Mushy: Lyrically Speaking is based on the real life story of Musharaf Asghar who appeared on our screens in ‘Educating Yorkshire’ back in 2013. Mushy, played by Varun Raj, suffers from a stammer which stops him from fulfilling his potential at school and from finding his voice and his place in the wider world. When he is thrust into the public eye through prime time television, millions of people watch as he finds the ability to speak through rhythm and music. Using rap and lyrical narration, the play delves deeper into Mushy’s personal journey and makes us fall in love with his charming character even more.
The raw talent of Varun Raj, Oliver Longstaff and Medhavi Patel from Rifco Theatre Company is a sight to behold. Longstaff not only moves us emotionally with his portrayal of the passionate but overworked Mr Burton, but also has us in tears of laughter with his take on some of his less prominent roles. Medhavi Patel, who plays Ammi, was so convincing and several members of the audience commented throughout on how similar the character was to their own mother or grandmother. Then last but certainly not least, Varun Raj is so convincing with his depiction of Mushy that I even questioned if he was the real Musharaf Asghar. He was equally as impressive playing the nervous and frustrated Mushy with a debilitating stammer as he was rapping and playing a more comfortable Mushy behind closed doors.
Lastly the creative team deserve a huge congratulations, especially Raxstar, who created the lyrics for the rap and lyrical narration. This aspect of the play makes it more appealing to a younger, modern audience but allows for enjoyment for all ages. The songs are catchy and go perfectly with the choreography created by Kate Webster, the movement director. Mushy: Lyrically Speaking is like nothing I have ever seen before and it has left me wanting to see more.
Showing until 26th October 2019, the incredible adaptation of Hugh Whitemore’s Breaking the Code is brought to the transformed Main House at Salisbury Playhouse by Wiltshire Creative.
This production does more than just tell the story of Turing, played by Edward Bennett, cracking the Engima Code during the Second World War. This show reveals the life of Turing from child to man. From his friendship with Christopher Morcom (Hubert Burton) and his love affair with Ron Miller (Joey Phillips) to his demise following the betrayal of his nation when he was put on trial and humiliated over his sexuality.
Edward Bennett, as Turing, is one of the most believable actors I have seen in a long time. His ability to deliver with such passion huge amounts of dialogue, without faltering, made me believe he really could be the genius that was Turing. Bennett acted out Turing perfectly; his awkwardness, his stammer and his close relationship with his mother Sara (Caroline Harker) all came across perfectly.
For me, the in-the-round staging created a much more intimate experience than usual and getting up very close to the actors meant I was more absorbed in this fascinating story than ever before. It is therefore right that both the Creative and Production teams have a special mention in this review.
I found I had to use my porridge (brain) to keep up on more than one occasion. Moving between different periods of Turing’s life without scene changes and costume changes briefly caused confusion although once I became absorbed in the dialogue I was able to catch up. It also took me a while to realise I was seeing the ghost of Christopher Morcom during his many appearances throughout the play when he was constantly in Turing’s thoughts.
Sadly there are those who won’t know the story of Turing and how he was so influential in enabling the Allies to defeat the Nazis in the Second World War. As such I believe it would be a hard show to watch and follow without prior knowledge. Also, whilst there is mention of the work at Bletchley Park there is little about him breaking the code. For those, like me, who think this is going to be a re-hash of The Imitation Game it isn’t, and it could leave some disappointed as a result.
I observed the audience several times throughout this show and they were all engrossed in the production. During the interval and at the end of the show it was evident that people were thoroughly impressed with the show and the reviews for Bennett were echoed by many.
An emotional rollercoaster of a show which is a must see. I, myself, am overjoyed that Alan Turing will shortly appear on our £50 notes and this production hammered home every reason why it should be so.
New Victoria Theatre, Woking – until 12 October 2019
Reviewed by Becky Doyle
5*****
There is little that cannot be said for how fantastical and funny this show was. I was transfixed from start to finish.
The introduction to the Avenue and the characters was great with the song “It sucks to be me” each character with their own problems and setting you up for the rest of the story to follow, allowed you to gain a perspective of the laughs that were to come.
