Month: February 2020

The Old Vic, Nuffield Southampton Theatres, Underbelly Productions and Wardrobe Ensemble present the WORLD PREMIERE of

Judith Kerr’s
MOG THE FORGETFUL CAT
Adapted by The Wardrobe Ensemble 

#mogtheforgetfulcat

• The fully-staged world premiere production will open at Nuffield Southampton Theatres (16 – 25 July) before heading to McEwan Hall with Underbelly at Edinburgh Fringe (5 – 30 August)
   
• Further dates to be announced

The acclaimed Wardrobe Ensemble adapt Judith Kerr’s beloved and iconic stories in a first-ever stage version of Mog, the final author-approved adaptation by the late Judith Kerr, in a first-time collaboration between co-producers The Old Vic, Nuffield Southampton Theatres, Underbelly Productions and The wardrobe Ensemble.

Nuffield Southampton Theatres Artistic Director Sam Hodges said ‘These are very special stories from one of this country’s greatest writers for young audiences. We couldn’t be more delighted to be working with the brilliant Wardrobe Ensemble and opening this world premiere here in Southampton, building on our growing reputation for family work.’

‘Bother that cat!’

Mog always seems to be in trouble. She forgets that she has a cat flap and she forgets that she has already eaten her supper. But sometimes, Mog’s forgetfulness comes in very handy…

Helena Middleton of The Wardrobe Ensemble said ‘I absolutely loved the Mog books growing up. We used to have a book fair at my school and I would literally race there to make sure I was the first to get my hands on a copy. I am so delighted to be part of the team which will bring Mog to the stage and honour Judith Kerr’s gorgeous stories and illustrations.’

With songs, live music and a whole menagerie of creatures little and large, these timeless tales of family and friendship are brought to life to allow a new generation of children to fall in love with Mog. 

Holly Reiss, Underbelly Executive Producer said: ‘We are delighted to be bringing the cherished story of Mog to life for audiences of all ages at the Edinburgh Festival Fringe this year, capturing the hearts and imaginations of the next generation of theatre- lovers. Family shows are an essential part of Underbelly’s programme at the Fringe and we are thrilled to be bringing this much-loved story to the stage for the first time.’

Join Mog and the Thomases on a journey through one year in the life of a really remarkable cat, as she catches a burglar, gatecrashes a cat show, goes to the vee-eee-tee and eats lots and lots of eggs.

Look out for further announcements of more dates coming soon.

Suitable for ages 3+.

Listings information

Nuffield Southampton Theatres
16 – 25 July
17 – 25 July 10.30am (no performance 19 July)
18 – 25 July 2pm (no performance 19 July)
16 & 17 July 4pm
Tickets: Adult – £17.50; Child – £15.50.
Book by 29 February and save £1.50 per ticket
Box Office 023 8067 1771 / https://www.nstheatres.co.uk/whats-on/mog
Friends Priority bookings 19 Feb
General On Sale 20 Feb

Underbelly 
Venue: Underbelly at the Edinburgh Fringe, Bristo Square – McEwan Hall
5 – 30 August 11am (no performance 18 August)
Tickets: Previews – £11.50 / £10.00
Mondays / Thursdays – £13.50 / £12.00
Fridays, Saturdays and Sundays – £14.50 / £13.00
Box Office: 0131 510 0395 / http://www.underbellyedinburgh.co.uk/whats-on

Award Winning play ‘The Haunting of Blaine Manor’ to come to Tyne Theatre & Opera House

Thursday 1st Oct 2020

Winner of the Salford Star ‘Best Play of the Year Award’, The Haunting of Blaine Manor, is coming to Tyne Theatre & Opera House on Thursday 1st October 2020.

After the spectacular success of last year’s tour, the most talked about haunter since The Woman in Black, is back on tour.

Written and directed by Joe O’Byrne, The Haunting of Blaine Manor leaves behind the modern world of O’Byrne’s critically acclaimed Tales from Paradise Heights series of plays and films.

Set in England 1953 at what is said to be the most haunted building in England, a building with a horrific history, Blaine Manor. Follow the story of renowned American parapsychologist Doctor Roy Earle, famous for discrediting hauntings and exposing fake mediums.

Featuring a firecracker cast as well as an original chilling sound design and haunting title theme, the award winning production captures the spirit of M R James and gives a nod to the classic black and white films of the Hollywood Golden Age.

