Month: April 2019

Northern Stage – until 13 April 2019

Reviewed by Andrew Bramfitt

5*****

A long time favourite 80’s movie gets the stage treatment and is even better than the original.

The story of Charlie Babbitt, wannabe big shot luxury car dealer and his brother Raymond is as classic and timeless as the 80s soundtrack that accompanies this Classic Screen to Stage production. Charlie (played by Chris Fountain with great frustration, a big ego an even bigger chip on his shoulder) is desperate to raise some cash to head off the loan sharks and save his failing business. All he cares about is himself, so when his estranged father dies, he expects to inherit the family fortune and all his worries will be gone. Sadly (for him) the estate is left to a 3rd person, someone whom Charlie has never known existed yet has been linked to all is life – his brother Raymond.

Raymond is a savant, initially ‘held’ in an institution by a doctor who believes that isolation is the only way to protect Raymond from the world. Adam Lilley plays Raymond and, if Dustin Hoffman received the Oscar for Best Supporting Actor, then Adam should equally be feted in acclaim and awards. His portrayal of Ray is both sensitive and dynamic, immediately exposing the vulnerability of someone for whom the world is a confusing and scary place and yet, throughout, he bestows Ray with a strength of not needing to conform.

Through an attempt to get access to the family fortune by taking Raymond on a road trip, Charlie realises that life has far more purpose when you care about someone other than yourself.

Backed by some innovative set design, wonderful use of 80’s pop music and great pacing this transfer from screen to stage makes for a brilliant evening. Northern Stage, with its wide stage, very comfy seats and great hospitality is an ideal venue for a night out.

DEAFINITELY THEATRE AND BIRMINGHAM STAGE COMPANY

ANNOUNCE LONDON VENUE AND NEW TOUR DATES FOR

HORRIBLE HISTORIES – DREADFUL DEAF – DEAFINITELY NOT FOR THE FAINT-HEARTED!

Deafinitely Theatre and Birmingham Stage Company today announce a London venue and additional tour date for the world première tour of Horrible Histories – Dreadful Deaf – Deafinitely not for the faint-hearted!. The production will additionally play at Stratford Circus Arts Centre on 16 June, and at Derby Theatre on 21 June.

Dreadful Deaf has a special school’s performance at Heathlands School in St Albans on 24 May before opening at Bristol Old Vic Theatre on Wednesday 29 May. The show then tours to York Theatre Royal, Stratford Circus Arts Centre and The North Wall in Oxford before completing its run at Derby Theatre on Sunday23 June.

The cast is Fifi Garfield, Naomi Gray, and Nadeem Islam, directed by Paula Garfield.

We all want to meet people from history. The trouble is everyone is deaf dead!

So it’s time to prepare yourselves for Horrible Histories live on stage as it delves into the dreadful, dangerous and deluded stories of the deaf! From groovy Greeks to gorgeous Georgians, ruthless Romans to vile Victorians, come with us into this incredible world to discover the extraordinary people and amazing stories you simply won’t believe!

Deaf or hearing, this bilingual production – in spoken English and British Sign Language – is a truly frightful treat for all the family! 

About Deafinitely Theatre

Deafinitely Theatre is the UK’s first professional deaf-launched and led theatre company, creating bilingual productions of classic and contemporary plays for deaf and hearing audiences that combine the visual storytelling of British Sign Language with the immediacy of spoken English.

Established in 2002, the company’s vision is a world where deaf people are a valued part of the national theatre landscape, recognised for the excellence of their work. Deafinitely challenges barriers to training and opportunities, working hard to nurture the next generation of deaf theatre makers and audiences through its continuing programme of productions, consultancy work and education and training activities for young people and adults.

The company’s most recent productions include 2018’s sold-out run of 4.48 Psychosis by Sarah Kane, which was shortlisted for Best Director by Broadway World UK 2018, at New Diorama Theatre and Derby Theatre and 2017’s award-winning production of Contractions by Mike Bartlett at ND2 (New Diorama Theatre) – winner of the 2018 Off West End Award for Best Production. Artistic Director, Paula Garfield has recently been awarded a 2019 Tonic Award for her work with Deafinitely Theatre.

About Birmingham Stage Company

Birmingham Stage Company is the award-winning producers of David Walliams’ Gangsta Granny and Awful Auntie. The company produce all the Horrible Histories shows live on stage including the West End productions of Barmy Britain. The company also performs internationally, including David Almond’s Skellig on Broadway, and Horrible Histories at The Sydney Opera House.

