Cerebral, witty, thrumming with energy – ‘If Mouth Could Speak’ is a play ostensibly about one man’s quest for death, but performs as a powerful celebration of life in the big city, in all its suffering glory.
A young immigrant, Danny, is lost and suicidal in the strange tides of London. There is no set, no props, yet we sense the ranging energy of a conflicted individual. One moment he sits by the Southbank, the next by London Bridge, then Peckham and beyond. Exquisitely written and performed by Timotei Cobeanu, the imagery is that of isolation, yet it brims with humanity.
The music, written by director Michael Crean, was a particular highlight, able to follow the changing energy of Danny’s deteriorating state. There is not a static moment, the poetry and music is relentless, a rhythmic reflection of a moving city. At points, Cobeanu slips into a grime rap-like flow, accompanied by Crean’s shifting beats, at others sirens, voices and doctors accompany his words, plaintive and scattered.
London herself makes an appearance; twisted, ancient, toothless, lustful. The personification of ‘London’ as a wild woman made sense to me, she is a city without boundaries, after all, and her sudden appearances animated the performance with a crooning vivacity. One quibble – ‘London’ is given a breathy, high-pitched voice that didn’t quite match the comparison of “Amy Winehouse” as offered by the script. Something more authentically seductive might have worked better, rather than a humorous mimicry of charged femininity.
Overall it is a moving hour, an intense journey into one man’s anguish, adorations and eventual destruction in the most populated of cities. I’d highly recommend.
Acclaimed playwright Alex Gwyther takes on the daunting subject of male rape in ‘Ripped’, a searing one-man play that strikes at the heart of toxic masculinity, violence, and emotional trauma.
Jack (Gwyther) wishes to conceal his agony, and so reinvents himself into a twisted imitation of ‘true masculinity’. But can we ever truly escape our past?
The play is moving. Gwyther imbues Jack with a subtle tenderness, despite his obvious anguish. Jack, ultimately, is a man searching for refuge, reinventing his identity after it has been obliterated, and Gwyther’s performance reflects this new need for affirmation underneath his overwhelming rage.
The play is not perfect. Wounded masculinity does not always manifest in violence, and although Gwyther’s performance is direct the nuance of the wider situation is sometimes lost, and there’s no real sense of a true solution. “Boys don’t cry and real men don’t die, they just reload!” argues Jack, but what should replace these antiquated, militaristic styles of behaviour? It sometimes feels unclear.
Around 12,000 men report rape every year. The total number is much higher – men tend not go to the authorities, fearing stigma, disbelief, even ridicule. Laws regarding rape victims have been gender neutral since
2003, yet sexual violence against men is rarely discussed and even more rarely prosecuted. It is not a comfortable watch, but ‘Ripped’ reveals the consequences of the mandatory stoicism required by the cultural elements of masculinity. Jack admires Sylvester Stallone’s all-powerful Rambo, but the world of the traditional man’s man ultimately holds no solace for him.
Overall, Gwyther takes on the stigma of the harrowing reality of male rape, and asks us to engage with society’s mistrust of male vulnerability. A valuable and worthy watch
Rebecca Jayne-Davies and Ryan Bennett will star in The Barn Theatre’s (Best Fringe Theatre – The Stage Awards 2019) upcoming production of Daddy Long Legs, the theatre’s first musical production of 2019.
The award winning musical with music and lyrics by Paul Gordon and a book by John Caird, isbased on the classic novel by Jean Webster that inspired the 1955 film starring Fred Astaire. The production is directed by Kirstie Davis, with design by Gregor Donnelly, musical direction by Charlie Ingles and runs from 2 October – 2 November 2019.
Daddy Long Legs is set in turn-of-the-century New England and tells the story of orphan Jerusha Abbott and her mysterious benefactor who agrees to send her to college, who she dubs ‘Daddy Long Legs’ after seeing his elongated shadow.
With a score of stunning musical numbers, Daddy Long Legs is the tale of two lives colliding and unfolding through Jerusha’s letters addressing her Daddy Long Legs, working as an insight into her innermost thoughts of the world. Daddy Long Legs is an uplifting piece of theatre that questions identity whilst highlighting the importance of education, imagination and love.
