Malory Towers Review

Passenger Shed, Bristol – until 18 August 2019, then touring until 5 October 2019

Reviewed by Jules Cooke


Malory Towers is a musical adaption of the book written by Enid Blyton, which tells the story of Darrell Rivers (played by Izuka Hoyle) who is set to begin her first year of boarding school. She is determined to make friends, in spite of her own quick temper, which is made only harder to tame by the unagreeable Gwendoline Lacey (played by Rebecca Collingwood).

In this version, which was adapted and directed by Emma Rice, we find ourselves in a secondary school of today. The story opens with seemingly typical school antics outside the head teachers office. This opening, which referenced Malory Towers the book, offered us a chance to view the play and its parallels with schools of today.

From non-white actors to non-binary actors, Rice cast the show to “more accurately reflect the times we live in”. This choice only made the story feel more relatable and reflective of reality. Described as “the original ‘girl-power’ story”, this adaption certainly offers some good lessons for strong character and wholesome values.

Throughout the performance there was a wonderful variety of humour, with a little something for everyone. I attended with two children aged 8 and 10, who both enjoyed the experience, finding different moments to giggle at.

The choreography was creative and tight. The set design was clever. The costume was consistent and strong throughout. The characters were brought to life well by the actors and although I feel each performer was worth a mention, the stand out for me was Mirabelle Gremaud as Irene Barlett. She littered the performance with beautiful harp playing, strong vocals and the occasional acrobatic flourish.

The Bridges of Madison County Review

Menier Chocolate Factory – until 14 September 2019

Reviewed by Claire Roderick


I haven’t read Robert James Walker’s novel, and find the film an effective cure for insomnia, so a musical version of The Bridges of Madison County wasn’t an exciting prospect, but this beautiful show had me hooked from the first strains of Jason Robert Brown’s romantic music.

The story of a brief but intense affair between photographer Robert Kincaid (Edward Baker-Duly) and Italian war bride Francesca (Jenna Russell) is a slow burn, but the performances and score make this a lushly languid story that you don’t want to end. As Francesca’s Farmer husband Bud (Dale Ripley) and teenage children take a trip to the State Fair, Kincaid turns up at their farm and asks Francesca for directions to one of the covered bridges he is photographing, and Francesca seizes her chance for passion in a life in which she feels trapped. Russell and Baker-Duly capture the not-so-subtle dance as the two edge closer towards each other and declare their feelings, with some gloriously swoonsome songs along the way. Russell is magnificent as Francesca, nailing the unbridled joy and guilt with subtle gestures and expressions. Baker-Duly is pure matinee idol gold, breaking your heart in his final number full of regret and loss.

Punctuated by phone calls from her solidly unexciting husband and squabbling children, and comedy moments from nosy and seemingly judgemental neighbour Marge and husband Charlie, the slow pace of the romance may be off-putting to audiences more used to the flashy fast paced musicals in the West End, but for me it was a welcome change of pace to just sit back and bask in the romance. Each cast member gets a big number, and they all grab their moment to shine brilliantly, but Shanay Holmes deserves a mention for her mesmeric performance as Kincaid’s ex Marian, singing Another Life

The only reason this show doesn’t get 5 stars is the clunky staging. Using a revolve to bring on the kitchen set slows the action down to snail’s pace and by the second act, a sea of shoulders were shaking with giggles as the kitchen table trundled on yet again. I am not sure if Robert’s truck was supposed to be comedic, but it made a lot of people laugh, and why bother bringing on a huge and quite ridiculous piece of set to represent the bridge for 5 minutes when later in the show Tal Rosner’s projections and Tim Lutkin’s lighting create a much more simple and evocative representation of the location? Just because you can doesn’t mean you should. The projections and lighting are enough to convey a sense of place, time and longing throughout the entire show without the mechanical hoo-ha.

This lushly romantic and grownup musical will melt your heart, perfect entertainment for steamy summer nights.

The View UpStairs review

Soho Theatre – until 24 August 2019

Reviewed by Claire Roderick


Inspired by the arson attack on the UpStairs Lounge in New Orleans in 1973 which killed 32 people but was largely ignored by the press and the police at the time, Max Vernon’s musical celebrates and honours the dead in fabulous style.

