Month: January 2020

Lyceum Theatre, Sheffield – until 11 January 2020

Reviewed by Sophie Dodworth

4****

St Petersburg Ballet Company are at the Sheffield Lyceum this week with the classic ballet, The Nutcracker. Be prepared to be whisked away straight into a world of wild imagination, childhood and magic.

We follow Clara as she is given an enchanted nutcracker doll on Christmas Eve. The magician Drosselmeyer transforms the drawing room, ready for a Battle between mice and toy soldiers. During the battle, Clara saves the Nutcrackers life; breaking a magical spell that turns him from a boy to a toy – and the Mouse King is defeated. In celebration, Drosselmeyer sweeps Clara and the Nutcracker off to the Kingdom of Sweets, where they meet the Sugarplum Fairy and take part in a wonderful display of dances. The next morning, Clara‘s adventures seem to have been more than just a dream.

This Ballet keeps you on your toes as there is never really a dull moment, there are lots of different characters on stage, exciting costume and many sides to the story.

Many scenes are memorable but potentially the most notable is the snow scene. After the Mouse King falls, the Nutcracker lifts the crown from his head and places it on Clara. She magically transforms into a beautiful princess, and the Nutcracker turns into a handsome prince before her eyes. The Prince bows before Clara, taking her hand in his. He leads her to the Land of Snow. This is where the magic takes place, as they dance together surrounded by a flurry of snowflakes. The pa de deux is absolutely beautiful; the scenery is simple yet very effective with snowflakes on stage with a real theatrical treat being a snow machine producing snowflakes to land on to the auditorium.

Another real highlight is during act two with the long sequence of dances during the Land of Sweets scene. Clara and her Prince arrive in the Land of Sweets and are entertained by several different dance performances including a Spanish, Russian, Eastern and Chinese dance. All of which are light-hearted, fun and full of expert technique. The male dancer in the Spanish dance, Dmitrii Popov being a real draw here with his talent and superb charisma and stage presence.

Principal dancer Yulia Yashina is well deserving of her spot. She is everything a ballet dancer should be, delicate, strong, dedicated and professional. She has some beautiful costumes and some seriously difficult pieces to dance, which she executes outstandingly. All of the company are just brilliant at what they do but another one to mention would be the Doll Natalia Romanova. She is just marvellous. She portrays a number of different characters throughout, with a number of different dance genres, gaining enthusiastic applause for every single scene.

Saint Petersburg Ballet delivers exactly what you’re wanting from this production. A seasonal treat, a well formed and rehearsed ballet, and two hours of pure entertainment.

ALICE FEARN & EMMA HATTON

TO PERFORM IN

THE SPARK OF CREATION,

A GALA FUNDRAISER

AT PARK THEATRE, LONDON

ON SUNDAY 19 JANUARY 2020

West End stars Alice Fearn and Emma Hatton will, for one night only, star in The Spark of Creation, a Gala Fundraiser celebrating the work of Stephen Schwartz, at Park Theatre, London on Sunday 19 January. Both actresses are known for playing the role of Elphaba in Schwartz’s smash-hit musical Wicked. The evening is presented by Aria Entertainment and Hope Mill Theatre, while their production of RAGS The Musical (book by Joseph Stein, revised book by David Thompson, lyrics by Stephen Schwartz and music by Charles Strouse, directed by Bronagh Lagan) performs at Park Theatre, London from 9 January to 8 February 2020.

Some of Stephen Schwartz’s favourite compositions will be performed by artists from previous Aria Entertainment and Hope Mill Theatre productions, including Carolyn Maitland, who stars as Rebecca in the forthcoming production of RAGS The Musical, Natalie Green, Simbi Akande and Soophia Foroughi, who are about to appear in Schwartz’s new West End musical The Prince of Egypt andwho appeared in Hair and Putting it Together, Laura Harrison, who starred in Hope Mill Theatre’s first-ever production of Parade, Luke Bayer, who appeared in Yank! and who is known for Everybody’s Talking About Jamie, Andrew Patrick-Walker, who appeared in Hair, and Genevieve Nicole, who starred in Hope Mill Theatre and Aria Entertainment’s production of Schwartz’s Pippin.

