Month: March 2019

NOTTINGHAM BASED THEATRE COMPANY NONSUCH ANNOUNCE NEW PERFORMANCE SPACE 

Nottingham based theatre company and cultural studio, Nonsuch, today announce their brand new creative studio venue, set to open this Spring. Nonsuch Studios will be an expansion of the company’s existing rehearsal and event space offer, currently based on Clarendon Street, where they’ve been located since 2015. The heart of the space will be the new 110 seater studio theatre and performance space, the only independent space of its kind in Nottingham. 

Nonsuch Studios is set to cover 9000 square feet, increasing studio and rehearsal rooms to 5 individual spaces. The space will also include a cafe/bar, and will provide office and creative co-working space for artists, producers and creatives alike. The new studios will be located at a former signage distribution centre at 92 Lower Parliament Street at the bottom of Hockley, in the city centre and the heart of Nottingham’s Creative Quarter.

In this new performance space, an exciting programme will bring together the best of theatre, performance, dance, comedy, cabaret, music and film to Nottingham. The venue will also act as a hub venue for local festivals, conferences and events. Top Nottingham artists will be presented alongside national and international artists, as well as work created by Nonsuch themselves.

The new space will also facilitate an ongoing commitment from the company to support work from local and emerging artists. To date Nonsuch have provided over 900-hours of free rehearsal space and consultation to artists through East Midland’s artist development programme ‘In Good Company’, of which Nonsuch themselves were initially a benefactor, and now are partners of the programme supporting the work of the future.  

The new workshop spaces will also house many of Nonsuch’s community projects and programmes, including their youth theatres, community company and creative wellbeing programmes such as ‘Womanuel’ – a programme supporting women with experience of homelessness from Emmanuel House.

In order to undergo the development of the space, Nonsuch Studios has secured £90,000 worth of social investment from the Key Fund, and other key partnerships.

CEO & Artistic Director of Nonsuch Edward Boott said: 

“This is a big step up for theatre and performance in Nottingham and one we are delighted to be taking ahead of our sixth birthday this year. Nonsuch Studios will allow us and the artists we work with to raise our cultural ambitions, and most importantly get even more great art seen by Nottingham’s audiences.”

He adds:

“I set Nonsuch up as a young drama school graduate and would have loved access to a space such as this one. I’m keen that this new space serves as a springboard for untapped talent from across the country, and also attracts high calibre touring shows which may not have been able to visit Nottingham before.” 

Nonsuch Studios will officially open in April, but there will be a number of taster events that will be announced over the coming weeks. Confirmed so far is the award-winning Drip by Boundless Theatre direct from The Bush Theatre in London, Silent Uproar’s A Super Happy Story (About Feeling Super Sad), Nottingham-based family theatre company Ditto’s Edinburgh Fringe Underbelly Untapped Award nominated Rocket Girl, Nonsuch Young Performer Training’s production of Start Swimming, and Nonsuch’s show for babies,intotheclouds.

NONSUCH STUDIOS LISTINGS INFORMATION

Studio Address:  Nonsuch Studios,

92 Lower Parliament Street

Nottingham,

NG1 1EH

Box Office Phone Number: 0115 837 1950

Company Website:  www.wearenonsuch.com 

Social Media:  Twitter/Instagram: @WeareNonsuch

Facebook: Wearenonsuch

Bristol Hippodrome – until 16 March 2019

Reviewed by Lucy Hitchcock

4****

Matthew Bourne’s stunning interpretation of Tchaikovsky’s classic ‘Swan Lake’ hits Bristol Hippodrome this week and is an absolute must see!!

The story, told entirely through the medium of dance and music, depicts a young prince (James Lovell) who is desperately rejected by his mother (Katrina Lyndon) and finds love in The Swan (Will Bozier). The audience are not sure whether the Swan is a figment of the Prince’s imagination or whether he is truly there, but the magic and mystique that brings is part of the appeal.