Neal Foster is Actor/Manager of 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 thirteen years in the UK, Dubai, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including Barmy Britain – Parts One, Two, Three & Four (Garrick Theatre, Apollo Theatre and Sydney Opera House); Groovy Greeks and Incredible Invaders for a national tour and Wicked Warwick at Warwick Castle. His first fictional adaptation was David Walliams’ Gangsta Granny,which transferred to the Garrick Theatre and then the Harold Pinter Theatre and was nominated for a Best Entertainment and Family Olivier Award.  His adaptation of David Walliams’ Awful Auntie enjoyed an 18 month national tour and his next David Walliams’ show will be Billionaire Boy in autumn 2019.

This production is made possible by the generous support of:

Arts Council Strategic Touring Fund, Autograph Sound Recording, Edwardian Hotels London, The Garfield Weston Foundation, Old Diorama Arts Centre and White Light Ltd.

Dreadful Deaf – Deafinitely not for the faint-hearted!                                                                     Listings

On tour: 29 May – 23 June 2019               

www.deafinitelytheatre.co.uk 

Twitter:                @DeafinitelyT

Facebook:           deafinitelytheatre

Dreadful Deaf – Deafinitely not for the faint-hearted is suitable for ages 5+

Tour Dates 

Bristol Old Vic 

29 May – 1 June

Box Office: 0117 987 7877

www.bristololdvic.org.uk

York Theatre Royal

7 June – 8 June 

Box Office: 01904 623 568

www.yorktheatreroyal.co.uk

Stratford Circus Arts Centre

16 June

Box Office: 020 8279 1080

www.stratford-circus.com

The North Wall

18 June

Box Office: 01865 319 450

www.thenorthwall.com

Derby Theatre

21 June – 23 June 

Box Office: 01332 59 39 39

www.derbytheatre.co.uk

REGENT’S PARK OPEN AIR THEATRE ANNOUNCE FULL CASTING FOR OUR TOWN:

• NATALIE KLAMAR TAKES THE CENTRAL ROLE OF STAGE MANAGER
• ARTHUR HUGHES AND FRANCESCA HENRY PLAY GEORGE GIBBS AND EMILY WEBB
• KARL COLLINS AND PANDORA COLIN PLAY DR AND MRS GIBBS
• TOM EDDEN AND THUSITHA JAYASUNDERA PLAY MR AND MRS WEBB

Regent’s Park Open Air Theatre have today announced full casting for Thornton Wilder’s Pulitzer Prize-winning play, Our Town. Directed by The Gate Theatre’s Artistic Director, Ellen McDougall, the cast is led by Natalie Klamar in the central role of Stage Manager.

As the Stage Manager introduces another ordinary day in Grover’s Corners, the townsfolk go about their daily business: newspapers are delivered; people go to work; gardens are tended to. And a boy and girl fall in love. The boy, George Gibbs is played by Arthur Hughes, and the girl, Emily Webb byFrancesca Henry.

But, as life’s events unfold and a community comes together, one question remains: “do any human beings ever realise life as they live it? Every, every minute?”

George and Emily’s parents are played by Karl Collins and Pandora Colin (Dr and Mrs Gibbs) andTom Edden and Thusitha Jayasundera (Mr and Mrs Webb). Nicola Sloane takes the role of Mrs Soames, and Garry Robson, Constable Warren.

Completing the cast are: Phil Adele (Sam Craig), Jim Findley (Joe Stoddard), Peter Hobday (Simon Stimson), Terique Jarrett (Si and Joe Crowell), Louis Martin (Howie Newsome), Miriam Nyarko(Rebecca Gibbs) and Cleo Sylvestre (Professor Willard). The role of Wally Webb will be shared byTumo Reetsang and Tyrell Russell-Martin.

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Natalie Klamar (Stage Manager) has recently been seen in Keith? (Arcola), Richard II (Almeida) andProm Kween (Edinburgh Fringe). Other theatre credits include: Cleansed, I Want My Hat Back(National Theatre), Future Conditional (Old Vic), The Cherry Orchard (Young Vic), All’s Well That Ends Well, As You Like It, Hamlet, King John (RSC), and as Desdemona in Othello (Shakespeare’s Globe).