The annoyingly self-obsessed Wes (Tyrone Huntley) buys a building to convert as part of his mission to further his “brand”, unaware of the terrible event that happened in 1973. As he stands in the room in 2019, he is watched from the shadows by the 1973 regulars, until he is suddenly flung back in time to The UpStairs Lounge in June 1973. There’s lots of fun to be had with this fish out of water concept, and the tempting nostalgia for simpler times without social media and dating apps is quickly tempered by the stories the characters tell about the hatred and bigotry they face. Wes’s blithe insistence that the future will be different and fair becomes less and less convincing as the show progresses, until he finally breaks down and admits the harsh realities of 21st century life and realises that he doesn’t have the community and love shared by the men and women at the bar.

The characters are all composites and therefore a little stereotypical, cheekily acknowledged by Wes saying that he feels like he’s in a Village People video, but this doesn’t affect the emotional impact of their story. Straight talking but soft-hearted Henri (Carly Mercedes Dyer) runs the bar, married man Buddy (John Partridge), whose music career was ruined by rumours about his sexuality, finds solace playing the piano there, and construction worker Freddy (Garry Lee) performs his drag act with help from his mother Inez (Victoria Hamilton-Barritt). Andy Mientus is charming as Patrick, the hustler Wes falls for, and their romance is a sweet centre for the chaotic camaraderie of the group to dance around.

The music is fantastic, with Bob Broad and the band blasting out the upbeat numbers and not overdoing the more introspective songs. The two best numbers of the show come in quick succession and couldn’t contrast more – straight after Garry Lee’s ridiculously OTT barnstorming performance of Sex On Legs comes Declan Bennett’s powerfully bleak and devastating rendition of Better Than Silence, conveying the pain and isolation of Dale, whose behaviour means he is never welcomed as part of the community.

The joy and camaraderie end abruptly with the fire, but this is done sensitively with no melodrama, and the deaths of the characters are described in a brutally resigned way that means the show ends with bittersweet hope for Wes, inspired by the ghosts of the past to make more of his future. The View UpStairs is a sobering reminder of prejudice, but is also uplifting and inspiring, with a score that makes you want to jump on stage to join in the fun.

Parenthood: The (brand new!) Musical Revue

The Space – until 27th July 2019

Reviewed by Alexandra Sykes


With the amount of not so helpful information on the internet nowadays on how to be a good parent, this show makes you realise that nothing goes right when you are a parent, and that is ok.

Featuring 4 couples and a single dad, Parenthood takes you from conception to becoming a grandparent, with catchy songs about different aspects of being a parent along the way, such as do not annoy the PTA mums and don’t believe everything you see in social media.

All in all a really good show which shows that being a parent isn’t all it seems to be in the outside and most parents are actually putting on an act

The praise must be given to the cast for performing in what has been one of the hottest days of the year. Heather Broderick is a mum who doesn’t want drugs when she has her baby where as her husband, played by Jake Pearse, is a bit more relaxed about being a parent. Naomi Jones and Astra Beadle are a same sex couple who opt for a home birth, Katie Rayner and Jordon-David Copping are expecting their much longer for baby, Bruce Hanson is a single dad and Emily Clare and Jordon Brown are excited by end up being the embarrassing parents when their daughter is all grown up. There is also the character of Jenny (Rayner) who doesn’t want to be a mum and is constantly asked when she is going to have a baby, with her friends not realising it is a choice to become a mum. The 9 cast members do themselves proud as they all sang and danced throughout despite the heat. The set is basic with giant letter blocks used as chairs, stairs and podiums to stand on, and a cot is used in the first half.

Ghost hunting, seances and tales from the history of the Old Red Lion in October 2019

Old Red Lion Theatre, October 8th – 26th, 7.30pm
Ghost Hunt Date: July 29th, 7.30pm
Seance Date: August 29th, 8.30pm

Since 1415 the Old Red Lion has welcomed countless visitors through its doors. And some never left. So new company The Knock Knock Club will stay overnight, turn on their cameras, point their microphones into the dark and ask “who’s there?” In Last Orders they will present their findings – from the uncanny to the unnatural to the unexplainable – as more than 600 years of history clamours to be heard.

