

18th – 22nd December York Theatre Royal, The De Grey Rooms
St Leonard’s Place, York YO1 7HD

Monkhead Theatre presents COLLECTIVE INTELLIGENCE #1

The Interpretation of Dreams

“All the things one has forgotten scream for help in dreams”
– Elias Canetti

In 1900, Freud published The Interpretation of Dreams: a shocking piece of work in which he discovered the unconscious, the Oedipal complex, and the causes of anxiety and neurosis in repressed memories. Its impact on modern psychology is comparable to Darwin’s theory of evolution or Einstein’s relativity, as concepts like ‘the unconscious’ and ‘the ego’ infiltrated language itself and psychologists were no longer confined to psychiatric asylums.

Monkhead Theatre (‘definitely a name to look out for in the future’ – Fairy Powered) bring together ten of the best artists working in London to collectively adapt the classic text using a full spectrum of media. A rapid response night unprecedented in its ambition – the company of actors, writers, video artists and musicians provide a multi-sensory event that realises the experience of being ‘inside a mind’.

The theatre itself becomes consciousness. At night the repressed wishes, memories and desires banished to the unconscious (the bar outside) return to the conscious mind to roam semi-disguised in the form of dreams…

created by Chloë Myerson & Nico Pimparé

adapted by Chloë Myerson
directed by Nico Pimparé
sound and video by Josh Field
produced by Florence Bell

Praise for MONKHEAD’S most recent play, Dead Souls:

★★★★ ‘Astounding’ – Everything Theatre
★★★★ ‘Wild’ – The Spy in the Stalls
★★★★ ‘Inspired’ – Fairy Powered
★★★★ ‘Brilliant’ – London Pub Theatres
★★★★ ‘The hallmark of [Monkhead’s] highly considered and spirited production lies in the willingness to take risks’ – Act Drop

https://www.bunkertheatre.com/whats-on/collective-intelligence/about

PERFORMANCE DATES & TIME

Monday 12 November 2018
7.30pm

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Running time: 90 minutes

Gielgud Theatre – booking until 30 March 2019

Reviewed by Claire Roderick

5*****

Company returns to the West End in a neon glow of stylish brilliance. Marianne Elliott’s gender-swapped production is contemporary, funny, smart and quite possibly genius. The naysayers who refuse to give this production a try as they bemoan “PC gone mad” are missing out on one of the best shows to open in London for years.

Working with Stephen Sondheim to create a show that has modern resonance, Marianne Elliott turns Bobby into Bobbie (the luminous Rosalie Craig), whose 35th birthday forces her to evaluate her life and her approach to relationships. Surrounded by married friends, Bobbie’s biological clock is ticking – visualised terrifyingly as she watches multiple versions of her possible future self with her boyfriends and babes in arms in Tick Tock. George Furth’s book is still instantly recognisable, with simple twists like the swapping of Jenny (Jennifer Saayeng) and David’s (Richard Henders) lines creating a more modern couple where the wife goes out to work and the husband is a stay-at-home dad. Changing the gender of best friend Amy to Jamie (Jonathan Bailey) also adds a more familiar and realistic dynamic to the group of friends in 2018.

The set is deceptively simple and stunning, with neon rooms fitting together below Joel Fram’s orchestra. There are shades of Alice in Wonderland as Bobbie feels the walls closing in on her trying to avoid her surprise birthday party, and crawls around the stage finding handy glasses of whisky.

Sondheim’s songs are sublime; this is one of those rare musicals that has no “filler” – every number is a wonder. The entire cast are phenomenal, and you may find it hard not to jump up and cheer after Every. Single. Number. Rosalie Craig is spiky, cynical, funny and vulnerable as Bobbie, and is an emotional powerhouse in Marry Me A Little and Being Alive. Patti LuPone is phenomenal as Joanne, prowling around the stage with an acerbic smirk and conveying more with an “Uh huh” than some actors can in seven verses. The Ladies Who Lunch is a masterclass in musical theatre – grabbing you by the throat and the heart and leaving you in a euphoric heap. Jonathan Bailey’s meltdown as groom-to-be Jamie is hysterically sweet and almost steals the show.

Company is proof that brilliant musicals can survive, and may need, changes to resonate even more with modern audiences. In Marianne Elliott’s hands, Company speaks to us all. And with a cast as good as this, Elliott has created theatrical perfection. This is THE must-see show of the year. Grab a ticket while you can.