Arthur Hughes (George Gibbs) has most recently been seen in the supernatural drama, The Innocents (Netflix). Recent theatre credits include: Saint Joan (Donmar Warehouse), The Solid Life of Sugar Water (Graeae Theatre Company/National Theatre) and Romeo and Juliet (Taking Flight Theatre Company). Extensive radio credits include Home Front (BBC Radio 4).

Francesca Henry (Emily Webb) recently made her professional debut in The Wolves at Stratford East, also directed by Ellen McDougall.

Karl Collins (Dr Gibbs) most recently appeared in Nine Night (Trafalgar Studios). Other theatre credits include: Chimerica (Almeida/Pinter), One Monkey Don’t Stop No Show (Eclipse Theatre/Tricycle), The 11^th Capital (Royal Court) and Fuente Ova Juna (National Theatre). On television Karl appeared in the BAFTA Television Award-winning mini-series This is England 90 and as Louis Loveday in Hollyoaks, and film credits include Twentyfourseven and the BAFTA winning The Unloved.

Pandora Colin (Mrs Gibbs) most recently appeared as Titania in A Misdummer Night’s Dream(Sheffield Crucible). Other recent theatre credits include: Julius Caesar (Sheffield Crucible), The Vote(Donmar Warehouse), Cornelius – Brits off Broadway (59E59 Theatre, New York), The Dark Earth and the Light Sky, The House of Bernarda Alda (Almeida) and After the Dance (National Theatre). On film credits include: Aftermath, Film Stars Don’t Die in Liverpool and The Lady in the Van.

Tom Edden (Editor Webb) recently appeared as part of the Pinter at the Pinter season directed by Jamie Lloyd. Other theatre credits includes: Mr Wormwood in Matilda (Camrbridge), The Resistible Rise of Arturo Ui (Donmar Warehouse), Amadeus (National Theatre), Doctor Faustus (Duke of Yorks), Peter Pan Goes Wrong (Apollo), Thénardier in Les Misérables and Fagin in Oliver! (Sheffield Crucible). On film, credits include: Star Wars Episode VII – The Force Awakens, Disney’s Cinderellaand Mr Turner.

Thusitha Jayasundera (Mrs Webb) recently appeared in Stories (National Theatre). Other theatre credits include: Behind The Beautiful Forevers, Crime and Punishment, War Horse (National Theatre),The Vertical Hour (Park Theatre) and Tiger Country (Hampstead), and on television, credits includeHumans, Doctor Foster and Broadchurch.

Nicola Sloane (Mrs Soames) recently appeared in Flowers for Mrs Harris (Chichester Festival). Theatre credits also include: Frankenstein, To Kill a Mockingbird (Royal Exchange Manchester), Love in Idleness, A Little Night Music (Menier), London Road (National Theatre), My Fair Lady, Me and My Girl (Sheffield Crucible). Film credits include Red Joan, The Danish Girl, The Theory of Everything,Les Misérables and London Road.

Garry Robson (Constable Warren) was most recently seen in Kiss Me Quickstep (Queen’s Theatre, Hornchurch/New Wolsey/Theatr Clwyd). Other recent theatre credits include: White Christmas(Curve, Leicester), Our Country’s Good (Ramps on the Moon/Nottingham Playhouse and touring),Blanche and Butch (Birds of Paradise), Mother Courage (Tron), The Who’s Tommy (New Wolsey Theatre/Ramps on the Moon), Reasons to be Cheerful and The Threepenny Opera (both with Graeae Theatre Company). He is Artistic Director of the disability led national organisation, Fittings Multimedia Arts.

Joining Director Ellen McDougall are Rosie Elnile (Designer), Sasha Milavic Davies (Movement Director), Orlando Gough (Composer), Lizzie Powell (Lighting Designer), Tom Gibbons (Sound Designer) and David Ridley (Musical Director). Casting is by Jacob Sparrow and Barbara Houseman is Season Associate Director (Voice and Text).

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The 2019 season at Regent’s Park Open Air Theatre also includes the opera Hansel and Gretel (14 – 22 June) in a co-production with English National Opera, Shakespeare’s A Midsummer Night’s Dream (28 June – 27 July) and Evita (2 August – 21 September), lyrics by Tim Rice and music by Andrew Lloyd Webber. Their award-winning production of Jesus Christ Superstar plays a 60-performance season at the Barbican Theatre (4 July – 24 August)

Theatre Royal York – until 10th 2019

Reviewed by Sally Richmond

5*****

The Heart of Darkness is presented in a unique and unusual way – in that the audience is given an insight as to how the play is going to be put together as we are exposed to something that isn’t quite finished, as the cast openly discuss the problems posed with Conrad’s novella. The scenes are wonderfully crafted to a fascinating set design presentation which is practically bare, but with a few suspended screens where the action takes place.

