Month: February 2019

JOEY VISITS WEMBLEY PARK AS TICKETS GO ON SALE TODAY TO THE GENERAL PUBLIC FOR WAR HORSE AT TROUBADOUR WEMBLEY PARK THEATRE

Joey, the life-sized horse puppet from the National Theatre’s acclaimed play War Horse, visited Wembley Park to celebrate today’s general public on sale of War Horse coming to the Troubadour Wembley Park Theatre this autumn.

Having visited 11 countries around the world and playing to nearly 8 million people over the past 11 years, including a recent sold-out return to the National Theatre, the NT’s War Horse is now on a UK and international tour throughout 2019 and as part of the tour, will return to London for a strictly limited run at Troubadour Wembley Park Theatre, located in North West London’s newest cultural neighbourhood, from 18 October – 23 November.

Tickets for the limited six week run are now on sale and include a Captioned performance on  Saturday 2 November 2pm, a BSL performance on Saturday 9 November 2pm signed by Donna Ruane and an Audio Described performance on Saturday 16 November 2pm plus a 12 noon Touch Tour.

Troubadour Theatres, who specialise in the creation of temporary and semi-permanent theatre venues including Kings Cross Theatre, will open Troubadour Wembley Park Theatre this summer. The six week run of War Horse will include a programme of activity which engages with schools and the local community in Brent in the lead up to the yearlong Brent Borough of Culture collaborative project in 2020.

War Horse will also tour to Sunderland Empire (currently playing until 23 February), Marlowe Theatre, Canterbury (27 February – 16 March), Regent Theatre, Stoke-on-Trent (27 March – 6 April), Bord Gáis Energy Theatre, Dublin (10 – 27 April), Lyric Theatre, Hong Kong (from 10 May), Civic Theatre, Auckland (from 21 June), Liverpool Empire Theatre (31 July – 17 August), New Theatre, Oxford (22 August – 7 September), Curve, Leicester (18 September – 12 October) and Seine Musicale, Paris (29 November – 29 December), with further international dates to be announced.

War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. 

Katie Henry is the UK & International Tour Director and Craig Leo is the Associate Puppetry Director. Charlotte Peters is the Associate Director and Matthew Forbes is the Associate Puppetry Director. They are joined by Resident Director, Charlie Kenberand Resident Puppetry Director, Gareth Aled.

War Horse is produced on tour by the National Theatre.

Suitable for ages 10+

For more information and to purchase tickets visit warhorseonstage.com

Or https://www.troubadourtheatres.com/wembley-park

For access bookings call 0333 320 1663 or email [email protected]

War Horse at Troubadour Wembley Park Theatre is supported by American Express, the National Theatre’s preferred Card Partner. 

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

HIT WEST END PRODUCTION TO WELCOME

NKEKI OBI-MELEKWE

AS LEGENDARY QUEEN OF ROCK ‘N’ ROLL

WITH ASHLEY ZHANGAZHA AS IKE TURNER

The producers of TINA – THE TINA TURNER MUSICAL are delighted to welcome Nkeki Obi-Melekwe to London who will join the West End production from 15 April 2019 to play Tina Turner, the iconic Queen of Rock ‘n’ Roll.  Joining the Company from the same date will be Ashley Zhangazha as Ike Turner.   Adrienne Warren, who has played the title role in London since the show’s world premiere, will lead the Broadway production opening in Autumn 2019.

Tina Turner said:  “I know just how extensive the search was to find her, and I am delighted that Nkeki will be joining our Tina family. Her raw talent is clearly extraordinary and her determination and spirit are second to none.  Audiences at the Aldwych will be amazed. I look forward to welcoming her to London!”

Nkeki Obi-Melekwe said:  “I am beyond excited!  To be coming to London to join the West End community is one thing, but to be taking on this extraordinary role is something else.  Tina means so much to so many people, including me, and I do not take this opportunity lightly.  I hope I can make her as proud as I am to be playing Tina Turner.  I can’t wait to get started.”