“There’s a great deal here to appreciate and enjoy. I loved the nods to horror tropes, the powerful sense of place, the lavish period set.” – Richard Stamp, Fringe Guru

“Genuinely scary with tremendous atmosphere developed. If you like dark, psychological dramas with a potential paranormal dimensions, this is a must see.” – John Waterhouse, Manchestersalon.org.uk

“Written and skillfully directed by Joe O’Byrne this is a ghost story with a cinematic quality…a story of twists and turns. That this is a play people have returned to see is a sure sign of its enduring merit. See it if you dare!” – Emily Oldfield, Louder Than War

Tickets are priced: £18.50, £14.50 concessions (under 16s & over 60s), £56 family ticket

Tickets on sale now at www.tynetheatreandoperahouse.uk

Nottingham Theatre Royal – until 22 February 2020

Reviewed by Louise Ford

4****

A Monster Calls; speak the truth ,it will set you free.

A Monster Calls is an adaptation (by Sally Cookson, in 2018) of the 2011 novel by Patrick Ness; a novel written for young adults which deals with a young boy coming to terms with his mother’s illness and whose fears grow when no one will really talk to him about it.

From the opening scene of the mother (Maria Omakinwa) nursing her young son to the final scene in the hospital the spectre of the yew tree casts a long shadow over the life of Connor (Ammar Duffus).The play is a powerful and emotional portrayal of Connor’s life, a twelve year old boy coming to terms with school, his family and most importantly his mother’s illness. It has a slow start which builds in intensity with the nightmare sequences, the frantic pace of school life and the decline of his mother’s health. All the time the anger within Connor builds until it finally irrupts and “people can see him.”

The set is minimal, just plain white, with twelve chairs and the ever present tree; a creative masterpiece using thick ropes hung from the roof. The tree can be at times threatening and ominous and at others nurturing and protective; with the potential to actually provide a cure. It comes into its own as the home of the Monster (Keith Gilmore). 

The Monster is conjured up by Connor from his inner most fears and dread. It appears at 12.07 at night to taunt him, from the old yew tree in the garden. The taunting takes the form of stories. But, as in all good fairytales nothing is straightforward .

This is a modern fairytale that weaves together fables and legends with realistic circumstances, exploring human nature and relationships. 

The score composed by Benji Bower enhances the action on stage and adds poignant refrains to the difficult and emotional scenes. The costumes and props are low key and simply allow the story telling to carry the plot along.

Overall it is a powerful, moving and emotional play which gives a voice to a young person’s inner most fears. It was lovely to see a younger, than usual, audience visibly moved by the final scenes .

The Lowry, Salford – 17 February 2020

Reviewed by Angelos Spantideas

4****

Daniel Hay-Gordon and Eleanor Perry are Thick and Tight, a dancer/performer duo from London who use physical theatre to pay homage to the work and life or criticise the opinions of historical figures, such as Barbara Cartland, Derek Jarman and Marcel Proust. The cast is completed with Vidya Patel, Harry Alexander, and Gary Clarke exemplifying the features and blemishes of Winston Churchill, Andy Warhol, and Queen Elisabeth I.

The night is filled with political messages laid on parody and satire and expressed through dancing, miming and lip syncing by a series of performers who fill the stage with energy and pure talent. The cast does not shy away from calling out misogyny, racism, games of power and power abuse, while there is also a big appreciation to the purity of love and being in love as expressed in poetry and art.

Each section of the show feels original and full of character, with the personality of each performer filling the room. Each part is a bold and relevant piece of contemporary art, with the well thought design of the set and costumes, and the crafty lighting creating a game of shapes and shades that does not go unnoticed

Cambridge Arts Theatre, Cambridge – until 22 February 2020

Reviewed by Steph Lott

3***

Most of my friends in the mid-90s watched Band of Gold. The TV series was a firm favourite at the time and Kay Mellor’s portrayal of sex workers in Bradford was respected not only as a drama but also because it depicted prostitutes with respect. Their lives, the reason they became sex workers, was central to the plot.

What I like about this play is that sex work is shown as just that – work. It’s not smutty, or glamorous – it’s what some women have to do to take care of their children, or as a means of earning a living when they don’t think they have any other way of making money.