The Heart of Darkness is often regarded as one of the greatest twentieth century stories in which the protagonist, Marlow, goes on a journey into the world of darkest Africa. However in this production Marlow goes to Europe, bringing the story up to date and of our time – where there has been a cataclysmic war and the West is literally at breaking point. Another twist is that Charles Marlow becomes Charlotte Marlow and it works well!

The brilliant cast is made up of five and the central character, Keicha Greenidge as Marlow, is outstanding as she takes total control and command of the stage, alongside her is the brilliant Matt Prendergast (as Beresdorf her driver and later Kurtz himself). Supporting various roles are Morgan Bailey, Laura Atherton and Morven Macbeth – who bring authentic and purposeful portrayals of various characters.

Director Andrew Quick is quoted as saying: “Maybe we have exhausted our white, male hero. Maybe there’s not a lot left to say about that, and maybe it’s much more interesting to rethink them, re-imagine them and then see what the consequence is”. He achieves this by using live technology, an amazing young cast and a fusion of live performance with recorded historical footage.

The Heart of Darkness is thought provoking, ambitious and bold – it leaves you thinking and wanting more.

Royal & Derngate announces world premiere of The Pope by Anthony McCarten as part of Made in Northampton 2019 season

• World premiere of The Pope by 2019 Golden Globe and BAFTA-winning and 2019 Oscar-nominated writer Anthony McCarten to open in Northampton in June
• Anton Lesser returns to the stage for the first time in a decade to play Pope Benedict
• Original music by BRIT, Oscar and Grammy Award-winning composer Anne Dudley
• @RoyalDerngate / #MadeInNorthampton / @AnthologyTheatr / #ThePopePlay

A Royal & Derngate, Northampton co-production with Anthology Theatre
in association with Tara Finney Productions

Saturday 8 to Saturday 22 June 2019

Royal & Derngate Northampton has announced that Artistic Director James Dacre will direct the world premiere of The Pope this June as part of its Made in Northampton 2019 season. This new play from Anthony McCarten, the 2019 Golden Globe and BAFTA-winning, and 2019 Oscar‑nominated writer of Bohemian Rhapsody, The Theory Of Everything and Darkest Hour, will star Anton Lesser (Game Of Thrones, The Crown, Wolf Hall) as Pope Benedict and will feature original music composed by BRIT, Oscar and Grammy-winning composer Anne Dudley (Elle, American History X, The Full Monty, Poldark).

This original play is the inspiration for a major motion picture of the same name that has been adapted by Anthony McCarten to premiere on Netflix later this year. Now based in London, The Pope marks his UK stage debut, although in his home country of New Zealand, his acclaimed plays include Ladies Night, which remains New Zealand’s most commercial popular play.

The production will be designed by 2018 Tony nominee Jonathan Fensom (Our Lady of Kibeho, Farinelli and the King) with lighting design by Charles Balfour (Mojo, West End, Ma Rainey’s Black Bottom, National Theatre) and is co-produced by Anthology Theatre (The Entertainer, The Wipers Times and Cat On A Hot Tin Roof) in association with Tara Finney Productions.

Six years ago Pope Benedict XVI stunned the world by quietly announcing he would resign, the first pope in 700 years to do so. What drove this arch-conservative to break with sacred tradition and cede the way for Cardinal Bergoglio – a tango-dancing, football-loving reformer with the common touch – to become Pope Francis, one of most powerful men on earth?

Together, Pope Benedict and Cardinal Bergoglio grapple with their complex pasts and uncertain futures. From coming of age under dictatorships in Germany and Argentina, to the scandal of sexual abuse by the clergy – they offer two opposing visions for the Church today. Shining a light into one of the world’s most secretive institutions, The Pope is at once a candid portrayal of two men testing the limits of their faith and an exploration of the role of religion in an age of social and political upheaval. At its heart lies a timeless question: in moments of crisis, should we follow the rules or our conscience?

Further Made in Northampton 2019 productions will be announced shortly.

Made in Northampton is sponsored locally by Michael Jones Jeweller.

For more information about any of these productions, visit www.royalandderngate.co.uk. Shows can be booked online or by calling Box Office on 01604 624811.

