StoryHouse Live! Chester – until Saturday 21 September 2019

Reviewed by Julie Noller

5*****

It’s astounding, time is fleeting, madness takes it’s toll. But listen closely; yes it’s the opening lines to perhaps one of the most iconic songs and much loved dances to grace many a wedding reception since it’s beginnings back in 1973. There is a feeling that like it’s author, director and original star Richard O’Brien it never dates or becomes tiresome. It’s roots are firmly set in B movie kitschness, it’s delightful and delicious. Prepare yourself if you’ve never seen this must see, tick it off the list stage extravaganza, it is far superior to the film. You may be asked if you don’t glam up if you are a virgin (theatre show first timer nothing sinister)… glitter and sequins are the norm, dare to be bold. Find a friend and share a photo opportunity. It’s couragously camp, naughty in a childish way that has you giggling. Prepare for the hard core fans who know when to shout out those one liners in an attempt to put off the actors on stage. It’s a show for any occasion if you’re lucky enough to be celebrating from Hen Party to this weekends Chester Pride you are on for a riotous time, perhaps the best night out this year.

Not one actor upon the stage had a poor night, each and everyone performed magnificantly. High notes and low notes were all reached. Brad and Janet our lovable kids starting off as all young lovers in innocence. Played by James Darch and Joanne Clifton, they summise the nerd within all of us, wanting yet not knowing what. Joanne better known to us from BBCs Strictly. I have to say I was mega impressed I expected dancing and suppleness but I was genuinely surprised and impressed by a great voice too. Stephen Webb as Frank N Furter, the old devil on the shoulder encouraging roguish behaviour. A huge cheer was always on the cards before that very first appearance through the doors, he loved every minute as did we. Callum Evans as Rocky is an accomplished gymnast having won the Welsh Championships; a talent that shined through on stage. We must just mention what a body. Philip Franks is superb as Narrator he is quick witted and razor sharp to answer those brave enough to shout out from the audience. With his big red book reminiscent of Eamonn Andrews in This is Your Life (one for the older readers).

All the usual songs were included There’s a Light, bring a glow stick optional but looked fantastic, Sweet Transvestite and Touch Me both iconic and of course Time Warp, don’t sit down… Jump to your feet and feel free to follow Frank N Furters example and release your inner inhibitions. In fact through out the entire show, there were times audience members felt compelled to jump up, dance, clap, cheer and just enjoy the ride. Don’t be the only one sitting for you will regret it.

I have to say that amongst the entire cast of both males and females there wasn’t one bad pair of legs, if only I could don suspenders and look that sexy. The Rocky Horror Show must single handedly boost sales of fishnets and basques within the UK market indeed where ever the show is performed. The danceathon of musical numbers after the expected standing ovation was one of my most enjoyed theatre moments. I have always loved the film for it’s fun poking but you actually get that full on immersive experience with the theatre show, you decide how immersive you want that to be. Just go along and enjoy a fantastic performance, remember those one liners for the next show you go to see… for there will be another jump to the left and then a step to the right.

Richmond Theatre, London – until Saturday 21 September 2019

Reviewed by Serena Norgren

3***

A Woman of No Importance by Oscar Wilde was first performed in 1893. In typical Wilde style, its essence is to satirize the English aristocracy and Victorian values. Women were, at that time, subordinate to men in every sense and reputation was everything. The play’s basic premise is the ruination of a good woman, Mrs Arbuthnot (Katy Stephens), by the caddish Lord Illingworth (Mark Meadows) with whom she had run off 20 years previously but who then had refused to marry her; she unexpectedly encounters him in a country home. To complicate matters further, he has just unknowingly offered their son Gerald (Tim Gibson) a job, which his mother is determined he should not take. Does she tell her son the truth and risk being judged? Or should she stay silent? The hypocrisy of the stigmatisation of the “fallen” woman and the celebration of the much admired aristocrat is what is at the core of this piece.

The play opens in the grand estate of Lady Hunstanton (Liza Goddard) where a collection of upper class caricatures have gathered. The first act is a pedestrian affair with various exchanges between the more minor characters including Gerald’s moralising American love interest, Miss Hester Worsley (Georgia Landers), lecturing on the flaws of the aristocracy. It is lumpy and awkward, only relieved from time to time by the waspish wit of Lady Caroline Pontefract (Isla Blair) with her comic one-liners mainly directed at her bumbling husband, Sir John (John Bett).

With the arrival of Mrs Arbuthnot in the second act, we move from fluff to melodrama as Mrs Arbuthnot and Lord Illingworth fight it out for the soul of Gerald. Although, Katy Stephens does a fine job of the tortured mother trying to protect her son at her own expense and Mark Meadows serves up a decent line in suave caddishness, the intense melodrama is verging on the ridiculous. This is unequivocally a play of two very distinct and different halves.

