Month: February 2019

Cameron Mackintosh’s acclaimed production of ‘Les Misérables’ to return to Greater Manchester in May 2020!

Cameron Mackintosh announced that his acclaimed production of the Boublil and Schönberg musical ‘LES MISÉRABLES’ will return to Greater Manchester in May 2020 when it plays The Lowry in Salford from Tue 12 – Sat 30 May 2020. Booking opens to members at 10am on Mon 25 February 2019 with general on sale at 10am on Fri 1 March 2019.

The musical opened its sell out run at the Manchester Palace Theatre last night where it plays until Sat 30 March. The run at The Palace sold out within days.

Since Cameron Mackintosh first conceived this new production of ‘Les Misérables’ in 2009 to celebrate the show’s 25th anniversary it has taken the world by storm. Originally touring the UK throughout 2009/10, and concluding with 22 performances at the Barbican, this production was hailed by audiences and critics alike. This tour opened in Leicester in November last year and has already played sell out runs in Dublin and Edinburgh.

This production inspired the hugely successful movie version starring Hugh Jackman, Anne Hathaway and Eddie Redmayne. This brilliant new staging has scenery inspired by the paintings of Victor Hugo,and has to date already been seen in North America, Brazil, Mexico, Korea, Japan, Canada, Australia, Spain, France, Manila, Singapore, Dubai and Broadway.

Boublil and Schönberg’s magnificent score of ‘LES MISÉRABLES’ includes the songs, ‘I Dreamed a Dream’, ‘On My Own’, ‘Stars’, ‘Bring Him Home’, ‘Do You Hear the People Sing?’, ‘One Day More’, ‘Empty Chairs at Empty Tables’, ‘Master Of The House’ and many more.  Seen by over 120 million people worldwide in 52 countries and in 22 languages, ‘LES MISÉRABLES’ is undisputedly one of the world’s most popular musicals.

Cameron Mackintosh’s production of ‘LES MISÉRABLES’ is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and original adaptation by Trevor Nunn and John Caird. The original ‘LES MISÉRABLES’ orchestrations are by John Cameron with new orchestrations by Christopher Jahnke, Stephen Metcalfe and Stephen Brooker. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and Geoffrey Garratt, projections by Fifty-Nine Productions and music supervision by Stephen Brooker and Graham Hurman.

DAVID WALLIAMS SCORES A HAT-TRICK AS NEW PRODUCTION OF BILLIONAIRE BOY IS ANNOUNCED

Birmingham Stage Company Presents

David Walliams’ BILLIONAIRE BOY

Tour runs September 2019 – November 2020

National press performance: Wed 30 October 2019, 7pm at Richmond Theatre

The bestselling children’s author David Walliams and the award-winning Birmingham Stage Company have today announced a new production of Billionaire Boy to tour Britain. This will be their third collaboration after the Olivier Award nominated Gangsta Granny and acclaimed Awful Auntie productions. Billionaire Boy started life as a David Walliams novel for children in2010, published by HarperCollins Children’s Books, and was filmed for the BBC in 2016. It will nowembark on a national tour on 26 September 2019 from Horsham’s Capitol Theatre.

Billionaire Boy tells the story of Joe Spud, who is twelve years old and the richest boy in the country. He has his own sports car, two crocodiles as pets and £100,000 a week pocket money. But what Joe doesn’t have is a friend. So he decides to leave his posh school and start at the local comp. But things don’t go as planned for Joe and life becomes a rollercoaster as he tries find what money can’t buy!

David Walliams said today: “I absolutely loved the BSC’s terrific productions of Gangsta Granny and Awful Auntie so I can’t wait to see their brand-new production of Billionaire Boy! It promises to be a brilliant show!”

David Walliams has become one of today’s most influential writers. Since the publication of his first novel,The Boy in the Dress (2008), illustrated by the iconic Sir Quentin Blake, David Walliams has celebrated more than ten years of writing success with global sales exceeding twenty-nine million copies, and his books have been translated into fifty-three languages. David’s titles have spent 138 weeks (non-consecutive) at the top of the children’s charts – more than any other children’s author ever. He closed 2018 as the UK’s biggest-selling author for the second year running. In addition to his fiction, David has worked with Tony Ross on six picture books as well as three bestselling short-story collections, The World’s Worst Children.