Daddy Long Legs is part of The Barn’s 2019 season of in-house productions. The season includes four other productions: a brand new production of the comic thriller, The 39 Steps, which runs until 10 August 2019; a reimagining of Charles Dickens’ festive masterpiece, A Christmas Carol, which opens from 27 November – 4 January; and Michael Morpurgo’s The Butterfly Lion and William Shakespeare’s classic history, Henry V, which completed their runs earlier this year.
As a young actor I’ve always been intrigued by the concept that Peter Shaffer’s Equus. The 2 act play follows Adolescent Psychiatrist Martin Dysart on his journey to understand the motivations behind the horrific crimes of a 17 year old boy, Alan Strang, as he seeks to unlock his psyche and delve into his troubled mind. I have seen Equus staged a couple of times before and I have always been a fan but I have to say, Trafalgar Studios production is by far the best performance of this masterpiece I have seen to date.
Zubin Varla gives an acting masterclass in his role as Dysart, with a calm and clinical command over his stage, yet with some subtle layers of the trouble the character feels within. His is by far the strongest performance of this role that I have seen. Ira Mandela Siobhan thrills as Nugget, fully embodying the horse to a level that I was amazed with, this was a performance that truly suspended your disbelief. Massive credit is due to the movement coach for this production – Shelley Maxwell – with her methods of getting people in and out of the horses really amazing me. However the highlight of the piece for me was Ethan Kai in the role of Alan Strang. The way Kai presented Strang with his constant bursts out and evil eyes was both massively unsettling and strangely endearing towards the character, as you wanted to see him get out of the pain he was so clearly in and get through his troubles. I honestly have massive respect for Kai delivering a performance of this quality in what is only his third theatre credit. Well done!
Overall, Equus is a show for the thinking theatregoer. If you are wanting a happy toe tapping show then this isn’t for you (and fairly so). But if you want to have two hours of truly thought provoking drama delivered by some of the best working actors in the industry right now then get yourself to the Trafalgar Studios and buy a ticket before they’re gone. I promise you you won’t regret it!
Artist selected for Hippodrome 120 sculpture commission
Pictured: Rachael Champion. Linked images of Rachael and her previous work.
Birmingham Hippodrome and Pangaea Sculptor’s Centre have announced Rachael Champion as the winner of the Hippodrome 120 Sculpture Commission, which is part of the celebrations to mark the iconic venue’s 120th year.
Rachael Champion’s work primarily manifests as site-specific installations and architectural sculptures that respond to places and their histories through contextually relevant forms and materials. For the special one-off commission, Champion will suspend organic forms adorned with architectural imagery to highlight the fascinating textures of the city of Birmingham and to reference the theatre’s many architectural and facade transformations over its lifetime.
“It is an honour to have been selected for the Hippodrome 120 Commission. The context is particularly special as I have been working in technical theatre to support my sculpture practice for many years. I am so excited to get to know Birmingham and its architecture to realise ‘Tower of Varieties’” said Rachael of the award.
Jonathon Harris, Visual Arts Producer at Birmingham Hippodrome commented: “The Hippodrome 120 Sculpture Commission is a signature project for the venue’s 120th birthday celebrations and an exciting moment for our new visual art programme that reinforces the Hippodrome’s commitment to artistic investment.
The technical and artistic expertise of Pangaea Sculptors’ Centre has madeit possible for us to commission and support the fabrication of new sculpture on this scale. With well over 500,000 visitors to our building each year, we look forward to this new, temporary public sculpture making a real statement and offering the public the opportunity to engage with high quality contemporary visual art” Jonathan concluded.
The final sculpture will be unveiled in October, as part of the month long celebrations for the Hippodrome’s 120th birthday.
Lucy Tomlins, Director, Pangaea Sculptors’ Centre added: “With a distinguished 120-year history, Birmingham Hippodrome is an organisation adept at taking risks with conceptual and material creativity in a way that speaks to a broad audience. We are delighted to be working with them on our first major public sculpture commission in the city.
“The sculpture will feature architecture that reflects the city’s personality and resonates with the people of Birmingham. Rachael is a unique talent in the field of contemporary art and we are delighted to have awarded her this exciting new commission.”