This production for me was very mixed and a bit frustrating. We have here a fabulous cast but I think the play is too rushed for them to be able to do the characters justice, certainly in the second half of the play.

The first half works much better than the second. I found that Sacha Parkinson gave a very credible, touching performance as Gina. Her decision to become a prostitute is naïve and tragic, and ultimately believable. You feel her gradual despair as her choices diminish and as one by one all those around her either exploit her in some way or just don’t help her, lost in their own difficulties. I thought Olwen May’s performance as Gina’s mother, Joyce, captured so well the trap of women struggling to survive – work, men, children, the need to put food on the table. When Joyce suggests that perhaps going back to an abusive husband might be the best thing, it’s just awful but that’s the choice so many women face.

Kieron Richardson shone as Gina’s abusive husband Steve. His pathetic bitterness and drunken rage, his twisted reaction to Gina’s death, was a sterling performance. Joe Mallalieu as the sleazy loan shark Mr Moore provided the perfect explanation as to why Gina was faced with the choice that she made, and between the lack of support from her mother and the abusive men in her life, the decision to become a prostitute seemed inevitable

AMANDA BOXER TO STAR IN

MUM

A NEW PLAY ABOUT LOVE, LOSS AND DEMENTIA

BY JULIET COWAN

OPENING AT THE PLAYGROUND THEATRE

18 MARCH-4 APRIL

Amanda Boxer will star in the world premiere of MUM, a new play about love, loss and dementia by actress and comedian Juliet Cowan, directed by Yasmeen Arden, opening at the Playground Theatre on 18 March and playing until 4 April, with a press night on Friday 20 March. Sian Ejiwunmi-Le Berre will star as ‘Roz’, Lucille Findlay as ‘Laurel’ and completing the cast are Lilly Driscoll and Martin Edwards.

“I thought that if she wasn’t getting run over or shitting herself, all would be OK with the world.”

MUM is a play about identity, love and losing your mind. Roz and Laurel are struggling to manage their mum, who has dementia. Mum is struggling to manage the real world and the compelling world of her hallucinations.

What does it mean to be a mother? Who gets to decide what is real? And when is it OK to laugh instead of cry?

Juliet Cowan says: “I wrote this play as a response to certain hallucinations my mother had. I felt it was so sad that she had to be in them all alone without any of us there to accompany her. So I decided to people her hallucinations with an audience who experienced them alongside her. I like theatre that is a sensory and immersive experience. I hope that MUM is a way for us all to come together and explore the highs and lows of having one foot in this world and the other in somewhere altogether more dreamlike.”

Yasmeen Arden says: “MUM touched my heart and my imagination from the moment I first read it and I was immediately excited to be part of it. Juliet writes with such honesty and truth and in a such a unique style, so the play holds a very real sense of loss on a multi-sensory level, with the most beautifully layered female experience and a truly joyful playfulness.”

This is Juliet Cowan’s first full-length play. Her show, Eat, Pray, Call the Police, sold out at The Zédel and she is currently writing a follow-up called Fuck Off And Leave Me Alone. Juliet is also an actress, best known for her roles in Killed By My Debt, PhoneShop, Pulling, Hank Zipzer, Cuckoo, Sarah Jane Adventures, Skins and Fresh Meat. She’s currently preparing for her role as ‘Barbara Monke’ in Amazon’s adaptation of the novel The Power, opposite Eddie Marsan and directed by Reed Morano. She started her career as a stand-up, beating Jimmy Carr, Russell Howard and Andy Zaltzman in the finals of So You Think You’re Funny.

Yasmeen Arden is Artistic Director at Small Truth Theatre. Most recently, she collaborated to create the Kensington Karavan, a micro-theatre festival in a retro caravan, commissioning and directing new work by Emma Dennis-Edwards, Abi Zakarian, Jessica Butcher and Sid Sagar. Directing credits include: The award-winning The Three Sillies (Arcola Theatre/Somersault/Tour), Poking The Bear by Chris Bush, Elexion by Chloe Todd Fordham (Theatre503), Over The Hill There’s Something Better (New Diorama), Dead Yard (Playwrought/LAB), We are Beautiful (Catalyst Festival), as well as site-specific work such as On The Line (Ivy House/Merge Festival/Platform Southwark) and The Unfortunates on the streets of Watford (Watford Palace Theatre). Yasmeen is currently developing Tapestry by Chloe Todd Fordham and Christopher Hogg’s drum & bass musical Casey & Corey. 