A pub called The Old Red Lion has stood on the same spot in Angel since 1414, and The Knock Knock Club have done extensive research into its history at The British Library newspaper archives, using local papers such as The Islington Gazette. The pub has seen highwaymen drinking their last pints before being executed at a crossroads, children of the school next door coming in with their daily beer tokens, and Lenin evading police by hiding in a dumb waiter.

It is not just the history the company want to know about, but the ghosts that live on insides it walls. They have interviewed the staff, past and present, and they haven’t met one yet that hasn’t had an unexplainable experience. They say there is a ghost on each floor: the cellar, the pub and the theatre, and they are going on an over night ghost hunt with Laura Goff from Twilight Ghost Hunts to see if they can meet them themselves on July 29th. They will also hold a séance at the theatre on August 29th, to further investigate these claims.

The Knock Knock Club are a new company who make the venue they are performing in the star of the show, specifically venues which are reportedly haunted. Researching their history and folklore. they create terrifying and true theatre. Reece Connolly is a playwright and theatre-maker of over 5 years, most recently with Offie-nominated, five star CHUTNEY at The Bunker, produced by Flux Theatre. Caroline Buckley is a writer and producer, she runs Plays Rough London as a platform for new, experimental writing in a safe and supportive space. Christopher Keegan has worked as a professional actor for ten years performing with many companies including West Yorkshire Playhouse, Bath Theatre Royal, The Glasgow Citizens theatre, Bristol Old Vic, Shakespeares Globe, Warner Brothers and more.

West End Production of Mary Poppins Casting Update




M A R Y   P O P P I N S


Cameron Mackintosh and Disney Theatrical Productions are delighted to announce final adult casting for the new production of Mary Poppins which begins rehearsals in September and returns to its original West End home at the Prince Edward Theatre from 23 October 2019.

Joining Zizi Strallen in the title role, Charlie Stemp as Bert, Joseph Millson as George Banks and Petula Clark as the Bird Woman, are Amy Griffiths who will play Winifred Banks, Claire Moore as Miss Andrew, Claire Machin as Mrs Brill, Jack North as Robertson Ay and Barry James as Bank Chairman and Admiral Boom.  Casting for the roles of Jane and Michael Banks will be announced at a later date.

The magical story of the world’s favourite Nanny arriving on Cherry Tree Lane has been triumphantly and spectacularly brought to the stage with dazzling choreography, incredible effects and unforgettable songs. The stage version of Mary Poppins, brilliantly adapted from the wonderful stories by PL Travers and the original beloved Walt Disney film, continues to be a smash hit around the world since its opening in London 15 years ago.

The ensemble comprises Yves Adang, Lydia Bannister, Angeline Bell, Lydia BoultonMatt CoxAdam DavidsonKatie Deacon, Danielle Delys, Joshua Denyer, Stan Doughty, Glen Facey, Davide Fienauri, Ian Gareth-Jones, Mark Goldthorp, Joanna Gregory, Catherine Hannay, Jacqueline Hughes, Jason Kajdi, Sam Lathwood, Jordan Livesey, Ceili O’Connor, Malinda Parris, Alex Pinder, Ben Redfern, Rachel Spurrell, Lucie-Mae Sumner, Rhys West and Monique Young.

The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious.  New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.

Book is by Academy Award®-winning screenwriter and Downton Abbey creator, Julian Fellowes and this production is co-created by Cameron Mackintosh.  The producer for Disney Theatrical Productions is Thomas Schumacher.

This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. It has a new sound design by Paul Gatehouse and new lighting by Hugh Vanstone and Natasha Katz. Co-choreography is by Stephen Mear. The reimagined set and costume designs are by Bob Crowley. Co-direction and choreography is by Matthew Bourne and direction by Richard Eyre.

The stage production of Mary Poppins originally opened in the West End in December 2004, running for over 1,250 performances. During this time, the production won two Olivier Awards and an Evening Standard Award. Subsequently the Tony Award®-winning Broadway production ran for over six years. 