Salisbury Playhouse – until 20th April 2019

Reviewed by Leanne Caplis

4****

Wiltshire Creative together with Oldham Coliseum Theatre and York Theatre Royal bring to the stage Moira Buffini’s comedy Handbagged.

Six actors, one very basic stage and few props tell the story of the eleven years Margaret Thatcher was Prime Minister and reveals what the weekly conversations with the Queen might have looked like.

The use of a younger Thatcher (Eve Matheson) and an older one ( Sarah Crowden) together with the young Queen (Caroline Harker) and the older (Susan Penhaligon) was very clever. Through shared dialogue they told the story of then whilst adding their opinions of now.

Whilst the play brought many laughs from the audience I seemed to be lost for most of it. I can only put this down to an age thing. The average age of the audience revealed that the majority remembered the reign of the Iron Lady and therefore could relate to the storyline. Also listening to them during the interval and after the show brought about comments such as “absolutely brilliant”, “extremely well done” and “hilariously funny”.

Susan Penhaligon has the Queen down to a T. Her voice and facial expressions were very realistic. The start of the second half, which incidentally was my favourite part, saw the full audience on their feet for Her Majesty which brought much amusement to all.

Whilst all parts were played well the star of the show for me was Jahvel Hall who played his many parts well and had the audience in fits of laughter on more than one occasion. That said I also thought Andy Secombe is worthy of a mention as his comedy timing is spot on.

Whilst the show wasn’t my normal type of comedy I would recommend it to those over 50 years old. Going off the reaction of the audience and the almost sellout seating this will be a real hit.

SELLADOOR WORLDWIDE LAUNCHES MAJOR

EUROPEAN OFFICE IN MADRID CREATING

OPENING WITH THE TRANSFER OF FLASHDANCE THE MUSICAL 

TO THE APOLLO THEATRE, MADRID

Leading UK and international theatre producer, Selladoor Worldwide, launches a new production office in Europe. This new branch of the company, Selladoor Spain, based in Madrid, will expand Selladoor’s international reach and build Spanish language productions for Spain and the wider South American marketplace.

With offices already operating in the UK, Asia and the USA, Selladoor expands its international reach into one of Europe’s major markets with the appointment of JC Storm as Managing Director of the Selladoor Spain office.

This department will be the main continental Europe hub for the company, and launches with a transfer of Flashdance The Musical and a major sit-down run at the Apollo Theatre, Madrid – a natural progression with Madrid being fourth most successful city worldwide for musicals, after New York, London and Hamburg. The production premieres on 23 January 2020, and follows a sold out 8 week run in Barcelona earlier this year.

The full team based at Selladoor Spain comprises of JC Storm (Managing Director/Producer),Guillermo González (Musical Director), Edward Luis Alba (Financing Director), Antonio Blázquez(Stage Manager), Alberto Palanques (Technical Director), Daniel Labrado (Senior Producer’s Assistant), Mónica Martín (Secretary/Accountant) and Valentín Pereiro (Marketing).

This expansion to Spain and South America will enable Selladoor to reach a wider audience and collaborate with original and cutting-edge talent and creatives on a wider scale. Selladoor has identified a massive opportunity in the South American marketplace, and endeavor to be one of the first producers actively developing long-term theatre links in the region.

Selladoor, this year alone, has presented numerous productions across Europe including major productions in Berlin, Zurich, Barcelona and Ostend, with further plans to route work into Europe for the foreseeable future. Selladoor sees the advantage of having a mainland European hub and despite to looming uncertainty around Brexit, they are keen to foster and maintain strong ties with the continent.

David Hutchinson, Selladoor Worldwide CEO says, “We’ve been exploring a long term presence in the Spanish market for nearly a year. Following a near sell-out run of Flashdance for an 8 week run in and sit-down transfer to Madrid – the inter-office relationship has been well formed where work coming out of the UK is being routed into Spanish speaking territories, and we are exploring work coming out of Spain and routing into the major markets the company already works in. I’m delighted than JC will be leading our Spanish office with a stellar team of talented individuals. We’ve got some big plans – and indeed have our sights on further afield in some of the really exciting emerging markets in South America.”