Neal Foster is the adapter and director of Billionaire Boy. He is the Actor/Manager of The Birmingham Stage Company which since its foundation in 1992 has staged over eighty productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for fourteen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Neal has written and directed all of the most recent Horrible Histories shows including the Barmy Britain series seen in the West End, across the UK, and abroad. Billionaire Boy will be his third David Walliams stage show after Gangsta Granny and Awful Auntie. Last week he opened the world premiere of Tom Gateswhich he adapted with the author Liz Pichon which will be touring the country through to 2020.

Billionaire Boy is adapted and directed by Neal Foster, designed by Jackie Trousdale, lighting by Jason Taylor, sound by Nick Sagar, special effects by Scott Penrose and music by Jak Poore.

Billionaire Boy is suitable for ages 5 +

Twitter: @BillBoy_Live

Facebook: birminghamstage

List of tour dates: billionaireboylive.co.uk

Tour dates currently on sale are:

Capitol Theatre, Horsham                                             26 – 29 Sep 2019

Hull New Theatre                                                             09 – 12 Oct 2019

Derngate Theatre, Northampton                              16 – 19 Oct 2019

Wycombe Swan, High Wycombe                               23 – 26 Oct 2019

Richmond Theatre                                                          30 Oct – 02 Nov 2019

Orchard Theatre, Dartford                                           13 – 16 Nov 2019

Alexandra Theatre, Birmingham                                 20 – 23 Nov 2019

Theatre Royal, Glasgow                                                 15 – 19 Jan 2020

Cliffs Pavilion. Southend-on-Sea                                23 – 26 Jan 2020 [on sale 26 Feb]

De Montfort Hall, Leicester                                          04 – 08 Mar 2020

THE BEST OF…

ROCK MUSICALS
In aid of The Charlie Waller Memorial Trust

• CASTING HAS BEEN ANNOUNCED FOR THE PERFORMANCES ON MAY 12TH
• THE BEST OF… ROCK MUSICALS AT THE EVENTIM APOLLO, HAMMERSMITH, IN AID OF THE CHARLIE WALLER MEMORIAL TRUST
• THE PERFORMERS TAKING PART WILL INCLUDE THE PREVIOUSLY ANNOUNCED ADAM PASCAL, KERRY ELLIS, ADRIANNA HICKS, KRISTINA LOVE AND DAVID MICHAEL JOHNSON. THEY WILL BE JOINED BY SABRINA ALOUECHE, ELVIE ELLIS, RACHEL FABRI, CHARLOTTE HARWOOD, ROB HOUCHEN, DEBBIE KURUP, CHRISTIAN LUND, JON ROBYNS, RAY SHELL, NOEL SULLIVAN AND JUDY KUHN.
• DEVISED AND DIRECTED BY HUGH WOOLDRIDGE (THE NIGHT OF 1000 VOICES)
• TICKETS ON SALE NOW www.thebestofmusicals.com

On Sunday 12 May 2019 at London’s Eventim Apollo, Hammersmith, there will be two concerts ofThe Best of… Rock Musicals for the benefit of The Charlie Waller Memorial Trust.  It will be the 20th Anniversary production from the same team who for the last 19 years have presented The Night of 1000 Voices at the Royal Albert Hall and elsewhere.

As previously announced The Best of… Rock Musicals will feature New York’s Adam Pascal(Rent); Europe’s Adrianna Hicks (The Color Purple), Kristina Love (Tina) and David Michael Johnson (Jesus Christ Superstar); and London’s Kerry Ellis (Wicked) together with a host of Broadway and West End talent, the West End Chorus, the City of London Philharmonic AllStars. They will be joined by Judy Kuhn (Fiddler on the Roof), Debbie Kurup (The Bodyguard), Ray Shell (Starlight Express), Sabrina Aloueche (We Will Rock You), Elvie Ellis (The Little Shop of Horrors), Rachel Fabri (The Sound of Music), Charlotte Harwood (Loserville), Rob Houchen (Titanic the Musical), Christian Lund (Phantom of the Opera), Jon Robyns (Hamilton) and Noel Sullivan (We Will Rock You).