There will also be a panel discussion and an audience Q&A with the world-renowned composer and lyricist responsible for many of the world’s most loved musicals, including Wicked, Children of Eden, Pippin and Godspell, hosted by Aria Entertainment and Hope Mill Theatre founders Katy Lipson, Joseph Houston and William Whelton.

All proceeds from the evening will go towards funds needed to stage RAGS The Musical for its limited run at Park Theatre. Tickets are on sale now.

LISTINGS INFORMATION

RAGS The Musical

Park200
9 January – 8 February 2020

Press Night: 14 January 2020 7.00pm

Park Theatre

Clifton Terrace

Finsbury Park

London

N4 3JP

020 7870 6876*

www.parktheatre.co.uk

*Telephone booking fee:10% (capped at £2.50 per ticket)

Tickets

from £18.50 (Previews £18.50)

Performances

Mon – Sat 7.30pm, Thurs & Sat 3:00pm

Access performance

Audio Described – Thursday 23 January 7.30pm, Touch Tour 6pm

Running Time

2 hours and 30 minutes

Twitter: @RagsMusicalLDN/@ParkTheatre

GALA FUNDRAISER

Sunday 19 January 2020

Event: 7.30pm

Tickets: £60 & £65

Tickets on sale now

CINDERELLA BREAKS BOX OFFICE RECORDS

CAST CELEBRATES AS EPSTEIN PANTO BECOMES MOST SUCCESSFUL EVER!

The cast of ‘Cinderella’ are celebrating after the production broke The Epstein Theatre’s box office records to become the venue’s most successful pantomime ever.  As the curtain dropped on the final performance, the cast was told the show has played to over 3,000 more theatregoers than past Christmas pantomimes – an increase of 20% in audience numbers.

Regal Entertainments’ inaugural Christmas production at the Epstein Theatre ran from 7 December to 5 January and starred Emmerdale’s Sammy Winward (Cinderella), Benidorm’s Crissy Rock andBrookside’s Sarah White (the Ugly Sisters),Shameless’ Warren Donnelly (Lord Dandini), Andrew Geater (Prince Charming), Samantha Palin (the Fairy Godmother) and Lewis Devine (Buttons).

Playing to packed houses, Cinderella earned 5-star reviews throughout its run, with critics describing it as: “An evening of pure, unfiltered joy.” (Fairy Powered Productions), “A great fun, family show, with a wonderful ensemble cast, that will have you grinning throughout.” (Opening Night) and lauding “An outstanding cast, a beyond-brilliant script and unique special effects,” (Writebase).  Some audience members apparently loved the show so much that they returned as many as 10 times.

Producer and Director Chantelle Nolan said: “We are absolutely thrilled that Cinderella has been such a big success with audiences across Merseyside. Our cast and crew worked incredibly hard to create a fun, festive show that would appeal to all ages.  Discovering that we’ve broken the Epstein Theatre’s box office records for any panto is the icing on the cake.  We can’t wait to do it all again at Easter.”

Regal Entertainments returns to The Epstein Theatre in April with Easter Pantomime, Beauty and The Beast, starring Channel 5 Milkshake’s Amy Thompson as Belle, Lewis Devine as French Frank, James Lacey as The Beast, Phillip McGuinness as Gaston and Sarah Walker as Fairy Rose.

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.

Hull New Theatre – until 11 January 2020

Reviewed by Catherine McWilliams

4****

The Russian State Ballet of Siberia is currently on tour (until mid-March) with a variety of ballets at each venue, and last night at Hull New Theatre I had the pleasure of seeing Coppélia.