During the (lengthy) set changes, we are treated to entr’acte ballads performed by the cast with Roy Hudd as the Reverend Daubeny on vocals. With names like Polly Perkins from Paddington Green and The Dark Girl dressed in Blue, these felt contrived and at times, somehow offensive.

Director, Dominic Dromgoole’s earlier revival of this play seems to have been much feted, but this production is stilted and old fashioned. The sets are huge and heavy and the lighting was so dark at times it was difficult to see the actors’ expressions. However, it is not simply the production that fails to deliver. Despite Oscar Wilde’s reputation as a playwright, famed for his vicious wit satirizing the hypocrisy of the aristocracy and calling out the moral double standards, this piece simply does not resonate in the 21st Century. In the post Weinstein era, it
takes a strong stomach to enjoy the piece although one could argue it does establish Wilde’s feminist credentials. It’s relevance today is however hard to see: the modern feminist debate is a much more nuanced and complex one. Of all the plays in all the world, it is hard to see why a producer would choose this one; of all the Wilde plays, again, why choose this one?

The Vaults – until 13 October 2019

Reviewed by Claire Roderick

4****

Jeannette Bayardelle’s Off-Broadway smash tells the story of Shida, who we first meet lighting up her crack pipe. Bayardelle then takes us back to Shida’s childhood and through her college years to show how she got in this sorry state. Shida’s story is familiar – a bright child, sexually abused and guilt-ridden over a teenage abortion finally giving up on her dreams of being a writer after watching her mother die of cancer and turning to drugs to dull her pain. But the musical is based on the true story of Bayardelle’s childhood friend, turning what could seem like a midweek TV movie plot into something more personal and emotional. The short running time means that the songs and interlinking scenes charge past with little chance to pause for breath (until Bayardelle halts the show for a water break but never loses her hold on the audience).

Bayardelle plays every female in Shida’s life with dynamism and sublime characterisation, from inspirational teacher Miss Smalls to blunt but faithful friend Jackie. The men are voiceless, their presence implicit in Shida’s reactions and expressions, making the portrayal of the first time Uncle Steve rapes Shida more harrowing. This still feels like a work in progress, with potential to become a full-scale musical with a whole cast of women exploring the roles and letting rip with some wonderful harmonies, but even in this current form, Shida is a show that packs a punch. Director Andy Sandberg keeps the fast pace from becoming repetitive, and the audience is swept along on the tidal wave of talent and energy from Bayardelle. Her vocal power and characterisation are simply sublime, in both the softer numbers and those that are belted out with stylish ferocity. After starring roles on Broadway, the chance to see Jeannette Bayardelle performing in such an intimate theatre is one not to miss. Grab a ticket while you can.

Film company launches into theatre with Writers & Anglers Theatre Troupe and new play ‘Mercy’

Film company launches into theatre with Writers & Anglers, a London based Theatre Company of Artists, dedicated to developing and producing daring, provocative, and soulful new plays with an eye on championing incendiary and underground voices. WATT was founded in July 2019 by Kevin Fitzmaurice Comer and Mandi Riggi who originally met as filmmakers on a set of a short film in Maine (United States). They partnered to write, direct and produce a number of award-winning narrative films as well as branching off to develop a TV series for the Showtime Network. Their first outing together into the world of theatre is a rehearsed reading of the play ‘Mercy’ written by Mandi Riggi to be presented at London’s Clapham Fringe Festival under the motif “Beyond Borders”. 

‘Mercy’ is a dark comedy with a spiritual twist, centring on a British-Iranian family. The story is told through the prism of an end-of-life decision, bringing into question the very nature of the soul.

WATT strives to create a collaborative and all-inclusive home for Performers and Creatives alike. They are proud to announce their collaboration with the talented and award-winning Thespians, Mandana Jones, Andy Lucas, Adam Sina, David Charles, Michael Bertenshaw, Peyvand Sadeghian, and Louise Young.

The rehearsed reading of ‘Mercy’ at the Clapham Fringe is directed by Nicky Allpress who is a staff director at the National Theatre and assistant director to the play, ‘My Brilliant Friend,’ which opens at the National this coming fall. Her most recent production, ‘Market Boy’ written by David Eldridge received rave reviews.

Mandi Riggi’s last play ‘Leviticus’ produced by the NY company Where Are They Going Now was presented at the 2018 Edinburgh Festival after a sold out run Off Broadway at 59E59 (NY). It met with great acclaim in Scotland, “If Bret Easton Ellis and Tennessee Williams had split a pitcher of margaritas and a mountain of cocaine, the result might have resembled this entertaining examination of 90s excess.” -The Scotsman  

There was no question after the success of her last play in Edinburgh and New York that Comer and Riggi would branch off and form their own theatre ensemble with WATT. 