Amongst many others, The Best of… Rock Musicals will include songs from Jesus Christ Superstar, Hair, Evita, Chess, Aida, Miss Saigon, RENT, Tommy, We Will Rock You, Spring Awakening, The Rocky Horror Show, Next To Normal, The Little Shop of Horrors, Dear Evan Hansen, Wicked and The Lion King.

The Charlie Waller Memorial Trust was formed in 1997 by the Waller family in memory of their son and brother, Charlie, who took his own life whilst suffering from depression.  The Trust offers support and education to those affected by depression and mental illness.  Its vision is of a world where people understand and talk openly about depression; where young people are educated on the importance of staying mentally well, and where treatment is available to everyone who needs it.

Particularly in musical theatre and the performing arts, depression and mental unhappiness is often masked by a smiling face.  Everyone has a duty to protect each other in a profession where rejection and redundancy are two of the most common words in daily usage.  The Charlie Waller Memorial Trust offers vital information on preventing depression and is producing tailored guidance for performers.

With musical directors Stuart Morley (We Will Rock You) and Kevin Amos (Jesus Christ Superstar), and choreographers Kevan Allen and Andrew Wright, The Best of… Rock Musicals will again be devised and directed by Hugh Wooldridge who says “This event is a must for all who love rock musicals and musical theatre.  With the very best artistes in the world coming together to celebrate the very best in rock musicals from the last 50 years.  Come along again on our 20th birthday and join in the fun and support this most splendid charity in the name of Charlie Waller, whilst raising the roof of the Eventim Apollo, Hammersmith.”

Further performers will be announced in due course.  All artistes are subject to their professional commitments.

LISTINGS

THE BEST OF… ROCK MUSICALS
Devised and Directed by Hugh Wooldridge
Musical Directors: Stuart Morley and Kevin Amos
Choreographers: Kevan Allen and Andrew Wright
Eventim Apollo Hammersmith
45 Queen Caroline St, Hammersmith, London W6 9QH
020 8563 3800

First performance           Sunday May 12, 2019 at 4.00pm
Final performance         Sunday May 12, 2019 at 8.00pm

Box office details             0844 249 1000

                                                www.thebestofmusicals.com

Prices from                        £15.00

Websites:

The Best of Musicals                                          www.thebestofmusicals.com

The Charlie Waller Memorial Trust            www.cwmt.org.uk

THE CAST IS ANNOUNCED FOR

NICHOLAS HYTNER’S IMMERSIVE PRODUCTION OF SHAKESPEARE’S

A   M I D S U M M E R   N I G H T ’ S   D R E A M

Gwendoline Christie, Oliver Chris, David Moorst and Hammed Animashaun lead the cast as Titania, Oberon, Puck and Bottom in Nicholas Hytner’s production of A Midsummer Night’s Dreamwhich has its first performance in the Bridge Theatre’s immersive format this summer on 3 June.

The theatre becomes the forest – a dream world of flying fairies, contagious fogs and moonlight revels.  The seating is wrapped around the action while the immersive tickets allow the story to be followed on foot.

The production re-unites the team responsible for last year’s smash-hit Julius Caesar.  Direction is byNicholas Hytner, design by Bunny Christie, costume by Christina Cunningham, lighting byBruno Poet and sound by Paul Arditti and joining the team will be Grant Olding.