Phyllida Lloyd, Director of Tina – The Tina Turner Musical, said: “This role must be one of the most demanding in world theatre and requires a human being of exceptional gifts and massive inner strength. Nkeki has both.  Nkeki just has that THING – ferocious power – without which you can’t even think of playing Tina.“

A 2018 graduate of the The University of Michigan’s School of Music, Theater and Dance, Nkeki Obi-Melekwe will make her West End debut in the title role.  She made her professional off-Broadway debut last month in Alice by Heart at Robert W. Wilson MCC Theater Space.  Her television credits include Smilf for Showtime and Bull for CBS.

Ashley Zhangazha was last on stage in Death of a Salesman at the Royal Exchange in Manchester where he also appeared in Hamlet and Guys and Dolls, for which he won Best Performance in a Musical at 2018 UK Theatre awards. His other theatre credits include Henry V and Fences in the West End, Pericles and Danton’s Death for the National Theatre, A Raisin in the Sun and Macbeth (for which he won the Ian Charleson Award) at the Sheffield Crucible, Terror for the Lyric Hammersmith,Ah, Wilderness! for the Young Vic, Human Animals, Belong and Truth and Reconciliation for the Royal Court and Richard II and King Lear at the Donmar Warehouse.  His television credits include Victoria II, Humans and Ordinary Lies.

Based on the life of legendary artist Tina Turner, TINA – THE TINA TURNER MUSICAL recently announced a new release of over 200,000 tickets for the hit musical, now taking bookings at the Aldwych Theatre to 21 December 2019.

Earlier this month a new music video of River Deep – Mountain High was released featuringAdrienne Warren performing the track from the upcoming original cast album. 

The second year Company will begin performances on 19 March 2019, with Nkeki Obi-Melekwe(Tina Turner) and Ashley Zhangazha (Ike Turner) joining the following month.  Aisha Jawandowill play the role of Tina at some performances each week, Irene-Myrtle Forrester will play Tina’s Grandmother GG, Howard Gossington will play Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson will continue to play Ike and Tina’s manager Rhonda Graam, Jammy Kasongo will play Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Edward Bournewill play record company Marketing Manager Erwin Bach and Oscar Batterham will play Tina’s Manager Roger Davies. Maria Omakinwa joins to play the role of Tina’s mother Zelma until 22 June 2019, when Madeline Appiah will rejoin the Company in that role. Final casting will be announced shortly.

They are joined by ensemble members Daniella Bowen, Chloe Chambers, Joelle Dyson, Sia Kiwa, Lejaun Sheppard, Kibong Tanji, Cameron Bernard Jones who also plays Tina’s son Craig and Ashlee Irish who plays Tina’s son Ronnie and Joseph Richardson, and swings Gavin Alex, Derek Aidoo, Joshua Da Costa, Amandla Elynah, Hannah Jay-Allan, Angela Marie Hurst, Leisha Mollyneaux and Samuel J. Weir.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins,TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting byBruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations byEthan Popp. 

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. 

The critically acclaimed production received its world premiere in April 2018 in London and subsequently has broken all Box Office records at the Aldwych Theatre.  Next month, the German premiere of TINA – THE TINA TURNER MUSICAL begins performances at the Stage Operettenhaus in Hamburg and the musical will have its Broadway premiere in Autumn 2019.

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment,Joop van den Ende and Tali Pelman, in association with Tina Turner.  Nkeki Obi-Melekwe will be appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

The Queen is coming to Yorkshire

with world première of Victoria ballet biopic

World Première: Leeds Grand Theatre, 9 – 16 March 2019

Lyceum Theatre, Sheffield, 19 – 23 March 2019

Next month, Yorkshire is receiving a royal visit like no other as Northern Ballet brings the sensational story of Queen Victoria to life in dance with the world première of Victoria, a ballet by Cathy Marston.Coinciding with the 200^th anniversary year of the birth of one of Britain’s most iconic monarchs, theworld première will take place at Leeds Grand Theatre from 9 – 16 March 2019 followed by a UK tour including performances at the Lyceum Theatre, Sheffield from 19 – 23 March 2019.