The stage, set up as an Avenue was well thought out and the occasional popping out of windows again allowed for the unexpected little extra from a character or two.
Now, don’t get me wrong, the show isn’t for anyone who cant take a joke. With the occasional racism and the sexual advances from one or two characters it definitely wouldn’t suit anyone too serious.
For me in particular there were two stand out performances, Cecily Redman who played Kate Monster and Lucy the Slut had a voice that was out of this world, her singing had my transfixed, especially during “There’s a fine, fine line”. She alternated between the two characters with ease and I was impressed with how quickly and effortlessly she made it look. The other actor who stood out for me was Tom Steedon (Nicky, Trekkie Monster and Bad Idea Bear) who had me in stitches throughout. His voice was unique and his style and charisma made you want to watch him. This being said, it doesn’t shy away from Megan Armstrong (Mrs T, Bad Idea Bear and Second Arm) as Nicky in particular wouldn’t have been half the character without Megan for support.
The storyline was easy to follow, and you became invested in each character to see how their story developed with some shocks along the way.
Overall this show was amazing and I wouldn’t hesitate to recommend it to people to go and see. It’s clever, emotional at times and ultimately hilarious throughout.
Birmingham Repertory Theatre has today announced the full cast for their festive production of Peter Pan. Bringing director and choreographer Liam Steel’s thrilling new imagining of the classic story to life will be a company of 18 actors.
Flying high as Peter Pan is Lawrence Walker with Cora Tsang playing Wendy and Nia Gwynne as the formidable Hook. Kascion Franklin plays John Darling and Scarlett Ward plays Michael Darling. Swashbuckling their way as pirates are Charlotte Merriam as Smee and Stavros Demetraki as Starkey alongside Sia Alipour, Chris Charles, Luke Johnson and Jocelyn Prah.
Joining the gang of Lost Boys is John Carter as Slightly, Rose Ayling-Ellis and Faye Campbell as The Twins, Keiren Hamilton-Amos as Nibs, Hannah Millward as Tootles and Dominic Owen as Curly. The cast is completed by Mirabelle Gremaud as Tink. Within the cast of 18, three actors are making their professional stage debut – Cora Tsang, Sia Alipour and John Carter.
Following last year’s acclaimed retelling of The Wizard Of Oz, director Liam Steel brings the classic Peter Pan story into the twenty-first century. The REP’s new Birmingham-set version will make audiences fall in love with the family favourite all over again.
Director Liam Steel said:
“We are creating a brand new re-imagined version of Peter Pan specifically for Birmingham audiences. All the beloved characters will be there (albeit with some surprise twists in the casting), but we have transposed it from London 1904 to Birmingham 2019 and made the characters much more relatable and relevant for a modern day audience.
For children encountering the story for the first time, I want them to feel this was how the characters were originally written, and for those who know the story well, then I want them to experience it with the joy of re-discovery, as though they are hearing it for the very first time all over again.
With spectacular flying, incredible sets on a huge scale, ingenious puppetry, out of this world costumes and of course a giant man eating crocodile, audiences can expect to see one of the most visually spectacular Christmas shows ever to grace The REP’s stage. I can’t wait to get started in rehearsals with our wonderful company of actors and bring this thrilling new version of Peter Pan to life.”
Liam Steel is a multi-award winning director and choreographer whose work has included creating productions for the National Theatre, The Globe, RSC, Birmingham Repertory Theatre, the Royal Court, Manchester Royal Exchange, Chichester Festival Theatre, Frantic Assembly and many more. He is a core collaborator at Regents Park Open Air Theatre and has worked on ten productions there over ten seasons, including co-directing and choreographing Sondheim’s Into The Woods, which was awarded an Olivier Award for Best Musical Revival.
He has created many award winning contemporary dance commissions, choreographed for Musical Theatre on the West End and Broadway. In the commercial sector his work includes creating all the musical staging and choreography for the film version of the musical Les Misérables – winner of 3 Oscars, 4 BAFTAS and 3 Golden Globes – including Best Motion Picture.