WATT is excited to unveil ‘Mercy,’ a stunning, emotional, comedic and ultimately hopeful play on Sept 27, 28 (7pm) at The Clapham Fringe (Bread and Roses Theatre).http://www.claphamfringe.com/mercy.html

SARAH FRANKCOM, SIMON STEPHENS & JARVIS COCKER’S ODE TO THE NORTH  

A Royal Exchange Theatre Production – World Premiere

LIGHT FALLS  

By Simon Stephens 
Directed by Sarah Frankcom
With original music by Jarvis Cocker
24 October – 16 November – The Theatre 

Royal Exchange Artistic Director Sarah Frankcom and the multi award-winning writer Simon Stephens have taken a journey across the North of England, shaping and developing their latest collaboration, Simon’s newest play LIGHT FALLS. In this extraordinary World Premiere a family is drawn back together following a single, devastating and unpredictable event. An intricate observation of people and places LIGHT FALLS is a powerful allegory to the North. This production features original music by Jarvis Cocker and can been seen in the Theatre from 24 October – 16 November.

A family finds themselves scattered across the north, each one searching for something to hold on to, to root them to a place, tie them to a person. A woman wakes up with a stranger beside her. A student argues with his lover. A single mother fights to feed her baby. A married man flirts with two younger women and one devastating event will change their lives forever.

LIGHT FALLS is performed by an impressive ensemble cast which includes Mercedes Assad, Freddie Gaminara, Carla Henry, Lloyd Hutchinson, Rebecca Manley, David Moorst, Tachia Newall, Jamie Samuel, Katie West and Witney White.

Sarah Frankcom is the Artistic Director of the Royal Exchange Theatre and the new Director of LAMDA. Her recent productions include: THE NICO PROJECT ( co-created with Maxine Peake for MIF 2019) WEST SIDE STORY, DEATH OF A SALESMAN, OUR TOWN (winner of Best Director at the UK Theatre Awards); HAPPY DAYS, THE LAST TESTAMENT OF LILLIAN BILOCCA (Hull City of Culture); A STREETCAR NAMED DESIRE, THE SKRIKER (co-commission with MIF15) and HAMLET (all with Maxine Peake), BLINDSIDED, THAT DAY WE SANG and the Royal Exchange and MIF13 co-production THE MASQUE OF ANARCHY.

Simon Stephens’ previous plays at the Royal Exchange include BLINDSIDED, PUNK ROCK and ON THE SHORE OF THE WIDE WORLD (All directed by Sarah Frankcom); FATHERLAND and PORT. His award-winning adaptation THE CURIOUS INCIDENT OF THE DOG IN THE NIGHTTIME was produced by the National Theatre and visited the Lowry, Salford twice as part of a world tour. His play THE FUNFAIR, opened HOME Theatre. His many other plays have been widely translated and produced throughout the world. He has presented three series of the Royal Court Playwright’s Podcast. His book “A WORKING DIARY” is published by Methuen. Simon Stephens has been an Associate at the Royal Court, London and Steep, Chicago and a board member of Paines Plough. He is a Professor of Scriptwriting at Manchester Metropolitan University.

The creative team includes Designer Naomi Dawson, Lighting Designer Jack Knowles, Sound Designer Alexandra Braithwaite and Choreographer Vicki Manderson.

Ovalhouse’s Demolition Party Season 2019:

final season at Kennington before move to Brixton

Ovalhouse, 52-54 Kennington Oval, London SE11 5SW

Thursday 26th September – Thursday 14th December 2019

For the final season in their Kennington home, Ovalhouse’s Demolition Party Season will see collaboration between engineers and companies to allow artists dismantle parts of the building as part of their creative process. After 80 years as a community venue and 55 years as a professional theatre, Ovalhouse will relocate to Brixton, opening a brand new, purpose-built theatre in spring 2021.

A venue that has been packed full of exceptional artists making fearless new plays was never going to have a traditional send-off, and rather than reverentially memorialising what has come before, Ovalhouse are ready to tear it down. Structural engineers alongside building and materials specialists have worked with theatremakers to create a truly unique opportunity to dismantle the physical structures that contain them. Ovalhouse are giving their artists the freedom to take risks on stage, off stage and with the very stage itself.

The Demolition Party Season will see Emma Frankland assemble an international cast of trans artists to focus our attention on a global trans genocide in We Dig. Carolyn Defrin and Abigail Boucher will also invite audiences to consider how to respond to dark times with ‘a lot, a lot of love’ in Kissing Rebellion. Returning to Ovalhouse, Christopher Brett Bailey brings back his apocalyptic beat poetry This Is How We Die while Rachel Mars and Greg Wohead poke at plot holes and political lies in Gaping Hole: Story #3.