The entire company were flawless, showing extreme control and precision over every movement during the production. A move as simple as an eyebrow raise, a finger wag or a turned corner of a mouth added to the performance and those small movements were powerful enough to change the tone of the act. Freya Field as The Girlfriend, a highly inappropriate character who finds herself as one with Royalty was an expert at delivering these small movements. Her facial expressions combined with her elegance and grace in dance made for a truly enjoyable and comedic performance. James Lovell and Will Bozier as the Prince and Swan were electric. Their chemistry onstage was phenomenal and showed the expertise of Matthew Bourne’s casting and perfect choreography. Bozier excelled during this production and showed his talents perfectly. He moved with ease, danced with grace and had posture to die for! He encapsulated the audience and took us through the hauntingly beautiful piece step by step, eventually climaxing at the tragic ending. A very talented performer who was unrivalled. Act 2, ‘A City Park’ was outstanding. Every male dancer in the company became a Cygnet and had movements perfectly in sync and were gliding across the stage like the beautiful swans they were portraying.

Les Brotherston and Paule’s Constable’s Set and Lighting designs were amazing. Each small change of light enhanced this already beautiful story and the set was outstanding. Another addition to the stage from Brotherston was the little toy corgi. This mechanical Corgi brought such joy to the audience and it was so pleasing to see this ‘walk’ across the stage-it showed that the little details truly make a big impact. 

If you were near the Hippodrome and need to immerse yourself in a beautiful piece, this is the one for you.

LYRIC HAMMERSMITH AND KNEEHIGH RELEASE NEW SHOW TRAILER AND ANNOUNCE FULL CASTING FOR

DEAD DOG IN A SUITCASE (AND OTHER LOVE SONGS)

Written by Carl Grose

Music and Music Direction by Charles Hazlewood

Directed by Mike Shepherd

A Kneehigh with Liverpool Everyman and Playhouse production.

Lyric Hammersmith

21 May – 15 June 2019

Mayor Goodman has been assassinated. And so has his dog. Contract killer Macheath has just married Pretty Polly Peachum and Mr and Mrs Peachum aren’t happy. Not one bit.

The full cast have been announced for Kneehigh’s trail-blazing and much celebrated Dead Dog in a Suitcase (and other love songs). The touring production will open at the Lyric Hammersmith on Thursday 23 May for a 4-week run. The Lyric Hammersmith have also today released a new trailer for the production

The vibrant and violent underbelly of a gritty urban world explodes into glorious theatrical life in this revival of the critically acclaimed and extraordinary musical masterpiece from the ever-inventive Kneehigh.

Written by Carl Grose with original score by Charles Hazelwood and directed by Kneehigh’s Artistic Director and founder Mike Shepherd; Dead Dog in a Suitcase (and other love songs) is a radical re-working of John Gay’s scabrous satire, The Beggar’s Opera.  The production returns having enjoyed sold-out houses around the country when it first toured in 2014. 

The versatile ensemble includes Rina Fatania (Mrs Peachum), Georgia Frost (Filch) James Gow(Musician & Mac’s Gang), Angela Hardie (Polly Peachum), Martin Hyder (Les Peachum), Dave Johnzy (Musician and Mac’s Gang), Giles King (Colin Lockit), Patrycja Kujawska / Lucy Rivers(Widow Goodman), Alex Lupo (Musician, Mayor Goodman & Mac’s Gang), Dominic Marsh(Macheath), Beverly Rudd (Lucy Lockitt), and Sarah Wright / Tim Dalling (Punch Puppeteer and Mac’s Gang).

Grose’s savage political comedy propels along with Hazelwood’s pulsing score as the notorious urban assassin Macheath carves a swathe through a criminal world, dodging bullets and breaking hearts as he goes, in this twisted morality tale for our timesbursting with wit, wonder and weirdness.

Taking inspiration from Gay’s original, this bold re-telling shines a contemporary light on people’s capacity for corruption; confronting big business, corrupt institutions, urban myths and pilchards.

The live score plunders the sound of our times; trip hop combines with folk, ska with grime and dubstep to create a gorgeous and powerful musical mix.