Victoria tells the astounding life story of Queen Victoria through the eyes of her youngest child and lifelong companion Beatrice. Travelling back in time from Victoria’s death bed, Beatrice relives her memories of her mother as a secluded widow before discovering her anew as she transcribes the Queen’s intimate diaries. Wife, mother, lover, Empress; Victoria presents the various, often conflicting faces of this emblematic monarch.

Victoria is choreographed and directed by the internationally acclaimed Cathy Marston, who also created Northern Ballet’s critically-acclaimed Jane Eyre which was nominated for a South Bank Sky Arts Award. It will be performed to live music with an original score by Philip Feeney whose previous scores for Northern Ballet include Jane Eyre and Cinderella. Sets and costumes are designed bySteffen Aarfing whose recent projects include designs for Król Roger at the Royal Opera House. Lighting is designed by Alastair West who was recently nominated at the Knight of Illumination Awards for his designs for Northern Ballet’s Casanova. Dramaturgy is by British director and writer Uzma Hameed whose previous projects include Woolf Works for The Royal Ballet. The scenario for Victoriahas been written by Marston and Hameed in collaboration.

David Nixon OBE, Artistic Director of Northern Ballet, said: ‘Queen Victoria is arguably one of the most iconic women of all time. The legacy of her extraordinary reign extends into the current day and we are privileged to be able to tell her story in dance.’

Cathy Marston said: ‘Victoria’s life was full of extraordinary innovations and characters and I feel very inspired by the unusual perspective of Victoria’s daughter Beatrice, from whom we hope to discover our iconic, but nevertheless elusive subject. Responsible for shaping much of what we know of Queen Victoria today, this mother/daughter relationship will be both a historically and emotionally compelling engine for our new ballet.’

Tickets for Leeds Grand Theatre are on sale now. To book visit leedsgrandtheatre.com or call 0844 848 2700*.

Tickets for the Lyceum Theatre, Sheffield are on sale now. To book visit sheffieldtheatres.co.uk or call 0114 249 6000.

Victoria is a co-production between Northern Ballet and The National Ballet of Canada.

Northern Ballet is holding events at both theatres including audio-described performances and touch tours for visually-impaired patrons. For more information about additional events and workshops, visitnorthernballet.com/victoriaevents

Hartshorn – Hook Productions, Selladoor Productions, The Watermill Theatre & Broadway Asia present

INITIAL CASTING REVEALED FOR

UK PREMIERE OF 

Watermill Theatre, Newbury 11 Apr – 18 May | UK Tour 22 May – 21 Sep

French-Canadian stage and screen star Audrey Brisson is confirmed to play the iconic altruist Amélie Poulain in the UK’s first musical adaptation of the much-loved, five-time Oscar®-nominated film. Telling the story of the imaginative and shy romantic with a gift for helping others, Amélie The Musical will tour the UK in a vibrant, re-conception of the production with new orchestrations.

The production will open with a press night on Wednesday 17 April, 7.30pm at the Watermill Theatre in Newbury. Further casting is yet to be announced.

Amélie is the story of an astonishing young woman who lives quietly in the world, but loudly in her mind. She secretly improvises small, but extraordinary acts of kindness that bring happiness to those around her. But when a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Although times are hard for dreamers, Amélie is someone to believe in…

Audrey Brisson said: “Bonjour, je m’appelle Audrey Brisson et c’est avec un immense plaisir que je m’apprête à jouer le rôle d’Amelie Poulain. That is to say, I am really looking forward to sharing this journey filled with imagination and quirkiness that Amélie will concoct for us. Until then, à bientôt. (Have a raspberry on me!)”

Audrey Brisson’s theatre credits include: The Elephantom, Pinocchio and Pericles (National Theatre), Midnight’s Pumpkin and The Wild Bride (Kneehigh), The Lion, The Witch and The Wardrobe (Kensington Gardens), Dead Dog in a Suitcase & Other Love Songs (Kneehigh), Romeo and Juliet (Rose Theatre, Kingston), The Flying Lovers of Vitebsk (Kneehigh), The Grinning Man (Bristol Old Vic), The Strada (UK Tour & The Other Palace). Her film credits include: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes:Outlander (Amazon), Money (BBC Two). Radio includes the title role in Amy Dorrit (BBC Radio).