Coppélia is a light and frothy piece, full of fun and quirkiness, whilst at the same time crammed with superb dancing. The music is by Léo Delibes and is full of wonderful melodies, many of which you will recognise. This performance was a real ray of sunshine to take us away from the winter.

Coppélia is set in a 19th century village in Galicia, where Franz ((Yury Kudryavtsev) is to marry Swanilda (Anna Fedosova). Franz spots a beautiful girl sitting on a balcony and cannot take his eyes off her, Swanilda is very unhappy with Franz and the pair argue. The beautiful girl is in fact a life-like mechanical doll, Coppélia (Nerea Astorga) created by Dr Coppélius the toymaker (Alexander Kuimov). Later Swanilda and her friends sneak into the workshop of Dr Coppélius, where they find the mechanical dolls and discover that Coppélia is also a doll. Franz also enters the workshop and Dr Coppélius returns, chasing the girls out and seeing his chance to use Franz’s life-force to bring Coppélia to life. However Swanilda has changed into Coppélia’s clothes and the lovers escape. Of course all ends happily with the village celebrating the marriage of Franz and Swanilda.

Choreography is by Alexander Gorsky and Gennady Malkhasiants and is fabulous, the dancers are shown off to their best, whether dancing a solo or in the wonderful pieces when the villagers are dancing.

Yury Kudryavtsev is mesmerising as Franz, I could not take my eyes off him from the moment he entered the stage for the first time. He had a real presence, acting his character superbly and dancing beautifully, definitely one to watch in the future. There was a real connection with Swanilda (Anna Fedosova) and their dances together were a highlight, particularly when the pair were arguing, making us laugh out loud.

Anna Fedosova was a wonderful Swanilda, acting and dancing beautifully, we really felt her frustration with Franz! Her dance as Coppélia was fabulous, as was her solo piece in the 2nd Act, I don’t know the technical term for the turns she was doing but the speed and the number were breathtaking.

Alexander Kuimov made for a wonderfully eccentric Dr. Coppélius, and his performance was full of humour.

I loved the pieces danced by the villagers in the first act, they were such fun. The action in Coppélia takes place in the first act and the second act is an opportunity to show off the skills of the Company, and oh my word what wonderful dancing it was. This is a company with acting skills to match their dancing and what I particularly loved was that the dancers were clearly enjoying this performance as much as the audience.

The music was provided by The Russian State Ballet Orchestra, conducted by Anatoliy Cherpurnoy and was superbly played. It is always a real treat to have a live orchestra providing the music for a ballet and I was delighted that Anatoliy Cherpurnoy took a bow with the Company at the end of the performance.

The sets and costumes were designed by Dmitry Tcherbadzhi, and the sets were very simple but very effective. The costumes were very traditional, however, they had some unexpected touches such as flashes of neon and applique patterning on the tutus and little hats that would have graced a catwalk.

This performance of Coppélia left me uplifted and smiling, it was wonderful to sit and be immersed in beautiful dancing and music and to feel the joy that the dancers clearly felt as they performed. I can thoroughly recommend a visit to watch a performance by The Russian State Ballet of Siberia.

Royal & Durngate Theatre, Northampton – until Saturday 11 January 2020

Reviewed by Boo Wakefield

5*****

What a delight this is! Last seen on UK stages 50 years ago, this new production of Mame returns curtesy of Nick Winston, Director and Choreographer with music and lyrics by Jerry Herman, all based on the book by Jerome Lawrence and Robert E Lee.