Peter Pan at Birmingham Repertory Theatre will be adapted by Georgia Christou and Liam Steel from the original play and book by J.M.Barrie. It will be designed by Michael Pavelka with costume designs by Laura Stanfield and lighting design by Lee Curran. The composer is Asaf Zohar with sound design by Christopher Shutt. Kate Waters is Fight Director and Polly Jerold is casting director.
Peter Pan opens at Birmingham Repertory Theatre on 30 November and runs until 19 January. Tickets are on sale now and available from 0121 236 4455 / birmingham-rep.co.uk
FULL CASTING ANNOUNCED FOR A TRULY INNOVATIVE PANTOMIME!
CINDERELLA
GRACE CHAPMAN (‘CINDERELLA’) AND JAMES BISP (‘PRINCE CHARMING’)
TO JOIN THE PREVIOUSLY ANNOUNCED
ORE ODUBA, TIM VINE AND CAT SANDION
PLAYING IN THE PHOENIX CONCERT HALL
AT CROYDON’S FAIRFIELD HALLS
TUESDAY 10 DECEMBER 2019 – SUNDAY 5 JANUARY 2020
Full casting has been announced for Cinderella – a truly innovative new family pantomime from Imagine Theatre and Fairfield Halls, playing in the world-class 1,802 seat Phoenix Concert Hall from Tuesday 10 December 2019 to Sunday 5 January 2020.
Grace Chapman (recently seen in Mame at the Hope Mill Theatre, in Dick Whittington at the New Wimbledon Theatre, as well as roles in Sweeny Todd, Wicked, and The Sound of Music), will star as ‘Cinderella,’ and West End performer James Bisp (Phantom of the Opera, Spamalot, Joseph and his Amazing Technicolor Dreamcoat) will star as ‘Prince Charming’. They will join the previously announced Ore Oduba, who is making his pantomime debut as ‘Dandini’, panto regular and comedian Tim Vine as ‘Buttons’ and CBeebies presenter Cat Sandion as ‘Fairy Godmother’, plus a team of talented youngsters from Croydon and the surrounding areas – who were selected after a busy open audition at Croydon Town Hall earlier in the year. Completing the cast are panto regulars Jason Marc-Williams and Alistair Barron as the Ugly Sisters and Katie Cameron as the Wicked Stepmother
Will the evil Ugly Sisters thwart the path of true love for Cinderella and her Prince Charming or will her Fairy Godmother help save the day? Bring the whole family along to the Fairfield Halls this Christmas to find out, you’ll have a ball!
Cinderella is one of the highlights of an eclectic Autumn/Winter season at the newly re-launched Croydon Fairfield Halls, which officially opened on Monday 16 September 2019.
Delivering a large-scale pantomime into a concert hall with little theatrical infrastructure is a challenge that Imagine Theatre are relishing.
Producer and Imagine Theatre MD Steve Boden said, ‘For a long time, we have been looking for an opportunity to evolve the genre of panto, encompassing a range of technology that has only recently (in relative terms) become available to the theatre world. Panto has continually evolved over the years, constantly reinventing itself and redefining the art form. As custodians of the artform for future generations of practitioners and audiences, we were looking for an opportunity to push the boundaries a bit harder, to do something different, to challenge our own perceptions of what pantomime is and can be. We decided that if the venue wanted to throw the Croydon panto in the air and reimagine it for the Concert Hall, then we too should throw all panto conventions that we know into the air and come up with a new delivery of the artform, to excite and impress audiences now and in the future whilst maintaining the magic and traditions that panto producers pass down whilst keeping the purists happy.
We are certain that our new and re-imagined panto will compliment perfectly the brand-new Phoenix Concert Hall at Fairfield Halls.”
The Woman in Black has been a personal favourite book of mine for a number of years, but I had never had the chance to see the stage play, so when the chance to review it came I jumped at it, and I had high expectations.
I can say I definitely wasn’t disappointed.
The play sticks closely to the book, although it has been adapted slightly to fit in the theatre.
The play takes place in the theatre (we are told in the programme that it is this theatre) and follows Arthur Kipps (played by Robert Goodale) and The Actor (Daniel Easton). Arthur has come to the theatre to tell a story, one of intrigue and mystery that has haunted him for years. He enlists the help of the Actor, who gladly steps in to make Arthur’s long descriptive story more accessible to an audience.