Audrey trained at the Central School of Speech and Drama. She also studied Classical Singing at Cegep St-Laurent, Canada. As a child and teenager, Audrey worked extensively with Cirque Du Soleil as a vocalist and acrobat. She performed in their international tours of Reinvente, Quidamand and the Cirque Du Soleil 30^thAnniversary Concert.

With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, this new musical adaptation of the five-time Oscar®-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, will be directed by Michael Fentiman.

The original film, Le Fabuleux Destin D’Amélie Poulain, was released in 2001, starring Audrey Tautou and Matthieu Kassovitz. Taking over $33 million in a limited theatrical release, it is to date the highest-grossing French-language film released in the United States, and one of the biggest international successes for a French film. Amélie won Best Film at the European Film Awards, four César Awards in 2002 (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards, including best foreign language film.

Amélie The Musical was first staged in California in 2015 and was described as an ‘enchanting act of theatrical reinvention’ (The Los Angeles Times).

When the UK tour concludes in September 2019 Amélie The Musical will tour internationally, with dates to be announced.

Amélie The Musical, is produced by Hartshorn – Hook Productions, Selladoor Productions, The Watermill Theatre and Broadway Asia.

Full casting announced for

AIN’T MISBEHAVIN’
The FATS WALLER Musical

At Southwark Playhouse

From Friday 19 April to Saturday 1 June 2019

Following its premiere at Mercury Theatre Colchester

From Friday 15 to Saturday 30 March 2019

Paul Taylor-Mills and Mercury Theatre Colchester in association with Tamasha Theatre Company are delighted to announce casting for their brand-new production of Ain’t Misbehavin’ – the first London revival in almost 25 years – playing at Southwark Playhouse from Friday 19 April to Saturday 1 June, following its premiere at Mercury Theatre Colchester from Friday 15 – Saturday 30 March. Tickets are on sale now.

The cast will feature Adrian Hansel as André, Renée Lamb as Armelia, Carly Mercedes-Dyer as Charlaine, Landi Oshinowo as Nell and Wayne Robinson as Ken.

Adrian Hansel originated the role of Seaweed in the West End production of Hairspray, with other credits including Five Guys Named Moe at Marble Arch Theatre. Renée Lamb played Chiffon in Little Shop of Horrors at Regent’s Park Open Air Theatre and Catherine of Aragon in the original London cast of Six at the Arts Theatre. Carly Mercedes-Dyer was recently seen in Dreamgirls at the Savoy Theatre, with other credits including The Lorax at The Old Vic and Memphis at the Shaftesbury Theatre. Landi Oshinowo recently appeared in Big Fish at The Other Palace, with West End credits including Shrek the Musical and Sister Act. Wayne Robinson returns to Southwark Playhouse having played Benny in In The Heights. He was most recently seen as Jagwire in Bat Out of Hell.

The full creative team is also announced today. Joining previously announced director TyroneHuntley and choreographer Oti Mabuse are designer Takis, lighting designer James Whiteside, sound designer Dan Samson and associate choreographer James Bennett. There will be new orchestrations by Mark Dickman, and casting is by Will Burton CDG.

Celebrating the legendary jazz musician Fats Waller and his energetic, exuberant and effervescent music, Ain’t Misbehavin’ steps back into the 1920’s and the raunchy nightclubs of Manhattan.Join an extraordinary group of performers on a journey through a defining period of American musical history, the Harlem Renaissance – where musicians were free to experiment with new styles, and joints were jumpin’ with talented dancers, singers and instrumentalists jamming to a new beat known as swing.

Ain’t Misbehavin’ will mark Tyrone Huntley’s directorial debut. Tyroneis best known for his acclaimed performance as Judas in Jesus Christ Superstar at Regent’s Park Open Air Theatre, for which he won the Evening Standard Theatre Award and received an Olivier Award nomination. Tyrone is soon to appear in Leave to Remain at the Lyric Hammersmith with other performing crediting includingAngry (Southwark Playhouse) and Dreamgirls (Savoy Theatre).