The full cast is Paul Adeyefa (Demetrius), Hammed Animashaun (Bottom), Charlotte Atkinson (Moth), Tessa Bonham Jones (Helena), Oliver Chris (Oberon/Theseus), Gwendoline Christie (Titania/Hippolyta), Jermaine Freeman (Flute), Isis Hainsworth (Hermia), Chipo Kureya (Peasebottom), Francis Lovehall (Starveling), Kevin McMonagle (Egeus), Ami Metcalf (Snout), Jamie-Rose Monk (Snug), Felicity Montagu (Quince), David Moorst (Puck), Lennin Nelson-McClure (Mustardseed), Rachel Tolzman (Fairy), Jay Webb (Cobweb) and Kit Young (Lysander).

A Midsummer Night’s Dream runs at the Bridge Theatre from 3 June – 31 August 2019 and has its opening night on 11 June 2019.  Evening performances are Monday to Saturday at 7.30pm with weekday and Saturday matinees at 2.30pm (check website for details). 

Three hundred immersive tickets at £25 are available in advance for each performance with a special allocation of £15 immersive tickets held for Young Bridge members, a free scheme for those under 26.  

Gwendoline Christie is best known for portraying Brienne of Tarth in Game of Thrones. Her theatre credits include Dr Faustus and Mirandolina at the Royal Exchange Theatre, Breakfast at Tiffany’s at the Theatre Royal Haymarket, Cymbeline at the Barbican Theatre, Pravda for Chichester Festival Theatre and Great Expectations for the Royal Shakespeare Company. On television Christie’s credits also include Top of the Lake: China Girl by Jane Campion. Her film credits include Star Wars: The Force Awakens and Star Wars: The Last Jedi, The Hunger Games: Mockingjay Parts 1 & 2, In Fabricby Peter Strickland, Absolutely Fabulous: The Movie as well as the forthcoming production of The Personal History of David Copperfield by Armando Ianucci.

Oliver Chris’ credits include One Man Two Guvnors and King Charles III both of which transferred to the West End and then to Broadway. He was in the Bridge’s opening production, Young Marx. His other work in the theatre includes Great Britain, Season’s Greetings and Twelfth Night for the National Theatre, Closer for the Donmar Warehouse, Women and Cyrano de Bergerac for the Royal Exchange Theatre and The Taming of the Shrew at Wilton’s Music Hall.  On television he has been seen inMotherland, King Charles III, The Musketeers, The Scandalous Lady W, Bluestone 42, Breathless, Silent Witness, Hotel Babylon, Green Wing, The IT Crowd and The Office. His film credits include The Little Stranger, Bridget Jones: The Edge of Reason and The Gathering. He recently directed Ralegh: The Treason Trial at the Sam Wanamaker Playhouse.

David Moorst won Best Newcomer (Critics’ Circle) and Emerging Talent Award (Evening Standard) a year after graduating from LAMDA.  He was at the Bridge Theatre last summer in Allelujah!. His other theatre credits include Shopping and Fucking at the Lyric Hammersmith, Into the Woods for the Royal Exchange Theatre, Violence and Son at the Royal Court and Wonderland at Hampstead Theatre. His television and film credits include Grantchester, Partners in Crime, Holby City and Peterloo. 

Hammed Animashaun was in Barbershop Chronicles, Amadeus and The Threepenny Opera for the National Theatre, The Importance of Being Earnest, A Midsummer Night’s Dream, Bugsy Malone andSecret Theatre for the Lyric Hammersmith, Measure for Measure at the Young Vic, Hate at the Barbican Theatre and The Boy Who Fell Into a Book at Soho Theatre. His television and film credits include Black Mirror and The Festival.

This is the first time Nicholas Hytner has directed A Midsummer Night’s Dream. His previous Shakespeare productions are As You Like It, Hamlet, Henry IV Part 1, Henry IV Part 2, Henry V, Julius Caesar, King Lear, Measure for Measure, Much Ado About Nothing, Othello, Timon of Athens, Twelfth Night and The Winter’s Tale.

LISTINGS INFORMATION

Address:                           Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                        0333 320 0051 or [email protected]

Tickets are priced from £15 to £69.50 with a limited number of premium seats available.   A special allocation of £15 tickets are held for Young Bridge, a free scheme for those under 26. 