A subsequent new production of the show, adapted from the original, enjoyed record-breaking runs in Australia, North America, the UK and Ireland, New Zealand, Holland, Mexico, Austria, Switzerland, Dubai, Japan and Germany, where the production recently entered its second hit year in Hamburg. Mary Poppins is the biggest hit musical ever in Italy playing key seasons in Milan, and in October will open in Rome simultaneous with the London production.   Several further new productions are to open in Europe over the next three years.

The Prince Edward opening in October will be the first time the new production will be seen in London.


Theatre:                    Prince Edward Theatre, Old Compton St, Soho, London W1D 4HS

Dates:                       23 October 2019 – 29 March 2020

Performances:           Mondays, Thursdays, Fridays and Saturdays at 7.30pm

                                Thursday, Saturday and Sundays at 2.30pm

                                Family Night performances on Wednesdays at 7pm

See website for Preview performance schedule

Prices:                       Tickets from £15

Reduced price tickets for Family Nights and Preview performances

£2.50 booking fee applies

Box Office:                0844 482 5151




Casting Update for West End Production of Tina – The Tina Turner Musical


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


Aisha Jawando, who has been with the Company since its world premiere in Spring 2018, steps up to play the title role in TINA – THE TINA TURNER MUSICAL from 8 October 2019.  Having originally played Tina’s sister Alline Bullock, Jawando has subsequently performed the iconic role of Tina at certain performances. 

Tina Turner said: “I first met Aisha during early rehearsals for our show.  She was in our original West End Company playing my sister Alline and I loved her performance.  It has been special to watch her journey with us and see the development of her extraordinary talent.  I am so pleased that Aisha will now lead our company through its next chapter here in London.”

Aisha Jawando said:“I have loved being part of this show from the very beginning, and I am thrilled to have the opportunity to play this exceptional role.  Tina Turner is such an inspirational woman and I hope that I continue to make her proud.” 

Based on the life of legendary artist Tina Turner, TINA – THE TINA TURNER MUSICAL will continue its open-ended run in London at the Aldwych Theatre with new seats on sale this Autumn.

Jawando takes on the leading role from Nkeki Obi-Melekwe, who will join the Broadway company later this year to play Tina at certain performances.  Adrienne Warren, who originated the role here in the West End, will lead the Broadway cast.

Aisha Jawando’s London theatre credits include the title role in Cinderella at the Hackney Empire,The Life at Southwark Playhouse, Martha Reeves in the original London cast of Motown The Musical at the Shaftesbury Theatre, Beautiful – The Carole King Musical at the Aldwych Theatre, The Book of Mormon at the Prince of Wales Theatre, Fela at the National Theatre, The Lion King at the Lyceum Theatre and Soul Sister at the Savoy Theatre.

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. 

In the West End, Ashley Zhangazha continues as Ike Turner with Madeline Appiah who plays the role of Tina’s mother Zelma, Tsemaye Bob-Egbe will play the role of Tina at some performances each week, Irene-Myrtle Forrester as Tina’s Grandmother GG, Howard Gossington as Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson as Ike and Tina’s manager Rhonda Graam, Ava Brennan as Tina’s sister Alline Bullock, Jammy Kasongo as Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Edward Bourne as record company Marketing Manager Erwin Bach and Oscar Batterham as Tina’s Manager Roger Davies.

Ensemble members are Daniella BowenChloe Chambers, Joelle Dyson, Lejaun Sheppard, Joseph Richardson, Kibong TanjiJayme-Lee ZanoncelliCameron Bernard Jones who also plays Tina’s son Craig and Ashlee Irish who plays Tina’s son Ronnie, and swings Gavin Alex, Derek AidooJoshua Da CostaAmandla ElynahHannah Jay-AllanAngela Marie Hurst, Leisha Mollyneaux and Samuel J. Weir.  They are joined by the children’s cast who alternate the roles of Young Anna Mae, Young Alline and Young Craig.

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

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.  Earlier this year the German premiere of TINA – THE TINA TURNER MUSICAL began performances at the Stage Operettenhaus in Hamburg and the musical will begin Broadway performances at the Lunt-Fontanne Theatre from 12 October 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.