Amanda Boxer was born in New York and trained at LAMDA. She won Best Actress in the London Fringe Awards for Strange Snow (Theatre Technis). Theatre credits include: Boots (Bunker Theatre), The Blue Hour of Natalie Barney (Arcola), Mosquitoes (National Theatre), Babette’s Feast (The Print Room), Blue Heart (Bristol Tobacco Factory and The Orange Tree), Medea (Almeida Theatre), Uncle Vanya (St James), Prisoner of Second Avenue (Vaudeville), The Sea Plays (Old Vic Tunnels), The House of Bernarda Alba and The Graduate (Gielgud Theatre), A Touch of the Poet (Young Vic/ West End), Macbeth (Arcola Theatre), The Destiny of Me and Many Roads to Paradise (Finborough Theatre), The Arab Israeli Cookbook (Gate/Tricycle Theatre), The Pain and the Itch and The Strip (Royal Court), Cling To Me Like Ivy (Birmingham Rep), The Rivals (Theatr Clwyd), The Yiddish Queen Lear (Southwark Playhouse/Bridewell), Come Blow Your Horn, The Fall Guy, The Misanthrope and Absurd Person Singular (Manchester Royal Exchange), Way of the World (Cambridge Theatre Company) and A State of Affairs (The Duchess Theatre).

Sian Ejiwunmi-Le Berre trained at Oxford, Queen Mary University London and The Central School of Speech and Drama. Theatre credits include: Target Man (The Kings Head); As You Like It (Shakespeare in the Squares); Electra (The Bunker); Romeo and Juliet (The Globe). TV credits include: Silent Witness, Doctors and EastEnders. Film credits include: The Beach, About A Boy and Shoot the Messenger. Her radio play When Fanny Met Germaine was broadcast in 2019 and she is currently developing several shows for TV and radio. She is assistant director on The Happy Tragedy of Being Woke (Theatre de Complicité) and Death of England (National Theatre).

Lucille Findlay is an award-winning community performance practitioner, actor, writer and singer songwriter who trained at Chichester. Lucille has worked as a session vocalist and performance coach for many years with vocal credits including Jason Mraz, James Morrison, Casey Abrams and Shaun the Sheep Movie Soundtrack. TV credits include: The Bill, EastEnders, Alexis Sayle and Holby City. Theatre credits include: The Blue Room (The Gate), a development of Nine Nights (Arcola) and Black Women Dating White Men (The Drayton Arms).

Lily Driscoll is an actor, writer and poet from London. Credits include: Bricks (The Old Vic for OV12), Enough (Kensington Caravan festival), Only You (Theatre 503), Puppy (The Vault Festival), The Numbers (Amazon Video/Winner of the Creation Award) and Heads A Poppin (Fright Fest winner for Best Short Screenplay). TV credits include: Jekyll & Hyde (ITV), Humans (Channel 4), Tag (BBC) and Silent Witness (BBC).

Martin Edwards was a journalist for more than a decade, having worked as a crime reporter for local newspapers and then the BBC, before training professionally as an actor at The Oxford School of Drama and The Academy of Live & Recorded Arts (ALRA). He has performed at various venues including Trafalgar Studios, Soho Theatre, Everyman Theatre, Cheltenham and Southwark Playhouse. As a writer, his work has appeared at Theatre503 and Talawa Theatre Company. He is currently under commission by Radio 4 to write his debut radio drama, due for broadcast in September 2020.

MUM is directed by Yasmeen Arden, with design by Jasmine Swan, lighting design by Ben Jacobs, sound design by Nicola Chang, and is produced by Kitty Wordsworth and Zoe Weldon.

The Playground Theatre W10 is London’s newest off-West End venue. The Playground works with established and emerging artists nationally and across the globe; showing performing arts, drama, festivals and comedy. This ethos has fostered many bold and imaginative new works. Located in W10 near Notting Hill, Ladbroke Grove, Portobello Road and White City the theatre is fully engaged with its rich and diverse community.