Ovalhouse’s FiRST BiTE programme sees Associate Artist Xana bring their incredible skill with live loop to Swallowing Your Idols, a powerful exploration of black childhood. Sometimes I Leave is Vijay Patel’s work-in-progress show that promises an honest look at being neurodivergent and navigating social experiences.

Finally, to see the season off in style, four companies will takeover Ovalhouse with parties that give new meaning to “bring the house down”. Bar Wotever, The Cocoa Butter Club, Brazilian Wax, and The R.A.P. Party will ensure the theatre closes with big hits and a smashing good time.

Owen Calvert-Lyons, Ovalhouse’s Head of Theatre & Artist Development, comments, As Ovalhouse prepares to relocate to Brixton and to mark the end of this extraordinary space, we wanted to do something special. We have brought together inspirational artists to create a unique season of work in which artists are given licence to demolish elements of the building as part of their creative process. It is not the walls of this building that have given Ovalhouse its unique position in London’s cultural landscape, but the artists who have filled it with acts of revolution and the audiences who have witnessed them. It is the natural order that from destruction comes new growth. So put on your dancing shoes and pick up a sledgehammer: Welcome to The Demolition Party.

The full programme is as follows:

Ovalhouse and Emma Frankland & Company present We Dig by Emma Frankland

Fri 4 – Sat 19 October, 7.30pm (press night: Mon 7 October, 7.30pm)

Built from conversations with trans women and trans feminine people around the world, particularly the UK, Indonesia, Canada and Brazil, We Dig centres around the actual excavation of a giant hole – a literal representation of a queer community needing to bury itself for protection.

This exhilarating new theatre project led by Emma Frankland, alongside very special guests, will see them taking complete control as they dig deep into the historic Ovalhouse building to initiate the final season at Kennington. We Dig focuses on trans artists, communicating elements of their global situation, particularly targeting the needs of women and girls. Guests include Travis Alabanza, whose 5 star show Burgerz sold out in London and Edinburgh; One From the Vaults host Morgan M Page; and Indonesian celebrity and performance artist Tamara.

Ovalhouse and Christopher Brett Bailey present This Is How We Die Fri 25 Oct – Sat 2 Nov, 7.30pm

Written and performed by Christopher Brett Bailey, This Is How We Die is a motor-mouthed collage of spoken word and storytelling. Tales of paranoia, young love and ultra-violence; a spiralling odyssey of pitch-black humour and nightmarish prose. With echoes of Lenny Bruce, William Burroughs, beat poetry and B-movies, This Is How We Die is a prime slice of surrealist trash, an Americana death trip and a dizzying exorcism for a world convinced it is dying…

Ovalhouse, Greg Woehead and Rachel Mars present Gaping Hole (Story #3) by Greg Woehead and Rachel Mars Fri 8 – Sat 23 November, 8pm (press night: Mon 11 November, 8pm)

In the Shawshank Redemption, wrongly convicted Andy Dufresne spends years digging a tunnel to freedom from his prison cell. He hides his work under a large picture of Rita Hayworth. On the day of his escape, Andy crawls his way towards the outside world and perfectly replaces the poster on the wall to mask his escape route. We’re so emotionally satisfied when Andy rips off his prison uniform in the rain that we forget to ask how he could possibly have replaced the poster from inside the tunnel. But how could he have possibly have replaced the poster from inside the tunnel? What holes are we prepared to overlook in order to stay comfortable?

Following Mars and Wohead’s cult hit Story #1, Gaping Hole (Story #3) is the third part in a non-linear trilogy about radical narrative.

Ovalhouse, Carolyn Defrin and Abigail Bouher present Kissing Rebellion Fri 15 – Sat 30 November, 7.30pm (press night: Mon 18 November, 7.30pm)

Exploring the impact of global crises and personal heart breaks, Kissing Rebellion is a new dance theatre performance inspired by the social media message that followed the Paris attacks in 2015: “Il va falloir beaucoup, beaucoup, beaucoup d’amour”- “It’s going to take a lot, a lot, a lot of love.”

Hosting dinners over the last three years in London, Paris, Chicago and Los Angeles, co-creators Carolyn Defrin and Abigail Boucher audio-recorded their guests’ humorous, passionate and sorrowful stories that began with a kiss. With connections to family, friends, lovers, identities, places and histories, these original recordings are woven together with live performance to investigate the capacity to heal and care in the wake of what has been shattered.

Ovalhouse’s eclectic new FiRST BiTES are:

Ovalhouse and Lost Kid Collective present Swallowing Your Idols

Thurs 26 – Sat 28 September, 8pm (Upstairs Theatre)

Memories don’t forgive. Children don’t forget. Adults don’t grow up. Swallowing Your Idols is a show about black childhood, about returning, reconnecting, and journeying towards forgiveness so that you can find joy and do more than just survive. Told through synths, hacked toys, looping, and poetry, Swallowing Your Idols brings the child, the teenager and the adult together in an apology owed to your past selves, to be accountable for who you have become and who you want to be. Created and performed by live loop artist, Xana it is a visceral exploration into the experience of Aggressor, Protector, and Victim.