Theatre:                    Aldwych Theatre, Aldwych, London WC2B 4DF

Dates:                       currently 11 January 2020

Performances:           Monday – Saturday at 7.30pm, Thursdays and Saturdays at 2.30pm

Box Office:                0845 200 7981


Facebook:                 TinaTheMusical

Twitter:                    TinaTheMusical

Instagram:                TinaTheMusical

King’s Head Theatre presents Robert Chesley’s ‘Jerker’ – Autumn 2019

King’s Head Theatre presents Robert Chesley’s Jerker:

A pornographic elegy, returning London for the first time in 29 years

Robert Chesley’s play Jerker, or The Helping Hand returns to London for the first time in 29 years in a new production at the King’s Head Theatre, directed by Ben Anderson. Co-produced by Making Productions, this show will run between 30 October and 23 November 2019. Casting has yet to be announced.

Jerker is a pornographic elegy with redeeming social value and a hymn to the queer men of San Francisco in twenty telephone calls, many of them dirty. It has been described as “one of the most important pieces of gay theatre ever created” (Los Angeles Times). It also has the dubious reputation of triggering stricter broadcast indecency guidelines in the US, after excerpts of the play were aired on KPFK Pacific Radio in Los Angeles in 1986. The one and only previous staging of Jerker in London, was directed by Stephen Daldry at the Gate Theatre in 1990.

As the AIDS epidemic intensifies in the early 80’s, Bert and J.R. begin having phone sex. They’ve never met, never seen each other and never touched, but together, they explore their wildest fantasies and the contours of their lonely souls. By turns erotic and tender, this intimate two-hander will leave you breathless before breaking your heart. 

In addition to its erotic nature, Jerker embodies a deeper social importance. It reflects one of the worst periods in gay history, where the stigma of AIDS hung over the gay community, heightening public prejudice. The fear and silence around this subject was broken by a new wave of plays that began to emerge on the topic, acknowledging the crisis, humanizing lives and encouraging the need for a personal response.

In Robert Chesley’s script notes, he says “I can only hope that Jerker has done and will continue to do some good, with its message of pride in gay identity and honesty about sex.”

Director Ben Anderson commented: “Robert Chesley’s play places itself at the height of the AIDS crisis and in conversation with other, well-known plays about the period – Angels in America, The Normal Heart, As Is. Yet these poignant moments that root it in history, also make it strikingly resonant today. The focus on two men in their most private spaces allows for an honest and open embrace of gay sexuality that remains as surprising as it is joyful. Exploring their emotional intimacy, as they form a connection and learn to be themselves, Chesley’s combination of comedy and heart-breaking tragedy makes this a timely and fascinating piece to revive.”

Adam Spreadbury-Maher, Artistic Director of King’s Head Theatre commented: “We’re delighted to be staging Robert Chesley’s beautiful and important play. Jerker exposes the inhumane response to the AIDS crisis from the government of the day, and the shackles of confinement that are thrust upon these men. We must not forget this happened. Lest this play be lost to the annals of history, we have a responsibility to stage it. The themes of isolation are particularly relevant today in our world of digital addiction.

I’m proud to introduce Ben Anderson to London audiences. He’s a very exciting young director who’s just as comfortable working with some of the finest opera directors as he is in a damp tunnel at the Vaults.”

This is Ben Anderson’s graduate show from the King’s Head Theatre’s award-winning Trainee Director’s Scheme, which celebrates its 25th anniversary this year. This part time programme is designed for young directors to increase their experience and develop their craft, through producing and technical skills as well as directing experience. 

Graduates of the scheme include Katie Mitchell and Michael Longhurst. The Directing Programme was created in 1994. In 2002 the Programme won the Queen’s Jubilee Award in recognition of its unique value, for contribution to the arts and pursuit of Excellence, presented by HM Queen Elizabeth II, Lord Attenborough and Richard Eyre.