Access:                            0333 320 0051 or [email protected]

Website:                           www.bridgetheatre.co.uk

Twitter:                            @_bridgetheatre

Instagram:                        _bridgetheatre

Facebook:                         facebook.com/bridgetheatrelondon

Edinburgh Playhouse Theatre, Edinburgh – until 2 March 2019

Reviewed by Hannah Plumb

5*****

As a long-standing Frankie Valli and The Four Seasons fan I was optimistically looking forward to seeing The Jersey Boys musical. In my experience with jukebox musicals even if the entire show isn’t up to scratch it’s a pleasure to be able to hear the music of a legend. However, from the opening scene of Jersey Boys, I was transfixed. This is a musical that will leave you filled with joy and listening to the soundtrack for days on end. Not to mention bothering your friends and families with your own interpretations of Valli’s astounding vocals. 

This production has so many strong points I’m not entirely sure where to start. I will begin by saying it is a genuine pleasure to watch so many talented professionals excel in their art. In a time where most musicals, especially touring productions, have at least one role filled by a celebrity stunt cast it is wonderful to see so many performers trained not only by institutions but paying their dues in smaller roles have their chance to show the world why they’re the best at what they do. 

The production is led by the Jersey Boys themselves. Simon Bailey as Tommy Devito starts us off in the story as the man who makes trouble for himself and others but you can’t help but love. His charm and charisma paired with his smooth voice are what lets you know you are in for a treat. Then comes Declan Egan as Bob Gaudio, the playing the musical genius that enthrals the audience from the second he hits the stage. His theatre credits may not be as long as the rest of the cast but what he has done speaks for itself. I believe we can expect more great things from this man in the future. Lewis Griffiths, playing the understated Nick Massi may be the quieter one of the quartet but not only does his silky bass notes round out the harmonies beautifully his characterisation and comic timing make him and standout in this production. Lastly, but certainly not least we have the man himself, Michael Watson as Frankie Valli. Close your eyes and you will believe that Valli is there himself. Not everyone can capture the unique vocals of such a highly skilled artist but Watson delivers while also being a fantastic actor and dancer. 

In fact, every member of this company is a genuine triple threat. A particular nod to James Alexander Gibbs who among other parts plays Joe Pesci a smaller role but one which sticks with you. Gibbs is comedy gold as he interacts with the four and even when he isn’t the focal point of the number draws your attention. 

I was blown away by this whole production, the band were outstanding, the set is the perfect backdrop to the story of underdog to worldwide legend. The whole musical is a triumph. If you see one show this year, go and see Jersey Boys!

Mayflower Theatre Southampton – until 23 February 2019

Reviewed by Jo Gordon 

5*****

Despite Matthew Bournes Swan Lake doing the rounds for a little over 2 decades now, I’d never seen it before this evening and how I regret that! When it first hit the stage back in 1995 it caused quite the controversy amongst the classical Swan Lake lovers due to the use of an all male Swan ensemble, same sex love and a cheeky comedic streak but others fell in love with it for those very reasons. 

A very modern version of the handsome Prince (Dominic North)  falling in love with a Swan (Max Westwell), set to the classical music of Tchaikovsky we follow the story of a modern day prince repressed by his unmaternal Mother – the Queen (Katrina Lyndon) and the slightly dodgy aide (Glenn Graham) always at her side. Becoming increasingly unhappy with life and his very unsuitable (yet hilariously funny) girlfriend (Carrie Wilis) the Prince considers taking his own life but is saved by an encounter with the Swan he sees in his dreams. Life seems so much better until the royal ball when a stranger (on a par with original Swan Lakes Black swan) arrives ruffling many feathers amongst the courtiers and the Queen, ending with the Prince being placed into confinement at his mothers request.

The comical side of the current “fame” culture, and the rough end of the paparazzi treatment add a fresh dimension which we will all recognise and brings the production into the now. The sight of fourteen, strong yet fluid and graceful male swans will keep you fixated towards the stage. The duets between the Prince and the Swan are divine, showing a vulnerability between them and a deep running love. As the stranger, Westwell plays to the darker side of the character and the movements are more predatory and cold. The whole company dance superbly and each have their own character shining through.