New Victoria Theatre, Woking – until 27 October 2018

Reviewed by Alexandra Sykes

5*****

One of the most iconic musicals of all time, “Jersey Boys” never fails to disappoint audiences.  A documentary style jukebox musical it tells the story of four young men from New Jersey and their rise to fame. With music by Bob Gaudio, himself a member of The Four Seasons, lyrics by Bob Crewe and a book by Marshall Brickman and Rick Elice, this rags-to-riches story gives an insight as to what it was like for the band members on their way to the top along with the hardships they all struggling with such as divorce and debt problems.

The musical opens with “Ces Soirees-la” a rap/pop mashup of the classic “December 1963 (Oh What a Night) which Tommy DeVito (Simon Bailey) explains is the song that put Jersey on the map. Tommy explains that he formed a band with his brother, Nick, and friend Nick Massi who performed as “The Variety Trio” before discovering Frankie Castellucio (later Frankie Valli), whom Tommy took under his wing and teaching him everything he knows.

The story is split into four sections, each relating to a different season and each narrated by a different member of the band so as to highlight the bands highs, such as their string of number one hits, and lows, such as the death of Frankie’s daughter and the various prison stints they all did in the early days.

One of my favourite West End shows I did wonder how well it would work on tour but the set is still the same, with the cage like structures and the bridge working to set the scene, be it the Sea Breeze lounge or a New Jersey street. The costumes are still the same with the iconic red blazers from the posters playing a part in the show as well.

Dayle Hodge stole the show as Frankie Valli, receiving not one but four standing ovations, a true testament to the character he was playing. Hodge had the audience captivated not only with his acting skills but with his ability to hit the notes in the now iconic songs “Sherry” “Big Girls Don’t Cry” “Beggin’” and “Who Loves You?” all of which had the audience singing along.

An enjoyable night out for both young and old the show had the audience singing and clapping along and fully engaging with the show. 

York Theatre Royal – until 20 October 2018

Reviewed by Marcus Richardson

4****

The contemporary theatre company Gecko has come to York with their show Missing, an ensemble piece which explores memories and how childhood affects us as adults. Gecko takes three years, make a show, break it and remake it, with the end result being Missing in this case. We watch the main character Lily progress through life with her childhood lingering on her and her ability to form relationships. Twisting through time, everything seems broken and unnatural, however having an essence to real life with real experiences and relationships.

The cast made of five actors, creates a world trough working with various languages and through physical theatre. Katie Lusby plays Lily, this character for me, was the most emotionally demanding with having the burden of the past and the strain of the present. What sticks with me is her face, the ability to both convey love and shock at the same time. Lucia Chocarro is the other female in the cast taking on the role of Lily’s mother a dancer, the dancing in this show goes so well with the physical theatre, working in unison to create a story without the need of words. The other members of the cast being all male are Amit Lahav, John Ross and Arten Perkins-Gangnes; these three did an amazing job of working with their bodies to bring a demanding energy to the stage, from powerful and fast movements to their characterisation. You can tell that the cast is comfortable with each other and with being such a small cast there is this harmonious relationship between each of them on stage.

Amit Lahav is the artistic director of Gecko and the play is based off his experience of delving into the past and how that has made him what he is today. The set is incredibly imaginative and cleaver using a long treadmill as a main tool in the show this innovative aspect really show what theatre has the possibility to be, the stage was just as impressive as the cast.

This show is right up my alley, however I know it may not be everybody’s cup of tea, contemporary theatre is an acquired taste after all. If you want  to see new theatre, I would suggest seeing this, both thought provoking and entertaining.

Hull New Theatre – until 20th October 2018

Reviewed by Catherine McWilliams

5*****

Hats off to the cast of Birmingham Stage Company’s production of Terrible Tudors, what a fun, fast, fabulous romp through Tudor history you gave us last night at Hull New Theatre.

This is a stage adaption of one of Terry Deary’s popular Horrible Histories and it has been skillfully adapted for the stage by John-Paul Cherrington, who ensured that the action zipped along with never a dull moment.

According to the programme Simon Nock plays Dr Dee, Izaak Cainer is Drab and Lisa Allen is Dross, but in actuality these three talented actors play a myriad of characters from Kings to Queens to criminals as they whizz through the history of the period. Costume changes are fast and furious, with songs and rap and puns galore. Add in plenty of gory bits, sound effects, audience participation and some 3D and it was easy to see why the youngsters in the audience were entranced, I was hooked!

The show started with how the Tudors came to power and went through key points of each monarch’s reign, throwing in information about how criminals were treated and the medicine of the day. Everything is presented in such a fun way but the historical facts are accurate and everyone will have come away having learnt something – I certainly did.