Showing Arthur how sound, lighting and props can transform a scene, they embark upon recounting Arthurs experience as a young man. We’re transported back to a cold wintery town, and here we’re told the chilling story of an old house, a long dangerous causeway and a woman in black.
The set was simplistic, which fit in with the theme of the play, set in one room we are asked to use our imagination as a wicker basket becomes a pony and trap, a train and even a bed. Along with this some perfectly placed cloth was hiding a more complex set, which opened the stage to wider locations.
The play was opened superbly, with Arthur entering and easing us in with some genius comedy, which I was surprised to find in a ghost story. These light moments were sporadically placed throughout the show giving some much-needed relief from the tension we were all feeling.
Although there are only two physical people, we are introduced throughout the play to several different characters. Many of these are played by Robert Goodale, who does a fantastic job of portraying the different characters. I truly felt that watching him he had transformed from one person to the next, both allowing different accents, characteristics and props, so they were easy to differentiate.
Daniel Easton’s performance was just as spectacular. His emotional performance was one of the best I’ve seen in a while and this took the audience on an emotional ride, taking us from terrified one minute to laughing the next. Both actors did a fantastic job of remembering the lines and carrying the play between them.
I would absolutely recommend everyone seeing this play, an undeniably magnificent show that sent chills down my spine.
Festival Theatre, Edinburgh – until 12 October 2019
Reviewed by Hannah Plumb
5*****
This October the Tony Award-nominated worldwide success On Your Feet comes to Edinburgh. On Your Feet is the story of Gloria and Emilio Estefan and their journey triumphing over adversity to become the worldwide music sensation they are known as today.
On Your Feet a colourful explosion of music and dance and sparkling Cuban culture. The show itself is big and glossy while still holding onto the heritage and history of the Estefan’s story. Philippa Stefani is magnetic in her role as Gloria Estefan. She is energetic and the perfect blend of the warm and caring young woman Gloria was offstage and the captivating entertainer she was onstage. The chemistry between Stefani and George Ioannides who played Emilio was not only real but was tender and romantic and reiterated that at its core this show is a love story.
Ioannides played the part of Emilio brilliant. Charismatic and charming but also strong and powerful who we see fights for the music he loves to be delivered to the people who want to hear it despite cultural prejudice. In the second act, however, Emilio was played by Sharif Afifi who continued the role with gravitas. Congratulations to him as it is a difficult job to continue a performance with a crowd that has already warmed up to another actor. A big well done to the entire cast.
The entire cast of On Your Feet from the Estefan’s to the ensemble are all brilliant performers who’re fantastic vocals and eclectic choreography make this show wonderful to watch. Everything comes together to make On Your Feet a really enjoyable experience.
A new adaptation by Amanda Lomas From the novel by Knut Hamsun
Directed by Fay Lomas;Designer: Anna Kezia Williams;Lighting Designer: Rajiv Pattani
Composer: Lex Kosanke; Movement Director: Natasha Harrison
Arcola Theatre
20 November – 21 December 2019
Arcola Theatre and Jump Spark today announce the full cast for Amanda Lomas‘ bold new imagining of Hunger, adapted from the ground-breaking psychological novel by Knut Hamsun. Fay Lomas directs Archie Backhouse (Hans), Katie Eldred (Ylayali), Kwami Odoom (The Young Man) and Jessica Tomlinson (Landlady). The production opens on 25 November, with previews from 20 November, and runs until 21 December.
A young man moves to the big city with dreams of becoming a writer. But in this unforgiving metropolis, friends are scarce and jobs are even scarcer. Once hunger rocks the core of his reality, how can his youthful spirit – and his sanity – survive?
In this fast-paced new adaptation, Amanda LomasexplodesKnut Hamsun’s tale about a mind on the margins and, more than a century since the original novel captured the brutality of urban isolation, asks how much has changed.