CREATIVE TEAM

Written by                                           Carl Grose

Music and Music Direction by             Charles Hazlewood

Directed by                                          Mike Shepherd

Designed by                                        Michael Vale

Lighting Design by                              Malcolm Rippeth

Choreographed by                              Etta Murfitt

Puppet Director                                   Sarah Wright

LET IT BE 2019 UK TOUR

CAST ANNOUNCED

Tour opens in Portsmouth in April, followed by Inverness, Glasgow, Aberdeen, Blackpool, Bath, Bradford and Norwich

Act Two features ‘must see’ reunion that never was, featuring Fab Four’s iconic solo material

The super talented cast of singers and musicians appearing in the 2019 UK tour of Let It Be: A Celebration Of The Music Of The Beatles has been announced.

The smash-hit show returns to stages during Spring 2019 to present the updated show to UK audiences.

The new UK tour starts in Portsmouth on 23 April, before visiting Inverness, Glasgow, Aberdeen, Blackpool, Bath, Bradford and Norwich.

Emanuele Angeletti (Paul McCartney); John Brosnan (George Harrison); and Ben Cullingworth (Ringo Starr) all resume their respective roles from the previous tour. Richard Jordan as John Lennon completes the Fab Four line-up. The band will be joined on stage throughout the tour by musical director Michael Bramwell on keyboards.

Let It Be is a celebration of the iconic music of The Beatles and has already been seen by more than two million people worldwide, including a run in the West End and two UK tours.

The acclaimed theatrical concert has now been updated and features an all-new Let It Be Part IIreunion concert. The new show proved such a hit with audiences and critics alike when it was premiered across the UK last Autumn, that a sell out European Tour followed.

Beatles fans are invited to join John, Paul, George and Ringo for an unforgettable night of live music –with Manny, John, Ben, Richard and Michael playing and singing live.

Emanuele Angeletti (Paul McCartney)

Fondly known as Manny, he was part of the original cast to open Let It Be in London’s West End in 2012. He has played Paul McCartney in various productions for 17 years. After playing guitar right-handed, he then taught himself to play left-handed just like Paul McCartney. Manny is from Civita Castellana, near Rome, and is still based in Italy. He also starred in the lead role of Macca – The Concert in 2017 and 2018.

Favourite Beatles song: The Long And Winding Road

John Brosnan (George Harrison)

John is also part of the original cast who opened Let It Be in the West End (2012) and on New York’s Broadway (2013), which he classes as real highlights. The Irish/Australian is now London based. John has performed Beatles’ music with major symphony orchestras across the world.

Favourite Beatles song: Across The Universe

Ben Cullingworth (Ringo Starr)

A self-confessed Beatles’ fan, Ben previously appeared in Let It Be between 2013 and 2015, before rejoining the show again last year to appear in the updated production. His theatre credits also include The Sessions, Million Dollar Quarter, and 20^th Century Boy. Ben is from Market Harborough, Leicestershire.

Favourite Beatles song: Ticket To Ride

Richard Jordan (John Lennon)

A professional musician, Richard has performed in Beatles bands for 17 years. He is delighted to step into the role of John Lennon. Richard has performed all over the UK, including many times at Liverpool’s Cavern Club. His favourite Beatles era was the early 1960s, the rock ‘n’ roll days. Richard is from Redcar in the North East and has family links to Glasgow.

Favourite Beatles song: Paperback Writer

Michael Bramwell (keyboards)

Michael studied piano at the London College of Music and has performed, recorded and toured internationally as a pianist and keyboard player. He was Associate Musical Director for We Will Rock You in Germany, and also regularly performed in the London production. He has been part of the Let It Be cast since the show opened in 2012. Michael is from South London.

Favourite Beatles song: Something

The Let It Be tour is made possible by West End producer Mark Goucher and Canadian producer Jeff Parry, a huge Beatles’ fan who created the show.

Act One takes audiences through the early days of the band as they embarked on their musical journey and onwards to the heights of global Beatlemania. The first half of the evening features many of their most famous songs including I Want to Hold Your Hand, Day Tripper, Sgt Pepper’s Lonely Hearts Club Band, Penny Lane, A Day In The Life, Come Together, Get Back, and The End.

In a twist from the original Let It Be show, Act Two is set a decade after The Beatles went their separate ways. It gives fans a rare glimpse of how the Fab Four could have Come Together once again to perform – and is not to be missed.