Ovalhouse and Vijal Patel present Sometimes I Leave

Thu 10 – Sat 12 October, 8pm (Upstairs Theatre)

Sometimes I Leave is a new show by Vijay Patel, which takes you on a neurodivergent journey through the process of needing to leave situations. It is fuelled by anxiety, the violence of ‘curing’ (through experimental treatment) and our differently wired brains. Vijay exploits his almost 20-year experience with Asperger’s syndrome since diagnosis. Through performance art, video and theatre, he repeats and reclaims his own lived experiences. This is a show that smashes the stigma against ‘othered’ brains, that imagines existing in a world that, as opposed to discriminating unique ways of thinking, celebrates and cares for them.

Ovalhouse’s unique, one-off Demolition Parties are:

Bar Wotever Takeover

Thurs 5 December, 8pm (Downstair Theatre)

Bar Wotever’s weekly night at Royal Vauxhall Tavern and their eclectic mix of London’s leading queer performance artists come to Ovalhouse for one night only. Renowned for presenting a vibrant stage for both up-and-coming and well-established LGBT and queer performers, spoken word artists and musicians, Bar Wotever’s audience welcomes everyone. They will bring some of their community, chaos and excellence with them so expect the unexpected!

Brazilian Wax takeover: Demolition Party!

Sat 7 December, 8pm (Downstairs Theatre)

It’s the end of an era, and raucous queer Latinx disco Brazilian Wax is giving Ovalhouse a truly smashing send-off by demolishing walls, taboos and piñatas in this special one-off takeover. Expect the finest pole-dancing, tassel-swinging, floor-f*cking Latinx acts in town; to get sweaty on the dance floor; and games, prizes with some sexy surprises. This party is a safe space for queers, sex workers, migrants, POC, and attendees must abide by the code of respect for all bodies and all identities and to engage fully in this communal moonlight ritual. Enter at your own risk. Prepare to be changed forever.

Cocoa Butter Party

Thurs 12 December, 8pm (Downstairs Theatre)

The Cocoa Butter Club are throwing a leaving party to make sure Ovalhouse goes out with a bang! Celebrating over 50 years of performance, conversations, adventures and, most importantly, people, they’re bringing a one-off Queer Cabaret with everything from neo-burlesque and poetry to drag, hoops and voguing; not to forget the nipple tassel making.

So, lotion up baby, because Sadie Sinner The Songbird will have you screaming.

The R.A.P Party

Sat 14 December, 8pm (Downstairs Theatre)

What might eloquent voices from contemporary poetry and spoken word movements have to say about hip-hop’s past, present and future? Come chill and find out at Inua Ellams’ Rhythm And Poetry Party, a nostalgic, no-clutter, no-fuss, night of hip-hop-inspired poems and favourite hip-hop songs.

Array of stars take part in special OneTrackMinds event to launch The Beautiful Word campaign at Wilton’s Music Hall

Last night, September 15 at Wilton’s Music Hall, an eclectic line-up from the entertainment world came together for an evening of music and storytelling to launch The Beautiful Word campaign, raising funds to enhance the acoustics and seating in the auditorium.

Led by BAFTA award-winning actor David Suchet C.B.E who is chair of the fundraising campaign, the world’s oldest working music hall and East London theatre institution played host to a very special version of the legendary event OneTrackMinds, where a panel of esteemed guests share the one song that changed their life.

Last night the wonderful line up included; comedian and TV presenter Mark Dolan who shared his experience of growing up above a pub in North London with his Irish immigrant parents, legendary actor Tim McInnerny on his filming a music video with Kate Bush in 1988 (and he could scarcely believe his luck!), pop starlet Katie Melua’s insight into attending parties and how Joni Mitchell helped her overcome her anxieties, comedian and author Helen Lederer’s hilarious story on hope and perseverance, The Guilty Feminist founder Deborah Frances-White and her moving piece on how The Beatles’ Hey Jude has been significant at all points of her life, and rounding off the evening in style was esteemed star of stage and screen David Suchet C.B.E, whose tale on discovering classical music later in life and how that led to him learning to play the clarinet aged 40 was one of poignance and joy.

The campaign has kicked off spectacularly, raising funds to enhance the acoustics and seating of the auditorium.

To donate please use this link: https://www.wiltons.org.uk/support/donation

STETSONS AT THE READY AS COMEDY MUSICAL ACHY BREAKY BRIDE COMES TO TOWN

HILARIOUS NEW COUNTRY JUKE BOX MUSICAL GETS ITS LIVERPOOL PREMIERE

From the producers that brought audiences Rita, Sue and Bob Too! and The Salon, Regal Entertainments are back with brand-new comedy musical, Achy Breaky Bride this October.