Tracie Bennett excels as Mame, a social butterfly in the late 1920s New York, who seems to have as much fun playing her character as Mame has on stage. The plot is simple: Mame becomes the guardian to her 10 year old nephew, Patrick (tonight played by Lochlan White) who has, until now, been brought up traditionally. Thrust into the protagonist’s world of excess and parties, their relationship blossoms and it is this story line that carries through this musical. Mame’s rather frantic and spontaneous way of raising Patrick does not ride well with Dwight Babcock (Hugh Osborne), Patrick’s legal guardian, who wants him to return to a more traditional schooling. Mame loses everything in the Wall Street Crash of 1929 and has disastrous and hilarious attempts to find a job. She marries Beauregard, who she meets on one of these fateful jobs, and takes a two-year honeymoon during which time Babcock gets his way and Patrick attends a boarding school. And this is just in ActI! Act 2 enables us to see how Patrick grows into a young man whose attempts to find love leaves his aunt in disapproval, causing her to manipulate Patrick into seeing sense.

Harriet Thorpe plays Vera, Mame’s “bosom pal”, whose brilliantly sharp-tongued comebacks mirrored Mame’s beautifully and left you wanting to see more from this relationship. Jessie May stood out as the awkward nanny (Agnes), whose comical timing and extraordinary facial expressions were priceless.

The art deco set, designed by Philip Whitcomb, is somewhat chunky and at times clunky but still enabled the show to move a pace with one scene seamlessly moving into the next. To achieve the feel of a full West End show on a somewhat compact stage is quite a feat especially given that the seven-piece band, led by Jason Carr, was at the back of the stage. From start to finish, the whole ensemble worked together to produce some slick toe-tapping numbers with the “Fox Hunt” and “Mame” numbers standing out, although “My Best Girl” was sung brilliantly by both White and his older Patrick, Chase Brown.

But for me, Tracie Bennett stole the show with her heartfelt solo “If He Walked Into My Life”. Throughout, Bennett portrays Mame as a ditzy, fly-by-night, energetic and charismatic lady but then is able to show her passionate, heartbroken but determined side through this impressive performance which was truly breath taking.

This production left me wondering why it hasn’t been revived before now. Mame should go to the West End and be given a stage big enough to allow it to stretch its wings. A wonderful treat for the New Year.

Sondheim Theatre

Reviewed by Keiley Archer

5*****

Les Miserables is a musical which has been dazzling audiences for 35 years and has recently been reimagined in the new Sondheim Theatre. Formally known as the Queen’s Theatre, it undertook a massive renovation to provide a new home for the well loved production. This performance was led by Jon Robyns as Jean Valjean, with Bradley Jaden as Javert, Shan Ako as Eponine, Harry Apps as Marius, and Carrie Hope Fletcher as Fantine.

The most notable change from the original production was the lack of revolving stage, which was previously an iconic aspect of the show. However, this did not hinder the show. The new set pieces and stage action was woven into the show to blend the well-loved, iconic aspects with the new. The visual projections created the perfect backdrop to the scenes, adding depth to the sewers and creating a beautiful sky of stars. This existed without overpowering the actors on stage.

The new set pieces and staging detail completely immerse the audience into one of the most unruly periods of French history. When the lights dim, a spectacle of rebellion, courage and defiance begins. The violence and hardships of the story are turned up a notch but are contrasted with the extra visual comedy provided by the Thenardiers.

With a highly talented cast and repertoire of well-loved musical numbers, this production will dazzle Les Mis fans and new audiences alike

Cast of TV talent announced to lead
hard-hitting For the Sake of Argument
Bridewell Theatre, 14 Bride Lane, London EC4Y 8EQ
Tuesday 28th January – Saturday 8th February 2020

The cast has been announced for the hard-hitting production For the Sake of Argument, which explores the dangerous power of language after a journalist’s words inspire a young man to enlist in the army. Georgie Farmer (Ready Player One, Warner Brothers; Mowgli, Netflix; Treadstone, USA Network) joins the cast as Mark Bradley, alongside Greg Snowden (Emmerdale, Coronation Street, ITV; My Mind is Free, Rah Rah Theatre Company) as Nelson Walsh.