King’s Head Theatre and Making Productions present

Jerker by Robert Chesley

Wednesday 30 October – Saturday 23 November 2019

Press night: Friday 1 November at 8.45pm

Directed by Ben Anderson

Cast and creative team to be confirmed

Sherlock Holmes and the Invisible Thing Review

Rudolf Steiner Theatre, London- until 18th August

Reviewed by Keiley Archer


Sherlock Holmes and the Invisible Thing follows the mystery of a murder which is seemingly committed by an invisible criminal. Underlying tensions emerge as the Holmes and Watson investigate the crime, while the ‘Invisible Thing’ lurks around the house. Written by Greg Freeman, the mystery keeps the audience guessing until the very end, which involves a surprising twist on the crime.

The audience is welcomed into the intimate setting of the Rudolf Steiner Theatre with the chilling sound of the wind, the backdrop of a Victorian household ahead on the stage with extremely high attention to detail. Before the play has even begun, the traditional Sherlockian ambiance is created. The theatre itself could not be situated in a more fitting location, just off Baker Street, where Holmes famously resides.

Stephen Chance embodies Holmes perfectly, demonstrating his proficiency in logical reasoning and observation from the moment he enters the stage in the classic deerstalker hat and inverness cape. His exchanges with Watson, played by Philip Mansfield, are a joy to watch on stage as they recreate the iconic crime-solving duo. Humour is woven into the script well, particularly through the contrast of Holmes’ clever deductions against Detective Peacock’s (played by Doug Cooper) comedic substandard detective work, as well as the continued bickering between Holmes and Lucy Grendle (played by Vanessa Faye-Stanley).

The cast are able to captivate the audience from beginning to end, even when referring back to scenes which occurred offstage. It was easy to visualise these scenes without having to have them physically performed on stage. The entire duration of the play remains in the Grendle household, allowing the audience to feel involved in the crime solving process, as they experience it the same way as the detectives.

It is a cleverly written play which presents the well-loved characters in a unique case that invites audible gasps from the audience while leaving you on the edge of your seat until the dramatic reveal at the very end. It is definitely a must see, particularly for fans of Sherlock and whodunnit mysteries

The 39 Steps Review

The Barn, Cirencester – until 10 August 2019

Reviewed by Catherine Françoise


It’s always a pleasure to visit this wonderful theatre in Cirencester and this was no exception. Instantly engaging, slick, characterful, hilarious and accomplished. I enjoyed this production of Patrick Barlow’s The 39 Steps directed by Joseph O’Malley very much. This theatrical parody of Hitchcock’s iconic 1935 film was first seen in London at the Criterion Theatre in 2007 where it also won an Olivier. The stage and theatre, though small by West End standards, were much larger than the Barn. The ‘usual’ evolution of a show is for it to move to bigger theatres rather than the other way around but in fact the Barn’s decision to take a risk on producing on a (much) smaller stage works amazingly well.

If you enjoy slapstick and daftness, you’ll love this. Very much in the vein of comedic slapstick championed by Chaplin and Keaton to the current ‘Comedy…. Goes Wrong’… the small but perfectly formed cast of 4 between them play an eye-watering 139 characters brilliantly and very hilariously!

Max Hutchinson plays a perfect matinée idol hero Hannay: self-deprecating, suave, intelligent (though possibly not as intelligent as he thinks!), and determined to see through to the end, be that travelling the length and breadth of the country, not being distracted by attractive women, observing ‘clues’ and analysing possible crooks. All great fun and extremely well done.

Jonathan Bourne and Colin Elmer are a brilliant double act, playing most of the show’s other characters with a commendable bank of accents, physicality and much else! Tricia Adele-Turner plays three ‘Femme Fatales’ with great style.

The twists and turns of the story demand the use of many props, physical theatre (I enjoyed Bourne and Elmer playing trees, streams, grass, bridges and much else), impeccable comic timing and the 100% suspension of seriousness. It succeeds on every level and I hope that other theatres might take the production for a week or two as indeed Windsor Theatre Royal are doing from the 12th to the 17th August. This well meshed, confident cast deliver a tight, hilarious, play perfectly complemented by superb lighting, sound and staging. One for comedy buffs and also those who love nostalgia!

Cirencester is SO easy to get to and also a very lovely definitely location and place worth the time! They also have wonderful restaurant so you can really enjoy and appreciate this lovely theatre outside of London ~ HIGHLY Recommend!

Bravo ALL!