THE CORINNE BURTON MEMORIAL TRUST PRESENTS AN AMATEUR PRODUCTION OF

NAKED JUSTICE

BY JOHN MORTIMER

FIVE PERFORMANCES ONLY – 1 – 5 APRIL 2020

UPSTAIRS AT THE GATEHOUSE IN HIGHGATE VILLAGE, N6 4BD.

The Trustees of the Corinne Burton Memorial Trust will present the first ever London production of John Mortimer’s legal comedy, NAKED JUSTICE, Upstairs at the Gatehouse from 1 to 5 April, with an amateur cast of barristers, solicitors and a High Court Judge, and a professional creative team led by director Alexander Lass, with design by Isabella Van Braeckel and lighting and sound design by Steve Taylor.

Three strange people, two men and a woman, arrive in a house where they are obviously expected. Who are they? They talk about crime. Are they criminals? The woman talks a lot about sex, what dubious business is she in? A play about the act of judging: can it be separated from the character and past of who sits in judgment?

The ‘Lawyers in Action’ troupe first came together in 2001 when the Tricycle Theatre under Artistic Director Nicolas Kent advertised for members of the legal profession to take part in two performances of Twelve Angry Men, directed by Jack Gold, in order to raise funds for the theatre’s education programme. Kent hoped that members of the legal profession might enjoy the chance to perform outside the courtroom and bring their performing abilities onto a theatrical stage. Solicitor Grahame Gordon, one of over 400 applicants to audition, played ‘Juror No 3’, has subsequently been part of an evolving troupe of legal professionals who came together to perform productions at the Tricycle, all with legal themes: Are You Now Or Have You Ever Been? (2003) Inherit the Wind (2006), To Kill A Mockingbird (2008) and Judgement at Nuremberg (2011).

All proceeds from ticket sales of NAKED JUSTICE will go to support the work of the Corinne Burton Memorial Trust, set up over 25 years ago after the death from cancer of the wife of leading member of the troupe, High Court judge Sir Michael Burton. The Corinne Burton Memorial Trust is the only UK charity that exists to support the work of art psychotherapy for cancer sufferers, sponsoring an arts therapist at St Bart’s Hospital in the oncology department, as well as an annual bursary for four students on the MA Course in Arts Therapy at Goldsmiths, University of London.

NAKED JUSTICE will star Grahame Gordon as ‘Fred’ (the role originally played by Leslie Phillips to great acclaim) and Sir Michael Burton as ‘Keith’. Other members of the cast are Stephen Boyd as ‘Marston Dawlish QC’, Laurence Brass as ‘Swiver’, Peter Feldschreiber as ‘Mr Breadwell’, Steven Fogel as ‘Roddy Boyes’, Colin Manning as ‘Detective Inspector Dacre’, Bayo Randle as ‘Byron Johnson’, Bonnie Taylor as ‘Elspeth’ , Sandra Villani as ‘Cassandra Cresswell’ and Victor Wasserberg as ‘Hubert’.

Grahame Gordon said, “Actors pretend to be someone else, lawyers pretend to be someone they’d like to be. When I was ten I told my father I was going to be an actor. He said ‘ah, didn’t I tell you? You’re going to be a lawyer!’ I said ‘rightho’ and, ever since then, I’ve been acting the role of an actor!’”

Sir Michael Burton said, “The day job for 20-odd years has been judging and dealing with the security services. Acting and being in a cast is little different, except that you don’t write your own script.”

Empire Theatre, Liverpool – until 22 February 2020

Reviewed by Amy Nash

5*****

Gloria Estefan is a global powerhouse – you may not know her story, but chances are you’d recognise quite a few of her hits if they came on the radio. While Estefan and the Miami Sound Machine topped the charts with their unique cross-cultural dance vibe in the 80s and 90s, Gloria herself didn’t receive as much recognition from the public in the UK compared to the US and Latin markets. You might think that On Your Feet!’s concept as a jukebox musical focusing on Gloria and Emilio Estefan’s story would struggle when away from home, but the show exploded onto the West End and across the country with its colourful Latin charm. It’s not just a mere rags-to-riches tale, but a brilliant amalgamation of everything that you would hope it could be – heartfelt, passionate and real, while making every Miami Sound Machine bop land perfectly.