Paula Cassina (Refugee, Studio Soho; Strindberg’s Women, Etcetera Theatre; Razor in the Flesh Adream Creative) is Maria Bradley, Ella May (Dido and Aeneas, BBC; The Circle, Channel 4; ) is Liz and Ashleigh Cole (The United Kingdom of Earth: A Brexit Opera; The Agitprop Allstars; O.L.D: Online Dating, Camden Fringe Festival; The Seagull, Woodhouse Players) is the passionate and argumentative journalist Eleanor Hickock.

Arthur Verlade (Alright Harry?, Claudia Baskind; Nice Mike, Coldwood; Soul Searching, Mirtha Vega) is Miles Finlay, Henry Eaton-Mercer makes his professional debut as Arthur Wilson and Lucia France (A Touch of Frost, ITV; Prowler, Amazon Prime; The Guinness World Records Live, UK tour) is Abigail Taunton. Matt Weyland (Call the Midwife, Miranda, BBC; The Crucible, Old Vic) and Harry Farmer (Fool For Love, Charlie Chaplin Theatre; Talking To Alice, Blank Theatre Company; Tonight with Donny Stixx, off-Broadway) round off the cast as Piers and Billy Bradley

For the Sake of Argument interrogates the power and danger of language, as one journalist’s words send a young man to the frontline. When a reader’s mother seeks out the journalist who convinced her son to die for his country, sparks fly and violent confrontations ensue.

This play looks to promote the value of compassion and understanding, highlighting the dangers of taking flippant and radical positions on important issues. It discusses the need for full context and warns of the dangers of offhand comments. It encourages patience rather than knee-jerk reaction.

Writer and director Harry Darell comments, This is a fantastic cast and I couldn’t be happier that they are the ones to bring this project to life. Each actor has already brought so much to the production, offering brilliant new insights and detail on their characters.’

The National Theatre presents: An Inspector Calls
Alhambra Theatre, Bradford
Wednesday 29 January – Saturday 1 February 2020
Captioned performance: Fri 31 Jan, 7.30pm
Audio Described performance: Sat 1 Feb, 2.30pm
*Tickets: £36 – £18
Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk
*All prices shown include booking fees but are subject to postage charge if applicable.
Bradford Theatres usual terms and conditions apply.

One of JB Priestley’s best-known theatrical works is coming home to Bradford.

After a sell-out London season and American tour, Stephen Daldry’s multi-award winning production of An Inspector Calls for the National Theatre returns to the Alhambra Theatre, Bradford at the end of this month.

Daldry’s visionary, radical, challenging version of JB Priestley’s classic thriller, hailed as the theatrical event of its generation, has been seen by more than 5 million people worldwide so far.

When Inspector Goole arrives unexpectedly at the prosperous Birling family home, their peaceful dinner party is shattered by his investigations into the death of a young woman. His startling revelations shake the very foundations of their lives and challenge us all to examine our consciences.

Written at the end of the Second World War and set before the First, An Inspector Calls is a compelling and haunting thriller. More relevant now than ever, this is a must-see for a whole new generation of theatregoers.

Inspector Goole is played by Liam Brennan, whose theatre credits include Richard III and Twelfth Night at Shakespeare’s Globe, and Diary of a Madman at The Gate, for which he was awarded Best Actor at the Edinburgh Festival in 2016.

Christine Kavanagh appears as ‘Mrs Birling’, Jeff Harmer ‘Mr Birling’, Alisdair Buchan ‘Gerald Croft’, Chloe Orrock ‘Sheila Birling’, Ryan Saunders ‘Eric Birling’ and Diana Payne-Myers ‘Edna’. The cast is completed by Michael Ross, Portia Booroff, Elissa Churchill and Jonathan Davenport.

Please call the Box Office on 01274 432000 or visit bradford-theatres.co.uk for more information.

Le Navet Bete and Exeter Northcott Theatre present

The Three Musketeers: A Comedy Adventure

York Theatre Royal, 7 & 8 February

From Le Navet Bete, award-winning creators of smash hit shows Dracula: The Bloody Truth and Dick Tracy, comes a hilarious new comedy adventure that promises to have audiences rolling with laughter from here to the French countryside.