But back to Simon Nock, Izaak Cainer and Lisa Allen, these three actors were never off the stage and their energy levels and stamina never faltered and the pace of this production was incredibly fast. It is not easy to keep an audience of children entranced, but they made it look like a walk in the park. They had a wonderful interaction with the audience and were clearly enjoying every minute!

This would be a wonderful trip to the theatre for any youngster, with the added bonus of learning some fun facts as well! If this is coming to a theatre near you than book yourself tickets for this fabulous show. Now let me think, who can I take to see their other show Awful Egyptians…

 

Churchill Theatre – 20 October 2018

Reviewed by Elizabeth Smith

3***

Every body knows the story of Dracula, the blood drinking vampire. It is the stuff nightmares are made of, so I was looking forward to this new take on an old tale. With promises of stunning illusions and spine chilling effects, I was bracing myself for a terrifying experience.

The story opens with a bang that made me jump out of my seat, I had high hopes, then the story starts to unfold.

The opening scene sets a dark atmosphere and it feels like your watching an old black and white movie, giving that Dracula foreboding. With the young couple Jonathan Harker (Andrew Horton) and Mina Murray (Olivia Swann) saying goodbye at the railway station as he heads off to Transylvania to meet Count Dracula. We are then introduced to Lucy,(Jessica Webber), an attractive young virgin pursued by many a suitor but none of which excite her passions, until she
has dreams of a ghostly figure that comes to her in the night, Dracula. Here we see the first illusion as Dracula disappears before our eyes.

The story then moves on and we are introduced to Dr Seward, (Evan Milton), who attends the lunatics at the asylum. Lady Renfield, (Cheryl Campbell) being the prominent loon, who eats the animals in her care and Professor Van Helsing, (Phillip Bretherton) who comes to rid the world of vampires. The count himself (Glen Fox), has a formidable presence but was this just because he is a tall chap?

There were attempts to emulate some classic horror movies, The Exorcist, but it just didn’t quite hit the spot.

The ensemble of vampires appear in terrifying lighting shows with moves that any respectful zombie would be proud of.

I was left completely underwhelmed by this production. The illusions were short on the ground and the acting seemed old fashioned, with the senior actors outshining the younger members of the cast. I didn’t believe the characters and felt no compassion for they impending fate.

The set however was exceptional and I found myself looking at that moving about more than the actors themselves.

Grand Opera House York – until Saturday 20th October 2018.

Reviewed by Michelle Richardson

5*****

The Full Monty has hit The Grand Opera House in York this week. Based on the well loved hit movie, Simon Beaufoy has adapted his own film for this award winning play.

Set in 1997 this is a story about a group of redundant Sheffield steelworkers. Wide boy Gaz, Gary Lucy, who has been touring in the role since 2014, and best mate Dave, Kai Owen, have resorted to stealing scrap metal. With Gaz being hounded by his ex wife Mandy for child support for his son Nathan, Fraser Kelly, he needs to get money somehow. After seeing how a visit by The Chippendales to the local working men’s club racked the money in, Gaz comes up with the hair brained idea of putting their own act together.

After rescuing suicidal Lomper, Joe Gill, who just becomes one of their troupe, they audition and cajole in order to get the rest of an act together. Horse’s, Louis Emerick, audition is hilarious, the mind is willing but the body has other ideas. We are also treated to the well endowed Guy, James Redmond, who can’t dance but wows in other ways and we get an eyeful, to be honest more than an eyeful. The final member of the troupe is Gerald, Andrew Dunn, their former foreman, who hasn’t plucked up the courage to tell his wife that he lost his job 6 months previous. Railroaded into becoming their choreographer, he has the not so envious task of turning the motley crew into dancers.

The play was true to the film in as much as it could be using the stage. We were treated to all the great moments of the film, the dole queue scene was an hilarious, exaggerated example and one I was waiting for, brilliant. It wasn’t afraid to tackle touchy subjects, suicide, unemployment, depression and homosexuality, all done in a fun but sympathetic way, in some ways it was a lot more open and embraced more that the screen version. Even though the film hit our screens over 20 years ago the subject matter is as relevant today as it was then.

The strong cast were really very good. From Lucy, convincing as the cheeky Gaz, Owen as the lovable Dave, who you couldn’t help cheering on and wanting him to regain the confidence in himself and his body, to the whole ensemble.

For the finale we were the audience, whooping and cheering in that working men’s club, we were part of the show, no holds barred. It was great.

Bare bottoms aplenty, did I actually get to see THE FULL MONTY? I’m not sure I should spoil the surprise, all I will say is that I left the theatre with a grin on my face listening to the excited chatter of all around me ?. A great night out with a few willy jokes thrown in, that is not just about men baring all.