Audiences are taken on a memorable and unique step back in time to the reunion concert taking place on 9 October 1980 – it’s John Lennon’s 40^th Birthday. This is the ultimate concert that never was. Just imagine: the band reunites for one night only. The band’s solo material featured includes Starting Over, Band On The Run, Black Bird, Got My Mind Set On You, My Sweet Lord, Live and Let Die, and Imagine.

Let It Be producer Jeff Parry said: “We’re delighted and excited to announce the cast – and we’re already counting down the days to curtain up on the new tour. We’ve received such fantastic feedback since we announced the new dates. Let It Be really touches the hearts of Beatles’ fans, and we’re received a warm and welcoming response to the tour.

“Manny, John, Ben, Richard and Michael are incredible performers and musicians, who really bring the audience into the show, making them feel part of it. We want theatregoers to feel like they’re actually right there, watching the Fab Four. The new Act Two also gives a whole new perspective to the show with the reunion that never was – it’s very special and we believe it’s never been done before. And as a Beatles’ fan from a very young age, I was truly moved – so I know audiences will treasure that feeling too.”

WHAT THE CRITICS SAY ABOUT LET IT BE

‘A masterstroke’

British Theatre Guide

‘A rare glimpse of how the Fab Four could have Come Together once again’

Theatre News UK

“A joy to hear these beloved songs live”

The Mail on Sunday

‘The cast left me in complete awe during the second half of Let It Be’

Lowdown Magazine

Website:         www.LetItBeLive.com

Facebook:       /LetItBeUKTour

Twitter:           @LetItBeUKTour

LET IT BE UK 2019 TOUR

PORTSMOUTH

Kings Theatre

Tuesday 23 April – Saturday 27 April 2019

023 9282 8282

Home

ON SALE NOW

PRESS NIGHT TUESDAY 23 APRIL 2019

INVERNESS

Eden Court

Monday 29 April – Saturday 4 May 2019

01463 234234

www.eden-court.co.uk

ON SALE NOW

PRESS NIGHT MONDAY 29 APRIL 2019

GLASGOW

SEC Centre

Friday 10 May – Saturday 11 May 2019

0844 395 4000

www.sec.co.uk

ON SALE NOW

PRESS NIGHT FRIDAY 10 MAY 2019

ABERDEEN

His Majesty’s Theatre

Monday 13 May – Saturday 18 May 2019

01224 641122

www.aberdeenperformingarts.com

ON SALE NOW

PRESS NIGHT MONDAY 13 MAY 2019

BLACKPOOL

Winter Gardens

Wednesday 22 May – Saturday 25 May 2019

0844 856 1111

www.wintergardensblackpool.co.uk

ON SALE NOW

PRESS NIGHT WEDNESDAY 22 MAY 2019

BATH

Theatre Royal

Monday 27 May – Saturday 1 June 2019

01225 448844

www.theatreroyal.org.uk

ON SALE NOW

PRESS NIGHT MONDAY 27 MAY 2019

BRADFORD

Alhambra Theatre

Tuesday 4 June – Saturday 8 June 2019

01274 432000

www.bradford-theatres.co.uk

ON SALE NOW

PRESS NIGHT TUESDAY 4 JUNE 2019

NORWICH
Theatre Royal

Monday 17 June – Saturday 22 June 2019

01603 630000

www.theatreroyalnorwich.co.uk

ON SALE NOW

PRESS NIGHT MONDAY 17 JUNE 2019

Mayflower Theatre Southampton – until 16th March 2019

Reviewed by Leanne Caplis

5*****

Wow just wow! I bow down to Tim Firth for his writing of the musical The Band. Bringing together the well-known music of one of my all-time favourite boy bands Take That with a spectacular story line makes this a first-class production.

Growing up in the North West of England in the 90’s five young girls look forward to Top of The Pops every Thursday, so they can sing along to ‘The Band’. Their Smash Hit posters cover all available wall space and after seeing ‘The Band’ in concert the young girls make a pact to always stay in touch. But that night tragedy strikes, and they lose touch for 25 years.