Rachael will be reaching out to the people of Birmingham on social media to make suggestions of the buildings and architecture of the City that resonate with them to be considered for inclusion. Follow @brumhippodrome and @pangaeacentre to share your favourite.
The sculpture commission is part of the venue’s wider visual arts programme. From September a new ‘Hidden Stories’ season of exhibitions will launch, with highlights including ‘Pre-Windrush to the Present Day: A History of Black Performance on Stage at Birmingham Hippodrome’ in collaboration with Blackstory Partnership. To see the full visual arts programme visit www.birmighamhippodrome.com
Tyne Theatre & Opera House are excited to announce a Halloween screening of cult classic, The Rocky Horror Picture Show, which will be showing Thursday 31st October 2019. Fancy dress is encouraged for this fun film event that will be raising money for the Tyne Theatre & Opera House Preservation Trust – with all profits from ticket sales going to the Trust.
The Trust continues to work on refurbishing, restoring and preserving the Grade 1 Listed building – with a focus on the auditorium and Victorian stage machinery – to ensure it can be enjoyed by future generations.
Tickets for The Rocky Horror Picture Show screening are on sale now and are priced at £15 adults, £12.50 concessions, £10 students with a vaild ID & groups of 10 or more.
The Rocky Horror Picture Show screening is the latest addition to the theatre’s jam-packed Autumn/Winter programme, with something for everyone to enjoy. As the go-to venue for stand-up in Newcastle upon Tyne, in the coming months the theatre will welcome some of the biggest names in comedy, with James Acaster returning for his third completely sold out Tyne Theatre date of 2019. Other comedy favourites coming to the theatre include Josh Widdicombe, Daniel Sloss, Ben Elton, Ardal O’Hanlon and more.
Upcoming music acts span a whole range of genres from folk to funk, including the hugely influential Average White Band, indie-pop legend Lloyd Cole, folk stalwart Al Stewart, much-loved local sibling duo Cattle & Cane – and Classical music fans can enjoy K&K Philharmonic performing ‘Salzburg Mozart Gala’ as part of their first ever visit to the UK.
The Tyne Theatre firmly believe that a trip to the theatre should be enjoyed by the whole family, and they round up 2019 with Julia Donaldson and Axel Scheffler’s Tabby McTat and Starlight Theatre’s rollicking production of The Wind in the Willows. Of course, Enchanted Entertainment return with this year’s Christmas panto Aladdin, starring local favorite Charlie Richmond and with talented X-Factor star, Marcus Collins, announced to play the Genie. More stars will be announced very soon.
Also showing over the festive period, the Russian State Ballet return to Tyne Theatre for one night only with their production of Swan Lake. Their 2017 performance of the same ballet was a complete sell-out, so early booking is recommended to avoid missing out!
Theatre Director Joanne Johnson says: “Tyne Theatre & Opera House is on track for another record year in 2019, with October, November and December set to be our busiest months. We have some wonderful shows and I’m very proud of our programme – just by coming to see a show here, customers are helping to keep our beautiful theatre alive.”
For tickets or information on any of the above listed shows, or to view the rest of the Tyne Theatre programme, see the Tyne Theatre & Opera House website: https://tynetheatreandoperahouse.uk/
I can’t imagine there are many people with a love of musicals, whether film or stage, that do not know the story of The Wizard of Oz. The tale of a young girl named Dorothy who, after a tornado hits her Kansas farm finds herself in the weird and wonderful land of Oz with her beloved dog Toto. On her quest to get back home Dorothy meets many eccentric characters along the famous yellow brick road that join in and have their own wishes to be granted by the Wizard. Despite the best efforts of the Wicked Witch they reach the Wizard who requests and item belonging to the Wicked Witch before any wishes will be granted. The next wacky chapter of the adventure begins and with the help help of her new friends will Dorothy ever get home to her family in Kansas?
This Stage 65 theatre and Jigsaw Youth dance Company production really blew me away. They have added a contemporary element whilst still following the original concept that we all love. The costumes are extremely well thought out and designed, picking up on American iconic styles such as football players and greasers. The set is simple but beautiful and the clever use of props add all the right elements to put you into Oz with its yellow brick road and the Emerald City glowing bright green.