Oti Mabuse also makes her debut as a theatre choreographer. Best known as a professional dancer on BBC One’s Strictly Come Dancing since 2015, Otiis also an 8-time South African Latin American Champion and one of the most successful South African dancers in the world. Oti is currently a Dance Captain and Mentor on BBC One’s new Saturday night dance and entertainment show The Greatest Dancer.

Ain’t Misbehavin’ first premiered at Manhattan Theatre Club in 1978 and transferred to Broadway the same year, where it won the Tony Award for Best Musical. The original West End production opened at Her Majesty’s Theatre in 1979, and was followed by a revival at the Tricycle Theatre and Lyric Theatre in 1995. This new production will mark the first London revival in almost 25 years.

Ain’t Misbehavin’ is basedon an idea by Murray Horwitz and Richard Maltby Jr, with orchestrations and arrangements by Luther Henderson, vocal and musical concepts by Jeffrey Gutcheon and vocal arrangements by Jeffrey Gutcheon and William Elliott. It is produced by Paul Taylor Mills and Mercury Theatre Colchester in association with Tamasha Theatre Company, with support from Arts Council England

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Richmond Theatre – until 16 February 2019

Reviewed by Prachya van de Gevel

4.5****

Thrilling to the end !

I have to confess I had only ever heard of the film, with Emily Blunt before going to see this play, based on the novel of the same title by Paula Hawkins.

So I had no idea of the premise of the storyline or what to expect, but I was in for a real treat. In some ways the sets were basic and in other ways they were intricate and immersive but the focus was solely on what was not there . The negative space. This seems a common theme throughout the play. What was not seen

What stood out was Samantha Womack in the lead role of Rachel Watson, She filled all the negative space with her energy and emotion and kept you guessing with what was happening.

The lead character is lost in turmoil, caught in a world between the fantasy and reality … many alcohol fuelled blackouts (negative space) leading her to position herself further into a world of mystery. I am being very careful not to give away the story. The premise is that a woman everyday lost in her emotions and fresh from being divorced from her estranged husband , witnesses a couple from her train window and gets caught away in fantasy in her head of the couple she sees until the a girl goes missing and the reality lands on her doorstep.

Samantha is joined by Oliver Farnworth as her estranged husband  in the role of Scott and his acting as well as that of Tom (Adam Jackson-Smith) can’t match the seasoned abilities of Samantha, I felt that both their performances as the (ex) partners of the central roles,  don’t give me the chills like the role of Rachel.

I felt no empathy towards Tom as someone who had recently discovered his wife was missing as he played it off with such callousness, and with the character of Scott, I felt that there was times he wasn’t sure how to position his body language and simply awaiting his next line, almost not quite sure where to place himself.

Similarly Naeem Hayat as the Kamal Abdic only really came alive towards the 2^nd half of the play, and from where I was sitting this was a sentiment shared by others in audience.

The male standout came from John Dougall,  playing DI Gaskill, who created  much needed humour and  alongside Samantha definitely stole the scenes he was in.

His performance was flawless and I found myself looking forward to seeing him next, knowing that he would provide a relief from being on the edge of my seat!

And for me his character really showed diversity and one liners that I still remember fondly.

Going back to the negative space theme is where Kirsty Oswald really shined. She did not have many lines, but poised in the background creating flashback scenes was a very clever

Use of the stage space and directing and I found myself getting immersed into the visual retelling of the play, I was very impressed with the way this was represented, of course the use of music and lighting helps to capture the poignant and dramatic moments to great effect.

The supporting cast of Anna Watson played by Lowenna Melrose and Matt Concannon and Phillipa Flynn, rounded out the cast, but in truth they were not memorable a but just added to the scenery to help move the story along.  I am being careful not to divulge too much of the story line here, but what I can say is that as someone that enjoys a great mystery that needs to be solved, you will think you have cracked the case by the interval , and by the end… just you wait and see!

Grand Opera House York – until Saturday 16th Feb 2019

Reviewed by Michelle Richardson

3***

Saturday Night Fever has hit York in this newest adaptation by Bill Kenwright. Based on the iconic 1970’s film, it has a lot to live up to, and a show I was really looking forward to, seemed right up my street.