After a well-received run at St Helens Theatre Royal earlier this year, this hilarious jukebox country musical makes its Liverpool premiere.

Written by Emma Culshaw and David Paul and directed by Sylvie Gatrill, it comes to The Epstein Theatre from Wednesday 9 – Saturday 19 October.

This brand-new comedy includes all the biggest classic country hits to sing along to, including: Crazy, Jolene, Rhinestone Cowboy, Rose Garden, Achy Breaky Heart and many more!

The shows stellar cast includesRadio City’s Leanne Campbell; Brookside and Benidorm’s Philip Olivier; Liverpool favourite Lindzi Germain; The X Factor’s David Heath; and Rita, Sue and Bob Too! star Olivia Sloyan.

The Ruby Slippers’ Emma Vaudrey; The Salon’s Jenna Sian O’Hara; and Liverpool Theatre School alum Adam Curtis complete the line-up.

It’s never a dull day in Dolly’s Dream Dresses, Liverpool’s boutique Bridal shop run by A Boy Named Sue (Olivier) and his sister Jolene (Campbell).

Radio City breakfast host Leanne Campbell is always an audience favourite. She is well-known to audiences through her many panto appearances and other stage roles, including Carolin The Salon at St Helens Theatre Royal in 2016 and The Epstein Theatre in 2017.

Joining Leanne is Brookside and Benidrom star Philip Olivier.

Philip spent seven years playing Tinhead in Channel 4 soap opera Brookside and appeared in season six and seven of ITV comedy Benidorm. Stage appearances include The Ale House at St Helens Theatre Royal and The Dome in Liverpool, Dirty Harry in the UK tour of Never Forget and The Salon at St Helens Theatre Royal and The Epstein Theatre  

Also in the line-up is the sensational Lindzi Germain. The Liverpool actress and writer is a favourite across the city and Lindzi has appeared in countless productions including Bon Voyage at The Epstein Theatre; Scouse Pacific and The Royal at The Royal Court Liverpool; and The Ale House at St Helens Theatre Royal and Liverpool Grand Central.

X Factor star David Heath also joins the cast. The Bootle native was a member of boyband Eton Road on the 2006 series of the hit ITV show, finishing in fifth place. David’s stage credits include the title role in Aladdin at St Helens Theatre Royal and The Wizard of Oz at The Epstein Theatre.

Emma Vaudrey is a successful stage and screen actress with credits including Lady Killers and Springhill. She recently appeared in psychological thriller Blood Runs Deep at The Unity Theatreand starred with Divina De Campo in 2016’s The Ruby Slippers.

Olivia Sloyan returns. Her theatre credits include Sue in Rita, Sue and Bob Too, Tia in The Salon, Princess Jasmine in Aladdin, and both Linda and Brenda in Blood Brothers.

Audiences may recognise Jenna Sian O’Hara from 2017’s production of The Salon, and completing the cast is Adam Curtis. Since graduating from Liverpool Theatre School Adam’s credits include the UK tour of Ken Dodd’s The Happiness Show and UK tour of Stardust.

Producer, Chantelle Nolan said: “I am delighted to bring Achy Breaky Bride to audiences of Liverpool. It has an incredibly funny script and is filled with some of the biggest classic country hits which is certain to have everyone up in the aisles singing and dancing.”

Watch all the Crazy antics unfold as Sue and Jolene work non-stop from 9-5 to help these blushing brides-to-be prepare for their big days!

Will they make it down the aisle without a hitch? Will they stand by their man proclaiming I Will Always Love You? Don’t count on it!

Grab your stetsons and put on your cowboy boots as they are made for walking down The Epstein Theatre this October. You’ll have an Achy Breaky Heart if you miss it!

WHAT THE CRITICS SAY

★★★★ North West End

“A hilariously funny, light-hearted entertaining show”

★★★★ Fairy Powered Productions

“Have not laughed so much in a long time…The whole cast were excellent and really connected with the audience”

What’s Good To Do

“A light-hearted play with great country music and a wonderful cast.”

The Reviews Hub

“You can’t go wrong with Achy Breaky Bride…Pure unadulterated fun”

LISTING INFORMATION

ACHY BREAKY BRIDE

Date: Wednesday 9 – Saturday 19 October
Time: Wed & Thu 7:30pm / Fri & Sat 8pm / Sat Matinee 4pm / Sun 6pm (no shows Mon 14 & Tue 15 October)
Tickets: From £15

To book tickets please call 0844 888 4411* or go online at www.epsteinliverpool.co.uk * or in person at The Epstein Theatre Box Office from 12pm – 6pm Monday – Saturday.