As we near the end of act 4 and Tchaikovsky’s well known Swan Lake is building, you will get goose bumps, your hairs will stand on end and by the close you will be a soggy emotional mess with a wet face blaming it on the non existent air conditioning. Simply emotively beautiful.

Hull New Theatre – until 21 February 2019

Reviewed by Sara Garner

3***

Gisselle is a classical ballet filled with dramatic passion in a chilling and heart-rending tale of love, treachery guilt and forgiveness from beyond the grave.

The first act was slow to start including a period of orchestra music with the curtains closed presumably to build the anticipation for the audience and a further 10 minutes before we see any ballet dancing. It then builds up into the recognisable romantic tale of the delicate Giselle (Anna Fedosova) a naive young peasant girl who falls for the flirtations of the dishonest and aristocratic lover Albrecht (Yury Kudryavtsev) who is posing as a villager Loys. The rustic villagers gather their harvest, A hunting party appears where we meet the Duke and Countesses Bathilde (Albrecht’s betrothed), Giselle dances for the nobles. Hans is in love with Giselle and through his prying discovers Loys dishonestly and the first act ends with Giselle realising this. Giselle goes crazy with the shock and kills herself with Albrecht’s sword.

In the second act we meet the Wilis a group of mystical and supernatural women who dance men to death, summon Giselle from her grave. They target her lover for death, but Giselle’s great love frees him from their grasps. However, Hans is forced into an endless dance culmination in him drowning in the lake. The Corps de ballet dance led by the Myrtha the Queen of the Wilis (Miryam Roca Cruz) dance in an ethereal nature in an eerie moonlit forest haunted by these drifting spirits. The leading man flourished and seemed to float at times. The leading lady seemed unsteady at times stumbling in the first act and slipped in the second half. The second act is memorising and beautifully set.

The set is simple yet beautiful, the music was played effortlessly by the Orchestra perfectly reflecting the emotions throughout. The Choreography seemed muddled in the first act, but perfect in the second act. Overall, we enjoyed Giselle it seemed to lack some je ne sais quoi.

Yvonne Arnaud Theatre, Guildford – until 23rd February

Reviewed by Antonia Hebbert

5*****

Three men who have known each other for years find their rock-solid friendship fracturing. As they talk, fall out and realign, all sorts of hidden stuff comes to the surface. The thing that opens up the cracks is a very expensive, enigmatic, white-on-white painting. Is it art or is it s**t?

This play by Yasmina Reza has a cast of just the three, talking a lot in a cool white set that occasionally alters subtly (design and lighting by Mark Thompson and Hugh Vanstone respectively). It does no harm that they are played by Nigel Havers, Denis Lawson and Stephen Tompkinson: all of them are wonderful, and riveting to watch. They extract a lot of laughs from the apparent blankness of the painting, but this isn’t a tired comedy on modern art. It is about relationships, and what happens when people can’t keep up the polite façade of everyday appearances any more. The characters speak out all the complicated mixed feelings that underlie friendships, in a way that isn’t exactly realistic but is very truthful.

Reza wrote the original play in French. This translation is by playwright Christopher Hampton, who thinks that Reza is a great comic writer, while she herself thinks she is writing tragedy. It’s a good combination: the play is funny, but also very intense. Every word and gesture is important, and there’s no interval (it packs a lot into less than 90 minutes). Art caused quite a stir when it first appeared in London in 1996, and it still feels fresh and compelling.

The Lyceum Theatre, Sheffield – until 23rd February 2019.

Reviewed by Sophie Dodworth

4****

Picture this…an auditorium full of people dressed up in stockings, suspenders and such like, large groups of men and women drinking, laughing and singing, excitement that is so evident you can almost smell it and more audience participation than you could shake a stick at. That is what you will find at the theatre for these performances.