All the pieces fall neatly into place. Jerry Mitchell’s direction is sharp and purposeful with not a moment or a performer wasted. Sergio Trujillo’s choreography is awe-inspiring, fusing classic Latin dances with disco and some incredible stunts, which are given more life by Emilio Sosa’s gorgeous, vibrant costumes. David Rockwell’s set design makes dynamic use of the space to transform the stage from Cuba to Miami effortlessly, and the use of framing and lighting to convey Gloria Estefan’s traffic accident was breathtakingly well executed.

And the music? The rhythm is definitely gonna get you, because every single song (including hits like Dr Beat, Conga, 1-2-3 and, of course, Get on Your Feet) is delivered with gusto. Unwaveringly punchy vocals pair beautifully with the on-stage band, who capture every note as though they were the Miami Sound Machine themselves.

The cast is wonderful – Philippa Stefani not only captures Gloria Estefan’s voice and does their hits proud, but she conveys her vulnerabilities and insecurities just as convincingly as her fiery personality. She has fantastic chemistry with George Ioannides, who brings Emilio to the stage with plenty of passion and a killer voice. Hollie Cassar, standing in for Karen Mann, is a scene-stealer as Gloria’s hilariously brazen abuela, and Madalena Alberto delivers a powerful, nuanced performance as her mother. Though the show starts off with a focus on comedy and there is still plenty of fun to be had throughout, what really makes it memorable is the heart beneath the humour. Book writer Alexander Dinelaris pens a show not just about the Miami Sound Machine or the love story of Gloria and Emilio Estefan, but about immigration, intergenerational trauma and keeping a culture alive. On Your Feet! doesn’t ever linger for too long on these issues, but they’re a constant undercurrent in the background, and they make for some welcome depth.

You might think that the appeal of a story like this in the UK might be niche, given how entrenched in its Cuban-American setting it is, but in Liverpool it hit home with the audience. The city was shaped by Irish immigration, after all, and is very proud of its roots – the cheers and applause were substantial during a pivotal scene for Emilio (“Take a good look at my face,” he tells a sceptical record company executive, “because this is what an American looks like!”).

Perhaps On Your Feet! has a unique appeal for audiences not as familiar with all of Gloria Estefan’s music – it shone a spotlight on plenty of incredible songs that weren’t as big in the UK as they should have been. It was a wonderful night of acerbic Latin wit and catchy hits, and we were certainly all on our feet for the encore!

Adelphi Theatre – 16 February 2020

Reviewed by Claire Roderick

5*****

Lucie Jones appeared disarmingly stunned all evening at the idea that the audience packed into the Adelphi were all there just to see her. Has she heard herself sing?

Using her break from playing Jenna in Waitress, Lucie’s solo concert “we thought that maybe we could do an hour at Zedel’s!” is an evening of belting notes and infectious joy. Full of songs from musicals that Lucie has performed in during her career, with natural and genuine (often rambling!) introductions from Lucie, the set list is impressive, and showcases Lucie’s vocal talent brilliantly. The London Musical Theatre Orchestra, led by Freddie Tapner, accompany Lucie, with Declan Corr’s orchestrations sending each number soaring.

Managing to get through 2 songs before she took off her shoes, Lucie’s goofy and self-deprecating humour and stories keep the audience giggling between songs, but as soon as the music starts, the audience is left slack-jawed or whooping. This girl can sing! Barnstorming through Don’t Rain on my Parade, Sing Happy, A Summer in Ohio until she sings So Much Better from Legally Blonde, cajoling Liam Doyle to sing his Warner lines from the audience, the song choices are brilliant, and Lucie shows the softer side of her voice when she is joined by John Owen-Jones to sing The Prayer, which was absolutely gorgeous.

Lots of the songs are from milestones in her career, with a sweet rendition of God Help the Outcasts – her first solo in the Cardiff Gang Show, and a smooth as silk rendition of Moon River for her Nan, with a beautiful arrangement accompanied by Camilla Pay on the harp and Box Vukotic on cello. Her Eurovision entry, Never Give Up On You, sounds fantastic, and her incredible duet with Marisha Wallace, Take Me or Leave Me, brought the audience leaping to their feet. The love Lucie has for her current show is obvious as she tells of her audition for the role of Jenna, and Sara Bareilles calling out “I love you” from the stalls nearly broke us all even before her extraordinarily emotional performance of She Used To Be Mine. Simply wonderful.