It tells the story of Tony Manero (Richard Winsor) who is unhappy at home, works in a local store but secretly dreams of being a dancer. He is the “IT” guy at the local disco, strutting his stuff, he’s the one all the girls hit on and all the boys wanna be him. The club announces a dance contest with a $1000 top price, Tony just has to find himself a worthy partner. After partnering up with Annette (Anna Campkin) his interest is captured by Stephanie Mangano (Kate Parr), and Annette is effectively dumped. The story follows their relationship, on and off the dancefloor, as well a grittier stuff, touching on religion, pregnancy, abortion and suicide.

When the curtain raises, we are treated to a fab performance of Stayin’ Alive by three sound alike/look alike Bee Gees (Edward Handoll, Alastair Hill and Matt Faull), resplendent in their gold lamé suits, whilst the main cast are grooving away, getting the audience into the swing of the 1970’s disco vibe. The “Bee Gees” remain on a platform overseeing the stage, for most of the show, singing the classic songs that the show is renowned for, only occasionally accompanied by pre-recorded music. I have got to say that these three were a real highlight of the show for me, their vocals were on-point and you could believe they were the real deal. I didn’t realise how much I actually enjoyed listening to the Bee Gees until now.

The set and staging were quite simple, but effective. Seamlessly changing from Tony’s house, to his work, the disco and Brooklyn bridge with apparent ease, with the platform being a constant. The costumes were fitting, flares aplenty, and some incredibly tight trousers.

The famous white suit does make an appearance, and we get to see Winsor strip down to his undies in order to don the said suit, much to the enjoyment of the audience, a few cheers and cat calls could be heard. Winsor is virtually on the stage at all times, a lot of dancing is involved. He certainly has a lot of energy but perhaps not enough swagger to quite pull off what I imagined Tony to have. I felt that the chemistry between Tony and Stephanie, was somewhat lacking, I wanted to feel more, but it just wasn’t there.

The dance sequences are very lively and I was amazed how the cast kept going throughout the whole show, swaying hips and all. I was exhausted just watching their stamina, very impressive. I must mention DJ Monty (Faizal Jaye) here, another highlight, he really got into the swing of things, working that platform, he took the whole energy up to another level. Oh to have such moves!!

I really wanted to love this show but I didn’t. Don’t get me wrong, overall I did enjoy it but it was missing something, can’t put my finger on it, it was just a bit underwhelming. It is still really worth a trip out to the theatre to see this fast paced show with some great music, you will be entertained.

Crucible Theatre, Sheffield – until 23rd February 2019

Reviewed by Charleigh Christmas

5*****

Githa Sowerby, author of Rutherford and Son, is having a revival. I was aware of this before coming to see the show, but I had no expectations about what I was going to be seeing. I was blown away!

The story, although written in 1912, seems very relevant in modern times. Set around a family living in fear of their oppressive bullying father Rutherford played by Own Teale, who’s sole concern is the business he’s built from the ground up.

We watch as Rutherford’s three children are ground down under the pressure. First we have John (Ciaran Owens) and his wife Mary (Danusia Samal) a working girl from the south. Returned to the home of his father after trying to strike out alone, with their young son in tow.

Richard (Esh Alladi) who has been bullied so much by his father, he has turned to religion as an answer.

Then there is Janet (Laura Elphinstone) an old maid at 36, with no love prospects and forced to do the bidding of Rutherford all she wants is to find a man of her own.

Finally there is Aunt Ann (Marian Mcloughlin) an ever present woman who has an unwavering faith in Rutherford.

This play had an undertone of the women’s rights movement, as we see women being constantly put down and made to be in their traditional place. This is challenged later on by Mary (Danusia Samal) who has a more business minded look at life and will do anything to protect her son.