Richard O’Brien’s legendary rock ‘n’ roll musical returns to the UK as part of a sell-out worldwide tour, having now been seen by over 30 million theatregoers. With a new set and a fresh super talented cast, this is a tour that you don’t want to miss.

Rocky Horror follows the story of two squeaky clean college kids – Brad and his fiancée Janet. When by a twist of fate, their car breaks down outside a creepy mansion whilst on their way to visit their former college professor, they meet the charismatic Dr Frank’n’Furter…it’s an adventure they’ll never forget!

The short running time of 1 hour 50 minutes means that each half of this show is absolutely cram-packed with all your Rocky Horror favourite hits, including, Over at the Frankenstein Place, Time Warp and Sweet Transvestite. The show is also full of gags, laughs and those old double entendres…a true comedy with some up to date references and of course, Brexit gets a mention.

Ben Adams (from band A1) is cast as Brad and plays the part perfectly. He has a superb musical theatre voice and really shines in this production. Joanna Clifton (Strictly Come Dancing) takes on the role of Janet. Clifton has such defined and strong dance skills but just occasionally lacks some diction in her voice, albeit powerful and not faltering, note wise.

Stephen Webb makes a great Frank N Furter and well suited to his part, but maybe a little too over the top, if that is even possible for this role?! Callum Evans runs perfectly with his role of Rocky, he was just designed for this part with his gymnastic ability!

A real stand out performance comes from Kristian Lavercombe playing Riff-Raff, he is charismatic and charming with a unique quality to his voice. Star of the show really must go to the narrator played by Philip Franks…he really does come prepared for the unprepared nature of this role, taking on some real profanities shouted out during the audience participation.

This tour has a new look set, coming from set designer Hugh Durrant, it works really well, managing to keep the eyes alert and busy during the scene changes. Costumes (Sue Blane), which are potentially one of the most important parts of this production, since the musical began, are all as close to the original as possible; truly flamboyant, risqué and over the top.

This tour of Rocky Horror will not disappoint whether you are a die-hard fan, new to the show or simply a fan of the music…

Southwark Playhouse, London – until 9 March 2019

Reviewed by Lisa Harlow

4****

We find ourselves immersed in the household of mother Tamora (Charlie Brooks) and father Martin (Simon Limpkin) in turmoil: with themselves, their son and each other. Their son, Laurence, ‘is autistic, non-verbal and occasionally violent’.

Tamora’s imbalance caused by this situation is set against the backdrop of a promising career that has been serially stymied, and a caustic marriage full of blame and resentfulness. Martin does his best to manage at home but being unable to understand how to control the triggers for his son’s behaviour and violence, mixed with the castigation of others, leads to his own outbursts of frustration and anger.

Both rely on props of drugs and alcohol…and Gary…

Amidst it all is the calm anchor, Gary (Michael Fox), the child’s care worker.

The decision to use a puppet for the role of Laurence (Hugh Purves), has attracted a lot of negative attention for ‘dehumanising’ autistic or neurodivergent people. Given the demands required of this role, the decision seemed understandable: the puppetry was well handled and integrated well into the performance. The puppet being grey-faced, however, did not enhance the puppet’s presence at all or help counter the criticisms.

The play delivered uncomfortable notions at times, for example that ‘you can love someone and wonder what it would be like if they were someone else’. Gary’s philosophisations around autistic people and animals was also a perplexing inclusion. Criticisms have been levelled at this production for not attempting to convey life through the lens of the autistic child. But this was not the premise of the play. It is based on his many years working with learning disabled adults and children, specialising in challenging behaviour. His aim was to provide us with a cross examination of the pain and self-scrutiny that comes with being parents of a child with challenging behaviour: and this is achieved.

In spite of the content, there was humour spiralled throughout, mixed within the turbulence of emotions and outbursts of violence. The acting by all performers was excellent. Brooks, in particular, brought different contrasting elements of her personality to the surface as we held hands with her whirling around in the consequences of a number of traumatic decisions she had taken.

I found how Martin dealt with his world the most repellent, but his surrender to events, his wife and her confession was completely heart-melting. This was a moving and well-delivered story.