The whole cast were outstanding, a truly talented bunch who sang perfectly, had comedic timing that some high balling TV regulars dream of and you could see the enjoyment of being on stage beaming from their faces. An all round enjoyable family friendly production. A cast of rising stars.
Music Supervision by Joshua Zecher-Ross;Music Direction: Noam Galperin
Scenic Design: Charlie Corcoran; Sound Design: Chris Drohan
The Vaults
11 September – 13 October 2019
The UK première of the hit Off-Broadway musical SHIDA, written and performed by Jeannette Bayardelle, is today announced. The award-winning production, directed by Andy Sandberg, opens at The Vaults on 13 September, with previews from 11 September, and runs until 13 October.
Set to a soulfully contagious score of rock, jazz, R&B, and gospel music, SHIDA is based on thetrue story of a young African-American girl who aspires to become a writer, tracing the ups and downs of her family, friendships, and love life – from the double-dutch court at St. Mary’s Catholic School in the Bronx to a scholarship at NYU. Her dreams become sidetracked by hardship and loss until her faith and those closest to her combine to restore Shida’s hope and give her a second chance.
Jeannette Bayardellesaid today, “I could not be more excited to bring my musical SHIDA to London! This is a true story about my childhood best friend, and there’s no piece of theatre that’s more special to me – it’s an honour to share her story with the world. Developing SHIDA with Ars Nova (NYC) and having our première Off-Broadway were such incredible experiences, and I am grateful to my collaborators, our producers, and especially our audiences for believing in this show. Now, bringing SHIDA to The Vaults for its UK première is a dream come true, and I’m looking forward to collaborating once again with my director Andy Sandberg as we bring this musical across the pond. The time has never felt more right to tell Shida’s story. London — we’ll see you soon!”
Jeannette Bayardelle reprises her role as Shida, for which she won and AUDELCO Award for Outstanding Solo Performance. SHIDA also received an IRNE Award nomination for Best Solo Show in 2015. Her theatre credits include The Color Purple (The Broadway Theatre/US tour- the NAACP Theater Award for Best Lead Actress in a Musical), Hair (Al Hirschfeld Theatre), The Best of Both Worlds (The Women’s Project Theater/American Repertory Theater), Rock of Ages (New World Stages), Sister Act (North Shore Music Theatre/Theatre by the Sea), Big River, Freaky Friday, Rent (US tour), Girl from the North Country (The Public Theater and the forthcoming Broadway transfer); and for film, The Little Mermaid III. Bayardelle’s albums include I Know Who I Am, Praise Report and Transferable.
Andy Sandberg is a director, writer, actor, and Tony Award winning producer. His theatre credits as a Director include the world premieres of Shida (Ars Nova – AUDELCO Award nomination for Best Director), Straight (Theatre Row), Application Pending – which he also co-wrote (Westside Theatre – Broadway World Award for Best Off-Broadway Play, Drama Desk Nomination for Outstanding Solo Show), Neurosis and R.R.R.E.D. (DR2 Theatre), Operation Epsilon (Central Square Theater @ MIT – IRNE Award for Best Director), The Last Smoker in America (Westside Theatre), and Craving For Travel – which he co-wrote (Peter J. Sharp Theater @ Playwrights Horizons). As a producer, his credits include Hair (Al Hirschfeld Theatre/Gielgud Theatre – Tony, Drama Desk, Drama League, Outer Critics Circle Awards), The Best Man (Gerald Schoenfeld Theatre – Tony Award nomination for Best Revival of a Play), The Realistic Joneses (Lyceum Theater), A Perfect Future (Cherry Lane Theater), Vigil (DR2 Theatre), Pageant (Davenport Theater – Drama Desk Nomination for Best Revival) and Paradise Found (Menier Chocolate Factory). Sandberg is a graduate of Yale University and a member of the Stage Directors and Choreographers Society (SDC), Actors’ Equity Association (AEA) and the Off-Broadway League. www.AndySandberg.com
SHIDA was originally developed in association with Ars Nova (NYC).
This I am giving 4 stars to for the overall viewing pleasure not for the performance. The performance gets a solid 5 Stars!