*Subject to booking fee. All prices include a £1 per ticket venue restoration levy

For more details check out www.epsteinliverpool.co.uk and join our mailing list. Follow us on Facebook www.facebook.com/EpsteinTheatre and twitter @EpsteinTheatre.

Pleasance completes its autumn season
with Best of Edinburgh programme
Monday 30th September – Wednesday 4th December 2019
Pleasance Theatre, Carpenters Mews, London N7 9EF

Running as part of the already announced exciting autumn season Pleasance now announces their Best of Edinburgh Season with true crime sensations, award nominated shows, original musicals for children and frenzied cabarets. Pleasance’s 2019 Edinburgh programme saw over 560,000 festival goers enjoying 5,534 performances of 277 productions and this Best of Edinburgh season offers London audiences a slice of some of the action

True crime caught audiences’ attentions this Fringe with recipient of Pleasance’s Charlie Hartill Theatre Reserve 2019, Bible John at its fore. Using a real, unsolved series of murders that occurred in Glasgow at the Barrowlands Ballroom in the late 60s to interrogate the current cult of true crime and notions of victimhood, Bible John presents a riotous, furious, joyful exploration of violence and gender, looking at one of Scotland’s darkest mysteries

Total Theatre nominated the accident did not take place (YESYESNONO in association with Pleasance) summons hyper-reality to recreate a fictional accident. Each recreation is more frenetic than the last, moving from ‘truth’ to ‘truth’ but which is the truth? Using an unrehearsed guest performer each day, the show highlights the deeply human need to destroy the mystery of the other, to render ourselves transparent through both mass and social media

Shortlisted for the Popcorn Award 2019, A Womb of One’s Own follows a young woman on her journey of self and sexual discovery, exploring the emotional rollercoaster of an unwanted pregnancy, an abortion and the surrounding taboos. Supported in Edinburgh by The Pleasance’s Charlie Hartill Theatre Reserve 2019, this funny, clever and politically challenging coming-of-age story tackles a big painful subject with warmth, heart and humour

Jodie Irvine’s Gobby is a playlist of awkward encounters, starting over and growing up. A biting and heartfelt odyssey about what it really means to be loud, this new play is a darkly comic telling of survival, an exploration of self-awareness and a lesson in how to throw a really good party

Children’s show Mustard Doesn’t Go With Girls is an original musical tale for all the family from Lecoq-trained company, Bric à Brac. When the children of Bow-on-Tie start mysteriously disappearing, Abigail decides to investigate further. She embarks on a music-filled adventure to uncover the town’s secrets, topple the cabinet of treacherous animals in charge and prove girls are made of more than just sugar and spice

Can Heroin(e) put the “Great” back into “Britain”? Three flatmates battle Marilyn Monroe, cultural identity and snowflake mediocrity to save us all! Recently named by the British Library as a Culturally Important Playwright of the 21st century, Philip Stokes’ hilarious and shocking award-winning Heroin(e) for Breakfast now celebrates its 10-year anniversary, reloaded uncensored, relevant and never more needed. A play that is more relevant today than it was 10 years ago!

Winner of the inaugural COMMON Award, The Land of My Fathers and Mothers and Some Other People is an all-singing, all-dancing re-enactment of what Rhys’s Mam wrote down 40 years ago. This frenzied one-man cabaret mixes stand-up, dance and good old-fashioned singalong to breathe life into his Mam’s stories and bring Treherbert rugby club back to life. Celebrating small town life it shows you why dancing in the same spot your parents met is really amazing

Other shows as part of the transfer season include Madame Ovary, Tom Brace: Brace of Spades, Endless Second, A Brief History Of The Fragile Male Ego, In Loyal Company, Fragility of Man, Murder on the Dancefloor, It’ll Be Alt Right On The Night, Algorithms, Wireless Operator and Honeybee

Anthony Alderson, Director of the Pleasance, comments, We had an incredible summer, a truly inspirational month of great art and great friends. It’s a privilege to be able to bring just a taster of this amazing work to our London venue. Working with those including the recipient of the Charlie Hartill Theatre Reserve, the winner of the inaugural COMMON Award and many other ground-breaking artists to continue their journey is a thrill and we can’t wait to share this great work with London audiences

The rest of the Pleasance autumn season which includes Tony Hawks’ Midlife Cowboy, Figs In Wigs’ Little Wimmin, London Horror Festival and Sink The Pink’s Escape From Planet Trash is as follows:

Midlife Cowboy
Friday 13th September – Sunday 6th October (Press Night: Thursday 19th September)
Debra Stephenson (Coronation Street) and Tony Hawks (Just a Minute) star in this new musical, written and directed by Hawks. A warm, funny and entertaining new musical Midlife Cowboy is tale of heartache, love, and friendship with some great new country, blues