Fast forward to present day when the adult Rachel (Rachel Lumberg) wins a radio competition to see ‘The Band’ again. Is meeting up with her old friends the right thing to do? Will they be able to put the wrongs of the past right?

This true to life production, which will see everybody being able to relate to the life events, brings out every emotion. One minute I was singing along to Take That songs, the next snivelling into a tissue and the next laughing out loud. It really does have something for everybody.

Hats off to the creative team for the staging which was astonishing. It was wonderful to see the scenes change between a bedroom, a school locker room, a concert venue and a jail. The cast shifted the set about the stage with ease. The way the many props were used was thrilling to watch and two that really stood out for me were the aeroplane and the bus.

The cast were all superb. Not surprisingly the boys had the audience singing and dancing; it was like being at a real concert at times although the lights could occasionally be dazzling. It was clear to see why they won Let it Shine in 2017. AJ,Curtis, Yazdan, Nick and Sario are boy band material.

For me the star of the show was Andy Williams who played every Dave. I looked forward to him appearing on stage to see what he would do next. Andy received one of the biggest cheers at the end, so I would say a lot of the audience thought the same. I also thought adult Rachel (Rachel Lumberg) was able to delivery very believable emotion with Alison Fitzjohn having impeccable comedy timing.

The sing-a-long finale was my favourite part. The whole theatre was on its feet and the floor in the circle was shaking with the feet stamping, hand clapping and dancing!

This shows is absolutely first class. It will have you singing, crying and laughing. A concert and a real-life story that is not to be missed. Having watched many shows this show sits firmly in my top 3!

‘Home, I’m Darling’ to play at The Lowry as part of limited UK Tour

The National Theatre and Theatr Clwyd’s critically acclaimed co-production of Home, I’m Darling embarks on a limited UK Tour this Spring.  Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife will take to The Lowry stage from Tue 23 – Sat 27 April. 

This new play by Laura Wade, is directed by Theatr Clwyd Artistic Director Tamara Harvey and features Katherine Parkinson (The IT Crowd, Humans) in the role of Judy. Home, I’m Darling is co-produced in the West End and on tour with Fiery Angel. 

How happily married are the happily married?  Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems. 

The set designer is Anna Fleischle, whose recent work for theatre includes ‘A Very, Very, Very Dark Matter’ at the Bridge Theatre, ‘The Writer’ at the Almeida Theatre, ‘Hangmen’ at the Royal Court, West End and on Broadway, and ‘Everybody’s Talking About Jamie’ at the Apollo Theatre. Lighting design is by Lucy Carter, sound design by Tom Gibbons, choreography by Charlotte Broom with Sean Gleason as Associate Lighting Designer, and Hannah Noone as Resident Director. 

Katherine Parkinson’s stage roles include Season’s Greetings for the National Theatre; Dead Funny at the Vaudeville Theatre; Before The Party at the Almeida Theatre; Absent Friends at the Harold Pinter Theatre; School for Scandal at the Barbican; Cock and The Seagull at the Royal Court. Her television roles include Humans, The IT Crowd, Hang Ups, The Kennedys, The Honourable Woman, Inside Number 9, In The Club, Sherlock and Psychoville. In film she has appeared in The Guernsey Literary and Potato Peel Society, The Boat That Rocked, St Trinians 2, How to Lose Friends and Alienate People and Easy Virtue.

 

Laura Wade’s work includes Posh at the Royal Court and in West End, which was later turned into the film The Riot Club for which she wrote the screenplay; an adaptation of Tipping the Velvet at Lyric Hammersmith; Kreutzer vs Kreutzer; and an adaptation of WH Davies’ Young Emma which opened at the Finborough Theatre (where she was a Pearson Writer-in-Residence) in 2003, directed by Tamara Harvey. In 2006 Laura won the Pearson Most Promising Playwright Award and was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre for Colder Than Here and Breathing Corpses. 