The acting was phenomenal. I found myself being completely sucked in by the scenes between Teale and Elphinstone in particular. The serious nature of the play was cut through with some genius comedic timing by Ann who had the entire audience chuckling along. Mrs Henderson’s (Lizzy Roper) scene was one I was telling someone about after the play as being one that I really feel like we got to see the unflinching coldness of Rutherford. And Martin (Brian Lonsdale) did and amazing job of driving the story forward and again making us feel a real hatred towards Rutherford.

Set in the Living room of the Rutherford’s home, with a foreboding portrait of Grandfather Rutherford watching over them. I think the set was perfect, very in theme and with the right amount of colour. I particularly liked the lit fire the people were prone to gather round on a cold northern night.

The play did end a bit abruptly for me, and I was expecting more of a resolution, but I think the way it ended was perfect, leaving it with the right amount of ambiguity. I would definitely recommend watching this one if you get the chance.

Bristol Hippodrome – until 16 February 2019

Reviewed by Lucy Hitchcock

4****

From the creators of The Play That Goes Wrong, Mischief Theatre, The Comedy About a Bank Robbery abseils into the Bristol Hippodrome and steals your breath as you hyperventilate with laughter!!

Written by Johnathan Sayer, Henry Lewis and Henry Sheilds, this show brings jaw dropping staging, hilarious dialogue and outrageous characters! Following the upcoming heist of a diamond worth $500,000, we watch Mitch Ruscitti played by Liam Jeavons, Neil Cooper, played by David Coomber and Caprice Freeboys played by Julia Firth as they manipulate their way into a bank in order to pull off this dangerous act. The complicated and perfectly executed choreography during the show involved slapstick that Charlie Chaplin would have been proud of! The set design was impressively intricate, with a gravity defying scene where the audience is seeing a birds eye view of the bank office from above. This was so powerful to watch, as the audience could not believe their eyes and were just waiting for something to go wrong-as Mischief Theatre has a tendency to do so! This scene gave the show the WOW factor and proved that this production is worth their Olivier Award! 

Some parts of the show were a tiny bit over done, but with astounding vocals from Ashley Tucker as Ruth Monaghan, you forgot about it quickly. The real show stealer was Jon Trenchard as Warren Slax. He emulated hilarity and his precision and comedic timing was phenomenal. He really played up to his role, captured the audience in their hearts and then catapulted them into his life without a second look; Trenchard is a truly splendid actor. 

This play went very right, the Robbery was successful-for some! Proving that they earn the stage in the Criterion Theatre in London’s West End, Mischief Theatre grace Bristol with their show! Mischief certainly has been managed!

New Wimbledon Theatre – until 16 February 2019

Reviewed by Alexandra Sykes

5*****

It’s not every day you can go to the theatre wearing a maids apron and fishnet tights but when going to see The Rocky Horror Show it seems almost compulsory.

Set in the early 1970’s the musical tells the story of Brad and Janet on a
supposedly normal night out.

With the opening song, Science Fiction/Double Feature, being sung by the usherette (Laura Harrison) everyone in the theatre settled down to enjoy the show. The biggest cheer of the evening went to Dom Joly as the Narrator, especially when he not only accepted the heckles from the audience but encouraged it and heckled audience members back.

Joanne Clifton (Strictly Come Dancing) and Ben Adams (A1) work well together as Janet and Brad respectively. Miracle Chance embraces the role of Columbia, whilst Riff Raff is brought to life by Kristian Lavercombe. The stars of the show however are Callum Evans who plays Rocky and Stephen Webb who plays Frank. Evans uses his award winning gymnastic abilities to wow the audience with a series of back flips and somersaults where as Webb channels Tim Curry in
his portrayal of the fabulous Frank N Furter. Although Rose Chisari is wonderful as Eddie, his portrayal of Dr. Scott is not as powerful and his accent got a bit lost in some places.

Although the set is simple it works. One moment you are in the great hall with Webb singing Sweet Transvestite and the next you are in the lab watching Chisari making his entrance, all with a twist of a wall. The costumes are simple, with many audience members recreating them, but they help to give the characters personalities.

The on stage band, led by George Carter, are fantastic and really get the character and audience singing and dancing along, especially with the Time Warp.

All in all a brilliant production which does Richard O’Brien proud and will have audiences flocking to see it for years to come.