Directed by the winner of the Peter Hall Emerging Artist Fellowship Award at Rose Theatre Kingston, Fay Lomas, Hungerbursts onto the stage in a timely, world premiere production.
Hunger is the penultimate production in Arcola’s Autumn season, which celebrates original plays and adaptations by female writers.
Amanda Lomas’previous theatre credits include Your Way or Mine, Girl Meets Boy (Theatre503) and In Defence of Laughter (Leatherhead Theatre). She graduated from Cambridge University with an M.A in Modern Languages and an M.Phil in Linguistics.
Knut Hamsun (1859-1952) won the Nobel Prize for Literature in 1920. His novels include Fra det moderne Amerikas Aandsliv (The Intellectual Life of Modern America), Pan, Markens Grøde (Growth of the Soil), Livets Spil (Game of Life), Aftenrøde (Sunset), UnderHøststjernen (Under the Autumn Star), Benoni, En Vandrer Spiller med Sordin (A Wanderer Plays on Muted Springs), Børn av Tiden (Children of the Age), Segelfoss By (Segelfoss Town), Landstrykere (Vagabonds), August, Men Livet lever (The Road Leads On) and Ringen sluttet (The Ring is Closed). His 1890 novel Sult (Hunger) is regarded as the first genuinely modern novel in Norwegian Literature.
Archie Backhouse plays Hans.His theatre credits includeThe Listening Room (UK tour), There Is A Field (Theatre503), and The Gap in the Light (New Diorama Theatre). Credits for television includes Save Me.
Katie Eldred plays Ylayali.Her theatre credits include The Rubenstein’s Kiss (Southwark Playhouse).
Kwami Odoom plays The Young Man.His theatre credits include The Half God of Rainfall (Kiln Theatre/Birmingham Repertory Theatre), BOYS (The Vaults), A Christmas Carol (RSC), Queen Margaret (Royal Exchange Theatre), and Barber Shop Chronicles (National Theatre). His credits for television include The Athena.
Jessica Tomlinson plays Landlady.Her theatre credits include Chummy (White Bear Theatre), Blood Wedding, Eighth Continent (Tristan Bates Theatre), Best of Both (Pleasance Theatre), Threeway (Theatre503), and A Great British Company (The Vaults).
Fay Lomas is Rose Theatre Kingston’s inaugural Peter Hall Emerging Artists Fellow. Her directing credits include the forthcoming Out of the Dark (Rose Theatre Kingston), The Crucible (Royal & Derngate Northampton Community Company), The Winter’s Tale (St Peter’s Church, Northampton), Bérénice (The Space) and Blood Wedding (The Bread and Roses). In addition, she has directed new, short plays at Arcola Theatre, Theatre503 and Southwark Playhouse. As an assistant director her credits include The Model Apartment (Ustinov Studio), Macbeth (National Theatre/UK tour), Trouble in Mind (Print Room), Death of a Salesman (Royal & Derngate Northampton/UK tour), Great Expectations (Royal & Derngate Northampton), Annie Get Your Gun (Sheffield Theatres) and Half Life (Theatre Royal Bath).
Arcola Theatre produces daring, high-quality theatre in the heart of East London and beyond. We commission and premiere exciting, original works alongside rare gems of world drama and bold new productions of classics. Our socially-engaged, international programme champions diversity, challenges the status quo, and attracts over 65,000 people to our building each year. Ticket prices are some of the most affordable in London, and our long-running Pay What You Can scheme ensures there is no financial barrier to accessing the theatre. Every year, we offer 26 weeks of free rehearsal space to BAME and refugee artists; our Grimeborn Festival opens up opera with contemporary stagings at affordable prices; and our Participation department creates over 13,500 creative opportunities for the people of Hackney and beyond. Our pioneering environmental initiatives are award-winning, and aim to make Arcola the world’s first carbon-neutral theatre.
Twitter: @arcolatheatre
Facebook: /arcolatheatre
Instagram: @arcolatheatre
Jump Spark is a theatre company dedicated to creating new adaptations of international classics; to finding the urgent stories of the past and of other nations and bring them to the UK in a way that sheds light on our own time.