The concert was recorded for an album to be released later this year, and Lucie is guaranteed 1500 sales by the audience tonight, wanting to relive such a gloriously uplifting evening. If you weren’t lucky enough to be there – BUY THE ALBUM

Mikron Theatre Company present

A Dog’s Tale

A new play by Polly Hollman

Director: Rachel Gee

Composer and Musical Director: Rebekah Hughes

Designer: Celia Perkins

Cast: Rachel Benson, Thomas Cotran, James McLean and Elizabeth Robin

Mikron Theatre, in their 49^th year of touring,  are celebrating (wo)man’s best friend this season when they stage the premiere of Polly Hollman’s new comedy caper A Dog’s Tale, which looks at canines past and present and the enduring love between people and their dogs.

You’d be FURgiven for thinking that Mikron is just another run of the mill theatre company, but you’d be BARKING up the wrong tree. 2020 will see them LEAD you on a unique journey. It’s a PAWsome show you won’t be able to TERRIER yourself away from.

A Dog’s Tale will kick off its tour at Marsden Mechanics Hall on the 23rd May and then tour nationally by canal, river and road until 24th October.

Linda and her wayward rescue dog Gary are pursued by security through the halls and history of Crufts, accused of a terrible crime.

When Charles Cruft, the ‘Greatest Showman in Dogdom’, held his first show in 1891, he had a sense that dog ownership and breeding was about to become pretty big.

In this extraordinary world of heroic hounds, pampered pedigrees and naughty nobblers, does Gary have what it takes to win the day?

A Dog’s Tale is directed by Rachel Gee , designed by Celia Perkins, music composed and directed by Rebekah Hughes. The cast will feature Rachel Benson (Redcoats, Mikron Theatre ), Thomas Cotran (Loserville, Union Theatre), James McLean (Much Ado About Nothing, Northern Broadsides) and Elizabeth Robin (The Little Mermaid, Everyman Theatre, Liverpool).

Why a play about dogs? Why not? Mikron tells the stories of the people behind the big events in history and the things that are close to our hearts. A great story, cracking songs and versatile quartet of actor musicians will guide audiences through the halls and history of Crufts.

Playwright and cat lover Polly Hollman said about her new play:

I’ve written over twenty characters to be played by only four actors, but I know they’ll enjoy the challenge of bringing it to life! I was picked to write the play after participating in Mikron’s 2018 Writer’s Scheme: it’s my first professional commission. It’s been a delight to work for Mikron, a company whose creativity and ethos I love. I can’t wait to see them work their magic on ‘A Dog’s Tale’.

I spent two fascinating days at Crufts last year, eavesdropping on competitors and trying to work out which dog would win in each competition (success rate: zero). People were very friendly and frank in sharing their suspicions about judging bias. ‘Well, you know, that dog will win because it’s Scottish and so is the judge!’ (it did win). My impression of Crufts was that whilst dog participation was on a fairly exclusive basis, a huge variety of humankind was in evidence, on two legs or four wheels. Testament perhaps to the huge importance of dogs to many different people in their roles as pets, medical assistance dogs, working dogs and more. It’s also true to the founding principles of Charles Cruft, who charged only a penny so that everyone could enter their best friend.

Director Rachel Gee added:

“A Dog’s Tale is my first directing job with Mikron and it’s the ideal show for me as a dog owner. We can’t wait to welcome audiences (and their dogs) to shows up and down the country. Dog lover or not, this is the perfect night out for fun, laughter and wonderful songs.”

The atmosphere at most Mikron performances is disarmingly informal, but don’t mistake informality for simplicity – in its laidback way, it’s an ambitious undertaking, and dogs are welcome at most Mikron venues

In 2020, Mikron Theatre Company will embark on their 49th year of touring.  Based in the village of Marsden, at the foot of the Yorkshire Pennines, Mikron Theatre Company are like no other. For starters, they tour for most of the year on board a vintage narrowboat, secondly, they put on their shows in places that other theatre companies wouldn’t dream of; a play about growing-your-own shown in allotments, a play about bees performed next to hives, a play about chips to audiences in a fish and chips restaurant, as well as plays about hostelling in YHA Youth hostels and the RNLI at several Lifeboat stations around the UK.

A Dog’s Tale will be touring nationally in the Summer alongside the previously announced new play by Amanda Whittington Atalanta Forever.

For further information on both shows please visit http://mikron.org.uk