Tamara Harvey became Artistic Director of Theatr Clwyd in 2015. Her work for the company includes Much Ado About Nothing, the première of Elinor Cook’s award-winning play, Pilgrims, David Hare’s Skylight and Peter Gill’s new version of Uncle Vanya. Before joining Theatr Clwyd Tamara was a freelance director for fifteen years, working in the West End, throughout the UK and abroad on classic plays, new writing, musical theatre and in film. Beginning her career at Shakespeare’s Globe, she has also directed at, amongst others, Hampstead Theatre, Bush Theatre, St James Theatre, Finborough Theatre, Trafalgar Studios, Menier Chocolate Factory, Birmingham Rep, West Yorkshire Playhouse, Theatre Royal Northampton and Shakespeare Theatre of New Jersey. 

This production is supported by American Express, the National Theatre’s Preferred Card Partner. 

Listings Information
Home, I’m Darling
Dates: Tue 23 – Sat 27 April
Times: 7.30pm. Wed & Sat at 2pm
Tickets: £24.50 – £32.50
Website

Richmond Theatre – until 16 March 2019

Reviewed by Prachya Van de Gevel

4****

I am a great lover of a good mystery, so was very excited to see this play.

The staging was excellent as the stage transformed from the station into the train where our mystery begins. On a train journey from Vienna to Zurich a young lady Iris played by Lorna Fitzgerald befriends an middle aged Mrs Froy played by Juliet Mills, who incidentally is joined on stage by Maxwell Caulfield her husband playing the role of Dr Hartz. Iris is joined by Max (Matt Barber) and duo sets out on the mission to prove she is not going crazy and track down the mystery of the lady vanishes.

Now I am no stranger to enjoying a little Agatha Christie , and I am sad to say I figured out what was going on quite quickly. I had never seen the film nor even heard of this play until tonight. The acting on the whole was just okay, maybe it was nerves or over acting, whilst the scenes moved on well there was not a lot of subtle tones in any of the actors. Perhaps this is needed to convey the multitude of characters on the stage, a rabble including a magician, (Mark Carlisle) a couple having an affair and trying not to be rumbled and just do not want to get caught up in the whole messy affair, and a pair of stereotypical Englishmen chattering on and on and on about cricket…

The duo act played by Robert Duncan and Philip Lowrie, originally provided much needed humour to lighten the Nazi themed overtones of the play. But the cricket act gets old fast, much like hearing friends chatter about the same football game for hours on end. I enjoyed very much the music of Schubert which plays a central role and a common theme throughout the play, there may have been some issues with the theatre’s speaker system as I had great trouble hearing some of the lines in German, the accents a little ropy to be honest, but added to to some of the humour.

I very much enjoyed the performance on a whole, there was no real stand out performances for me as the cast all interacted well together and each scene transitioned seamlessly. If your in the mood for a little mystery then I suggest checking this play out, but do not read any spoilers as you will ruin it for yourself! The acting won’t win any awards, but the audience will enjoy the thrill of the ride.

Yang Sing restaurant, Manchester- until Saturday 16th March

Reviewed by Joseph Everton

4****

From Shore to Shore combined music, theatre, a two course Chinese meal and delivered an entertaining evening which was different to any that I have experienced before. Set in Manchester’s Yang Sing restaurant, the performance told the stories of three children, battling their way into adulthood through trials and tribulations, ending up finding home and happiness in England, Leeds to be exact, but not without suffering from racism, a language barrier and a host of family issues.

Cheung Wing, played by Ozzie Yue and Matt Lim, estranged from his beloved mother, bought and worked until rescued by his uncle, told a heartbreaking tale of an old man recalling his escape from war. The story of his humble beginning was touching as he explained that because he knew what it was like to be starving, he knew what it meant to be fed. Yi Di (Luna Di), on the other hand, did not long for the return of a parent, but for their approval, with the weight of her father’s expectations laying heavily on her shoulders. The stories of these two characters and their families were carefully interwoven with that of Mei Lan who grew up working in the family takeaway in Leeds, listening from the basement as her mother was beaten by an abusive father and husband. At the end of the play, Ozzie Yue’s Cheung Wing tied all of the loose ends of a complex tale together, explaining an intriguing and satisfying link between the three main characters.

Mary Cooper and MW Sun’s work, which danced between English, Cantonese and Mandarin, managed to successfully tell three distinct stories with only subtle changes in the set and lighting. Restricted by the choice of venue and limited staging, it might have been challenging to follow, but by virtue of being well acted, directed and laced with song, the performers were able to keep the audience engaged.