London Horror Festival
Tuesday 8th October – Friday 25th October
The UK’s largest festival of live horror performance returns for its 9th year, expanding over 2 venues and 3 theatre spaces. This year Pleasance Theatre is delighted to join the Old Red Lion Theatre as a host venue, with an eclectic programme of shows by new and established horror companies. This programme of almost 30 shows is guaranteed to rattle your bones and send shivers down your spine

Little Wimmin
Wednesday 6th – Saturday 9th November
The acclaimed UK based performance company Figs in Wigs present the London Premiere of Little Wimmin. If you don’t know the book don’t worry, their show will be the definitive version. Figs in Wigs are Pleasance London Associate Artists in 2019, making work that is an unconventional mix of theatre, live art, comedy and dance. They are Rachel Gammon, Suzanna Hurst, Sarah Moore, Rachel Porter and Alice Roots

Escape from Planet Trash
Wednesday 13th November – Sunday 22nd December
Following from last year’s smash hit How To Catch A Krampus, Sink the Pink’s Escape From Planet Trash sees the collective stage the second of their queer Christmas trilogy – set in 2050, the show follows a motley crew living on a junk planet. It will feature performances by Ginger Johnson, Mahatma Khandi, Maxi More, David Cumming, Mairi Houston and Lavinia Co-op

Knitmas: A Winter Yarn
Saturday 7th December – Sunday 22nd December
Take a sideways look at what really makes Christmas special in SharkLegs’s adventure for children 4+. In a workshop before the show, get crafty and make something that will help our heroes light up the forest and realise that they are not alone in this mischievous and magical world. Join LongSleeves, a Christmas jumper whose arms aren’t the right size and they aren’t the same length!

THE TURBINE THEATRE

ANNOUNCES THE FIRST MUSICAL IN ITS INAUGURAL SEASON

THE UK PREMIERE OF

HIGH FIDELITY

A MUSICAL BASED ON THE BRITISH NOVEL BY NICK HORNBY

WRITTEN BY DAVID LINDSEY-ABAIRE

WITH MUSIC BY TOM KITT & LYRICS BY AMANDA GREEN

DIRECTED & CHOREOGRAPHED BY TOM JACKSON GREAVES

RUNNING FROM 21 OCTOBER – 7 DECEMBER 2019

& FOLLOWING THE CRITICAL HIT TORCH SONG

The UK premiere of the irresistible new musical comedy High Fidelity, based on the acclaimed British novel by Nick Hornby (State Of The Union/About A Boy/Fever Pitch), is the second production in Paul Taylor-Mills’ inaugural season at The Turbine Theatre. Directed and choreographed by Tom Jackson Greaves, the first musical to open at the new Battersea Power Station based theatre, runs from 21 October – 7 December.

While the acclaimed film adaptation of High Fidelity relocated Hornby’s story to Chicago, this new production of the musical will set it back home in London, with an adapted book by Pulitzer Prize winner David Lindsay-Abaire (Rabbit Hole), music by Pulitzer Prize winner Tom Kitt (Next to Normal) and lyrics by Tony Award nominee Amanda Green (Bring It On). Vikki Stone will join the team to work with the authors to relocate the action back to its London/Camden roots.

Rob is the thirty-something owner of a London record shop who’s mastered the art of finding rare vinyl and losing girlfriends. Laura just dumped him, and Rob is totally moving on. Hopefully. Well, there’s a chance it could still work out!

Could Laura actually be “the one?” Might this turn out to be one of the Top 5 Most Romantic Comebacks Ever?!

High Fidelity has designs by David Shields, sound by Dan Samson, lighting by Andrew Exeter, and casting by Will Burton CDG. Helen Siveter will be the Associate Director. Full casting will be announced in due course.

Paul Taylor-Mills, Artistic Director, The Turbine Theatre said, “I’m over the moon with how the opening of The Turbine has been received. Torch Song has been an absolute dream for me and it was always my ambition to follow up the first production with a musical. 

I’ve been obsessed with High Fidelity in its various incarnations for a long time. I’ve always been curious as to why it didn’t get the life I believe it deserved on Broadway and believe this may have been because of timing and geography. I have engaged Vikki Stone to relocate the story back to its London roots, where Nick Hornby’s book was originally set. I’m thrilled to have the blessing of the original writers of the musical and hope to build on the brilliant show they’ve created.”

High Fidelity is the second production to run at the newly opened Turbine Theatre, and follows the theatre’s critically acclaimed debut production of Harvey Fierstein’s groundbreaking play, Torch Song. The production is directed by the Olivier Award winning director/choreographer, Drew McOnie, stars Matthew Needham, Daisy Boulton, Dino Fetscher, Jay Lycurgo, Rish Shah and Bernice Stegers, and runs until 13 October 2019.