The Three Musketeers: A Comedy Adventure – on the main stage at York Theatre Royal on 7 and 8 February – invites you to join hot-headed D’Artagnan who, armed only with a baguette and a questionable steed, travels to Paris full of childish excitement and misplaced bravado to become a Musketeer.

Will things go to plan? It’s unlikely. With four actors and over 30 characters this will be their most hilariously chaotic adventure yet.

This show is set to be the company’s biggest and most riotous to date. This is the sixth time Le Navet Bete have worked with comedy director John Nicholson, who is co-artistic director of Peepolykus and regularly writes comedy for TV and radio. This time they’ve collaborated on a comedy version of Alexander Dumas’ classic tale turning it on its head – expect all the main characters from the book in ways wouldn’t expect to see them.

Internationally renowned choreographer Lea Anderson MBE (The Cholmondeleys), and critically acclaimed set designer Ti Green (Touching the Void) are also part of the artistic team.

“Hilarious and heartfelt” Reviews Hub ★ ★ ★ ★

“Performed with an effortless enthusiasm…enormous fun!” Reviewsgate ★ ★ ★ ★

“A delightful sense of camaraderie” The Guardian

“Two glorious hours… fantastic!” Grow Magazine ★ ★ ★ ★

The show is suitable for comedy fans and families alike. Age guide 7+

SALISBURY PLAYHOUSE PREMIERES NEW ADAPTATION OF BLOOD WEDDING BY BARNEY NORRIS

Salisbury Playhouse is premiering a new adaptation of Federico Lorca’s Blood Wedding, retold by Salisbury playwright Barney Norris, commissioned and produced by Wiltshire and Creative and Up In Arms. The new adaptation is set in present-day Wiltshire and runs from 6-22 February 2020.

Jeff Rawle (The Durrells, Hollyoaks and Drop the Dead Donkey) and Teresa Banham (Mary Wilson in The Crown, Netflix) lead the cast with Wiltshire Creative Stage 65 Youth Theatre alumnus Reece Evans (Peer Gynt, Salisbury Playhouse) playing Rob, the young groom.

Lily Nichol (Maydays, RSC) plays Georgie, Rob’s fiancée. The cast is completed by Emmet Byrne (Misfits, Dublin Theatre Festival) playing Lee, Georgie’s ex, and Eleanor Henderson (The New Romantic, Vault Festival) playing Danni, Lee’s wife.

Barney Norris’s explosive retelling of Lorca’s classic tragedy sets the action firmly in a modern-day Wiltshire community that’s rocked by revelations and gossip as a young couple prepare for their wedding. Barney’s previous plays include Echo’s End and The Remains of the Day at Salisbury Playhouse.

Barney Norris said: “I’ve always been interested in the possibilities of setting existing, well-known stories in a Wiltshire landscape. Blood Wedding is a fable about the hidden wildness of the world, the power of love and longing, the suffering of women, the ineluctable pull of fate.”

Blood Wedding is directed by Alice Hamilton and designed by James Perkins. Lighting designer is Johanna Town and sound and music is by Harry Blake.

Barney and Alice will be taking part in a number of workshops about playwriting during the run of Blood Wedding.

To coincide with Blood Wedding at Salisbury Playhouse, Salisbury Arts Centre will host a solo exhibition by Cornwall-based artist Nicola Bealing, Three Acts and Seven Scenes, which responds to Lorca’s Blood Wedding. Several of Nicola’s works were recently acquired by the British Museum for its permanent collection.

Up in Arms is supported by Frank and Elizabeth Brenan

Blood Wedding is supported by Wiltshire Creative’s Commissioning Circle

Tickets are on sale now and can be booked by calling Ticket Sales on 01722 320333 or by visiting www.wiltshirecreative.co.uk.