JC Storm, Selladoor Spain Managing Director says, “I believe this is the right time to bring more theatre to Spain, and it fits perfectly with the plans for Selladoor’s expansion. The Spanish theatre industry is now a huge, booming market, where musicals have been entertaining and delighting people across the country, and adds to Madrid’s already big national and international tourism appeal. I predict this venture will be a huge success, and I’m thrilled to be part of such an ambitious project. I am very honored to have David Hutchinson and Phillip Rowntree’s trust to head up the brand of Selladoor Worldwide in Spain.”

 NOTES TO EDITORS

Selladoor Worldwide

Selladoor Worldwide began its life as Sell a Door Theatre Company in 2009, developing rapidly under co-founders David Hutchinson (CEO) and Phillip Rowntree (CFO) into an integral player in the UK and Ireland’s regional theatre landscape. The company has since established itself as a leading producer of mid- and large-scale touring theatre, with an ever-increasing international presence.

From the very outset, Selladoor Worldwide’s aim has been to make accessible work for our audiences, and their experience is at the heart of the company’s artistic planning. Our objective is to continue to encourage the next generation of theatregoers, primarily young adult audiences, and first-time attendees. Our education programmes and online presence endeavour to provide the most comprehensive experience of our productions possible.

Our origins lie in re-imagined classics and new commissions, which we continue to champion to this day. We are able to create a varied and distinctive programme; large-scale commercial touring is complimented by the company’s not-for-profit roots and ongoing investment and development of new work. As a company operating across a range of scales we continue to deliver and invest in our regional and international patron base, as well as our product.

In 2017-18 Selladoor Worldwide’s slate of productions included: Big Fish The Musical (The Other Palace, London); The Crucible (UK Tour); Fame The Musical (30^th Anniversary Tour); Flashdance The Musical (UK & International Tours); Footloose The Musical (2^nd UK Tour); Kindertransport (25^thAnniversary Tour); Guess How Much I Love You (UK & International Tours); Jersey Boys (International Tour); Madagascar The Musical (UK Tour); Of Mice and Men (UK Tour); The Producers (International Tour); Rock of Ages (UK Tour); Spamalot (UK Tour); The Very Hungry Caterpillar (DR2 Theatre, New York City); The Wizard of Oz (Winter Gardens, Blackpool).

2019 will see the return of Flashdance The Musical to Asia following a commercially and critically successful engagement in South Korea. Both Fame and Madagascar The Musical continue their popular UK tours, with the former due to land in the West End for a strictly limited 6-week engagement at the Peacock Theatre in September, and the latter touring extensively in international markets. American Idiot has been revived for a 10^th Anniversary Tour, and Avenue Q has embarked on its 3^rd UK Tour. Presenting in the UK will also be the first West End production of Dolly Parton’s 9 to 5The Musical at the Savoy Theatre, as well as European premieres of Amelie and Little Miss Sunshine, both award-winning musicals based on cult classic films. Finally, Selladoor Family will launch new stage adaptations of two beloved children’s properties for UK touring: Elmer The Patchwork Elephant Show and The Mr. Men & Little Miss Show. Selladoor are thrilled with the variety of work in production, and remain committed to creating daring, diverse and dynamic productions that are accessible to all.

Selladoor Worldwide now have offices in Bangkok, New York and Shanghai in addition to our headquarters in London, as we continue to produce and tour theatre worldwide. In 2018 Selladoor Creation was launched, which is a brand new platform for new writers to showcase and develop their work with the backing of one of the UK’s leading theatre producers, and bring innovative new work to the national and international stage, making it accessible for all audiences.

2019 brings another exciting venture to the Selladoor Worldwide group, with the announcement of Selladoor Venues. Selladoor Venues are the current operators for the Queen’s Theatre, Barnstaple and The Landmark Theatre, Ilfracombe.

Theatre Royal Glasgow – until 13 April 2019

Reviewed by Linda McLaughlan

5*****

As adults we are all aware of the role of the salesman, often from our childhoods, as the person who would come to your home and try to persuade our parents to buy the latest gadgets, bedding and even windows. Often known for their hard-sell and techniques to clinch the deal and secure their own percentage or cut.

The performance is based on the American Housing Market.

Tonights performance begins as we meet each of the cast in pairs in a local restaurant. A cast of only seven people this show is kept personal and from the offset straight to the point. This show is not for the easily offended as from the very start there is swearing and shouting. The main two characters played by Mark Benton (Shelly Levene) and Nigel Harman (Ricky Roma). Shelly is the salesman who is begging for a decent lead on the latest sales pitch to potential clients as he is a bit down on his luck and worried about his job and desperate to get on the Leaders board. Whilst Ricky Roma is the top salesman and raking in the big clients in the housing market and aiming for the big bucks. Whilst there are other salesman who are trying to convince each other to rob the office and sell on the Leads to another Broker.