Although I exited the venue feeling unsure about my first experience of steamed Cantonese style omelette, I am sure that From Shore to Shore will have left a lasting impression on me, a greater appreciation of the stories of Chinese immigrants to Britain and the challenges they may have faced in China and on arriving in a new home. From Shore to Shore was a well told and entertaining story that is not told enough.

Wales Millennium Centre – until 16th March 2019

Reviewed by Alex Browning

5*****

The Full Monty – Cheeky from start to finish

Based on the original chart-topping film Simon Beaufoy perfectly adapts the film for the stage. The Full Monty, a tale of six unemployed men from Sheffield, is set in the 1980’s on introduction to the performance is clearly prepared as the curtains open to reveal a vintage tv airing a scene-setting show. Shortly interrupted by the introduction of three of the main characters, Gary Lucy as Gaz, Fraser Kelly as Nathan and Kai Owen as Dave

The set of the show was very well executed with very little elements changing through the performance, yet still easily representing separate locations through the story. Even though this performance, for the most part, is a fantastic comedy, there is the addressing of a few important, more serious issues. Such as Joe Gill as Lomper who addresses the issues of mental health and later on the addressing of sexuality, which for the time setting of the performance is fantastically approached.

Then before act one comes to an end they have a very laughable scene involving some common garden gnomes, and then a very cheeky end to the scene. After a short interval, the show starts up in a very prompt fashion with the boys all enjoying a spot of dancing. The music through the show, and up to this point has been hit after hit, leading up to a spectacular finale song. The performance was fantastic overall, and the cast was all wonderful, even when they all change the scenery and interact with each other.

For the Grande-finale stage flipped, and the audience changed the view from onlooker to club audience, in an amazing twist we were transported to the local working men’s club, to see the buns of steel. With the intro to the song, You Can Leave Your Hat On, five of the six men enter the stage, all in fantastic costumes resembling men in uniform. The audience was encouraging to scream and shout and show all sorts of appreciation. The performance was a showstopper and left the crowd roaring. With the big ending of the show ending in all six of the men showing the real Full Monty.

Overall this was a real 5* performance leaving the whole audience in laughter and in awe of what was left to the imagination

Grand Opera House York – Monday 11th March 2019

Reviewed by Michelle Richardson

3***

The story of Elmer, in its current format, is celebrating his 30th birthday. He has entertained young children through books and television, and now brings a brand new stage adaption to theatres across the UK. Yesterday I took 2 grandchildren aged 2 ¾ and 20 months as it is advertised as being suitable for over 1’s.

Elmer is not your usual grey elephant, no, he is multicoloured, a vibrant feast of many colours in a patchwork formation, completely different to the rest of the herd. Usually he is bright and has a playful streak, but he has hit a low point and is tired of being the odd one out, different, he wants to be like all the others. He sets out on a quest to hide but ultimately he discovers and accepts who he really is.

Bought to life by three puppeteers, Elmer encounters monkeys, zebras, birds, frogs, a giraffe and a lion on his travels, singing and dancing away. He misses the herd and goes back in camouflage, turning himself grey, but he does not fool any of them, they know it is Elmer. He soon realises that they accept him for who he is and his colour is part of him, and what makes him special. This is a strong message for the audience, even if they are way too young to understand.

When the show first started my two boys were mesmerized and loved seeing all the colour and puppetry. It was a nice bright stage, with excellent puppets, and I enjoyed hearing the different accents as the puppeteers took on the different animals. They did an excellent job of switching between animals, slipping into characters with ease.

Unfortunately the show did not quite hit the mark and it did drag on, not keeping us entertained for the whole time. I believe that this was due to the lack of audience participation, there were hardly any of us singing along. Unfortunately, there were not enough bums on seats to join in with the singing and dancing, though I did try and involve my two, which was hard. Perhaps the audience were just too reserved? I would have loved to have seen a packed theatre as I believe that would have made a huge difference to the show and would have enhanced the theatre experience no end. It is such a shame, you are never to young, or old for that matter, to enjoy theatre.