SANDRA MARVIN, AS SEEN AS JESSIE DINGLE IN EMMERDALE, ANNOUNCED TO JOIN THE LONDON COMPANY OF WAITRESS THE MUSICAL AS BECKY
SANDRA WILL APPEAR IN THE LEAD CAST WITH JOE SUGG, LUCIE JONES, LAURA BALDWIN, DAVID HUNTER, TAMLYN HENDERSON AND ANDREW BOYER
Waitress is delighted to welcome Sandra Marvin(Emmerdale, Committee) to the company of the hit West End musical as waitress Becky with her first performance taking place on 17 October. She takes on the role from Marisha Wallace who has starred with the original London cast.
Sandra Marvin will join lead cast members Lucie Jones as Jenna, Joe Sugg as Ogie, Laura Baldwin as Dawn, David Hunter as Dr. Pomatter, Tamlyn Henderson as Earl and Andrew Boyer as Old Joe.
Sandra Marvin most recently appeared on screen in ITV’s Emmerdale as Jessie Dingle. She has previously appeared in Committee and City of Angels at The Donmar Warehouse and starred in several West End productions including Showboat as Queenie, Hairspray as Motormouth Maybelle, Porgy & Bess and Ragtime and many more. Her wide-ranging career also includes performing with Kate Bush in concert and on her live album Before The Dawn.
Waitress celebrated its official opening night at the AdelphiTheatre on 7 March 2019 and the Tony-nominated musical also announced a further extension this week with the show now booking until 28 March 2020.
The full Waitress company includes Kelly Agbowu, Laura Baldwin, Piers Bate, Cindy Belliot, Andrew Boyer, Michael Hamway, Peter Hannah, Tamlyn Henderson, David Hunter, Lucie Jones,Stephen Leask, Chris McGuigan, Sandra Marvin,Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Charlotte Riby, Joe Sugg and Mark Willshire.
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.
Waitress premiered on Broadway in March 2016 and has since become the longest running show in the history of the Brooks Atkinson Theater. 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.
On its Broadway opening, 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.
The Lowry, Salford – until Saturday 19th October 2019
Reviewed by Angharad Crabtree
4****
Delightfully set in the intimate venue of the Quays theatre at the Lowry, Cordelia Lynn’s continuation of Ibsen’s play (Hedda Gabler) provides a relatable insight into a weary wife’s slow demise. The stage was designed to feel as though it was an insight into the family’s home, which almost gave the impression that we were joining them on this journey.
The real testament to this play was the fantastic quality of the acting. Hedda (played by Haydn Gwynne) portrays the role of a woman in turmoil, felt from the minute she first entered the room. George Tesman (Anthony Calf) fully fulfils his role as adoring husband and Judge Brack (Jonathan Hyde) perfectly portrays the seemingly kind but scheming old friend. Also doing an excellent job is Heddas daughter, Thea (Natalie Simpson) and their old family friend Elijah (Ifran Shamji) who both marvellously depict a strained and somewhat star-crossed relationship.
Although it proceeds with a somewhat slow start, it is apparent from the beginning that there is an eerie air about the characters with much to be revealed, brilliantly reinforced by the musical accompaniment. On their move back from America, it is clear the husband and wife couple are not entirely aligned in their ideas of happiness. The sudden reappearance of their daughter Thea and her writing companion Elijah causes tension within the household caused by resurfacing family feuds and accusations of plagiarism.
By the intermission the audience was left eager for the subtext to be unravelled, and the rising tensions to come to a head. The second half takes many unexpected turns as the tension builds, Hedda becoming gradually more erratic and unpredictable, whilst it is apparent she is suffering from the unhappiness of her ‘boring’ life. She cleverly manipulates Elijah, dragging him (somewhat willingly) into her downward spiral.
After the conclusion of the play, the audience is left feeling sad and somewhat sympathetic with Hedda, despite her seemingly cruel tendencies. It concludes leaving some questions, feeling almost that some may have been answered by the original play, as some tensions were left slightly under described. It was felt that the extent of the relationships could have been more explored, although some of the unexplained relationships gave the observer the ability to fill in the gaps themselves. Overall, a moving and thought provoking performance.