Without spoiling the plot there is a twist in the outcome. Definitely a show to go and see as their are lots of laughs and one liners that had the audience in stitches

The Back Room at The Star Inn – 8th April 2019

Reviewed by Heather Chalkley

5*****

A phenomenal performance by writer and actor Pip Utton. His reputation goes before him as a world-renowned monologist and tonight he does not disappoint. Based on personal experience, Pip takes us through the emotional journey from diagnosis to death of an Alzheimer’s disease victim. This is not for the faint hearted. Playing mainly the husband of Chrissy, Pip (Michael) begins with the wake of his wife’s funeral and ends with his own, with the joy of love and funny anecdotes sandwiched in between.

Utton (Michael) had the audience in his grip from the start, cunningly beginning the piece by sitting close to the audience, sat on the edge of the stage. Eye level contact immediately displays the pain and sadness of grief. The love story of young sweethearts and the support given to them by their parents when a baby was conceived, keeps you captivated. The love and admiration he has for Chrissy is displayed through the telling of their life together. The slow decline of Michael (Utton) himself into Alzheimer’s disease, a few years after his wife’s passing, seems cruel and unjust. Micheal’s (Utton) anger was quite frightening and very real. Utton’s (Michael) physical manifestation of the disease accentuated the emotional impact.

The final scene see’s Utton playing John, the son of Michael and Chrissy. It provides the opportunity to hear how Michael found a lover that is loyal to him until the end and clearly loves him dearly. She holds the greatest respect for the love Michael has for Chrissy. In this way Utton finishes this emotional rollercoaster on a positive note.

Pip Utton has treated this subject matter with great sensitivity and profound understanding. He has the ability to connect with the audience deep in your gut, in a way that makes you part of the play or at the very least the boundaries are transparent. Utton gave a well-honed and perfectly executed master class in monologue performance.

Performed as part of the Guildford Fringe Week

Festival Theatre, Edinburgh – 5^th April 2019.

Reviewed by James Knight.

3***

Presented by the Dance Consortium, the Mark Morris Dance Group’s Pepperland is a celebration and dissection of what is considered to be the very first ‘concept album’: The Beatles’ ‘Sgt. Pepper’s Lonely Hearts Club Band’.

As Mark Morris has stated in interviews, this is not a Beatles singalong or tribute act, and anyone going into the performance expecting this will be severely disappointed. Instead, tracks such as ‘A Day in the Life’, ‘When I’m Sixty Four’ and ‘Within You Without You’ are not covered, but stripped back in an exploration of the music and how it was structured, how the Beatles brought together various inspirations including classical, Indian and music hall.

Some moments are more successful than others – in order to examine the musical components of ‘With a Little Help From My Friends’, composer and arranger Ethan Iverson has the Music Ensemble play their respective sections in different keys. It’s a solid idea, but can be off-putting to the ear, and the phrase, ‘if it ain’t broke don’t fix it’ comes to mind.

Elsewhere, the ‘Penny Lane’ and ‘A Day in the Life’ segments truly encapsulate the life and vigour of the 60s Beatles, with vocals being provided by a rich baritone (Clinton Curtis) and substituted throughout for that wonderfully strange instrument the theremin, played by Rob Schwimmer.

Onstage, Morris’ choreography is slick, accentuating phrases in the music through rhythm and repetition, with particular moves tied to particular phrases. Morris, like the Beatles, brings together various inspirations, drawing from ballet to contemporary and of course, 60s. The costumes, designed by Elizabeth Kurtzman, are unique for each performer, but the brightness of the colours is immediately as recognisable as the album cover. Strong images emerge throughout – the opening of a lotus flower, people driving to work, even a brief representation of the Fab Four before they’re chased offstage by a screaming horde of fans. However, because so much energy is devoted to breaking down the music of the Beatles, some of ‘Pepperland’ can feel devoid of heart – the music is meant to be danced and sung to, and while it can be fascinating to see what makes it so popular and ground-breaking, there was a struggle to bring that passion and enthusiasm to the audience.

‘Pepperland’ won’t win any new fans to the Beatles, and might even alienate some old ones, but as an exercise in exploration of their music, it is very different indeed.