This show follows a group of hippies who are protesting against war, specifically the Vietnam war. The dynamic relationships within the group are tested by not only the situation but the free love of the 70s. One gent is battling himself on whether to sign up to complete his service or to stay with his friends fighting for ‘love not war’. Not for the faint hearted, the first act especially is pretty sexual and with a substantial amount of nudity so possibly not the best idea to go see this with your Grandmother, although, she could take her friends and I am sure they would love the show as much as I did.
Opening night issues included the show opening 15 minutes late, sound being too loud at times and others the microphones not picking up as well as the theatre bouncers standing about loitering and whispering instead of dealing with the talkers and those attempting to video despite the warnings verbally since you stepped through the front doors of the theatre. But of course, that did not take anything away from an incredible show that I would certainly recommend to my adult friends.
Several of the cast members had voices that gave me goosebumps including Dionne (Aiesha Pease) and Crissy (Kelly Sweeney). The confidence and the voice range of many of the cast was incredible. The lights where like an extra character in the show adding ambiance and dramatic flair throughout. The Band being on stage with the cast really added to the festival vibe that comes from a group of hippies. Braking the barrier between stage and audience really makes you feel like you are there with them living the story.
Claude (Paul Wilkins) is a raw talent and can portray pure emotion with just a look.
I was surprised by how many of the songs I was familiar with despite never seeing this show before.
Overall, I thoroughly enjoyed this show and would highly recommend.
ANDREW BOYER, AS SEEN IN LAW & ORDER AND FOX TV SERIES GENIUS, ANNOUNCED TO JOIN WAITRESS IN THE ROLE OF OLD JOE FROM 12 AUGUST
EASTENDERS’ STAR SHAUN PRENDERGAST WILL COMPLETE HIS FINAL PERFORMANCE IN THE HIT MUSICAL ON 10 AUGUST
Waitress has today announced Andrew Boyer will join the smash hit West End musical in the role of Old Joe from 12 August. Boyer’s previous credits include UK tours for Of Mice and Men and Shawshank Redemption, TV series Law & Order and he has recently completed filming for HBO’s upcoming series Avenue 5. He will take over the role from Shaun Prendergast, as previously seen as DC Holt in EastEnders and who will mark his final performance on 10 August.
Waitress, London’s brand-new smash hit musical comedy, tells the story of Jenna, a waitress and expert pie-maker who dreams her way out of a loveless marriage. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
The Tony-nominated musical celebrated its official opening night at the AdelphiTheatre on 7 March and recently extended by popular demand, now booking through Christmas and New Year to 4 January 2020.
Andrew Boyer has performed extensively across stage and screen. His UK tour credits include Candy in Of Mice And Men and Brooksie in Shawshank Redemption. On Broadway he has starred in Gypsy and Music Man. Other selected credits include 1776, My Fair Lady, King Lear, Disney’s Beauty And The Beast, The Odd Couple, Mrs Warren Profession, Candida, Oliver!, Showboat and A Christmas Carol. Andrew has also guest starred in numerous films and TV productions. His recent credits include Avenue 5 for HBO, Genius for FOXand Law & Order:SUV for NBC.
Brought to life by a ground breaking, female-led creative team, Waitress features an original score by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), a book by acclaimed screenwriter Jessie Nelson (I Am Sam) and direction by Tony Award® winner Diane Paulus (Pippin, Finding Neverland) and choreography by Lorin Latarro. The production is also currently touring the US and Canada and has announced an Australian premiere in 2020 at the Sydney Lyric Theatre with further productions to open in Holland next year and Japan in 2021.
Alongside Andrew Boyer as Old Joe, Waitress stars Lucie Jones as Jenna, Laura Baldwin as Dawn, Marisha Wallace as Becky, Blake Harrison as Ogie, Peter Hannah as Earl, David Hunter as Dr. Pomatter.
The full company includes Kelly Agbowu, Laura Baldwin, Piers Bate, Andrew Boyer, Nicole Raquel Dennis, Michael Hamway, Peter Hannah, Blake Harrison, David Hunter, Lucie Jones,Stephen Leask, Chris McGuigan, Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Charlotte Riby, Marisha Wallace and Mark Willshire.
On its Broadway opening at the Brooks Atkinson Theater where it has since become the longest running show in the venue’s history, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.
