Month: March 2020

Opera House, Manchester. – until 17 May 2020

Reviewed by Sally Hopper

5*****

GREAT SCOTT! If I could give this show more than 5 stars I absolutely would do in a heartbeat! WHAT AN INCREDIBLE SHOW!

The actors in this production were all incredible! In moments I thought that they had really used the DeLorean and gone back in time to retrieve a young Michael J Fox to play Marty, Olly Dobson was amazing. He sounded, looked and even had the mannerisms of Marty, the portrayal was so well done I don’t think anyone else could have done a better job. Alongside Doc played by Roger Bart they made an incredible team, Doc who was just as mad and hilarious as he is in the movie. Leading the crowd to simultaneously howl in hysterics and chant those famous lines from the movie together as if it was a cult meeting “ROADS… WHERE WE’RE GOING WE DON’T NEED ROADS”.

For me my favourites were George Mcfly played by Hugh Coles, he was cringingly awkward but yet adorable in his own way. The gangly and puppet like dancing was both side-splitting and charming at the same time and the moment he stands up to his bully Biff had the whole crowd cheering for him. My other favourite would have to be GOLDIE WILSON!! Played by Cedric Neal his voice filled the room, the words in ‘Gotta Start Somewhere’ potentially resonating with the crowd, his performance was perfect.

Another thing that certainly needs to be mentioned would be the set itself, every last detail was considered and worked SEAMLESSLY. It was almost like a board game where everything could move, slide and spin in whatever way was necessary and the screen that dropped in front giving us the effect of drivin’ 88 and through time to the rain in the last storm scene to get Marty back to 1985, was so realistic that I thought it really was raining on stage. I can’t talk about the stage and set without mentioning the DeLorean. All talking, smoking, fiery and beautiful, there’s not much more I want to say about it apart from the ending, flipping it around 360° with both Doc and Marty inside was incredible.

As a great lover of the 50’s dresses and rockabilly style I have to address the costumes, they were all fantastic! Switching between the 80’s fashion of bright colours and big hair to the swing dresses and bouffant hair all of the actors and dancers looked the part of the decade they were in. I’m also now wanting to search high and low for the outfits in the 21st century song in Doc’s dream sequence.

Now I need to go find myself a flux capacitor and a DeLorean to go back in time and watch this show over and over again. I would recommend EVERYONE go see this show. It was OUTSTANDING!

Cambridge Arts Theatre, Cambridge – until 14 March 2020

Reviewed by Steph Lott

3***

What’s that you say? A thriller? Based on a true story? Described as “bold and haunting”, it sounded like the kind of play I would really enjoy.

I like a thriller that chills – fiction along the lines of Susan Hill, Edgar Allan Poe, or Steven King. I prefer horror and chills that leave a lot to your imagination – the threat that is mentioned but you never see, since the fear that lurks in the imagination of the viewer or the reader is always much better that when you are explicitly shown it. I like stories which show that the world is not only what it appears to be. The mystical.

The Croft tells the story of three women from different eras who have lived in a remote dwelling in the Scottish Highlands and whose lives have been touched by tragedy.

In the 1880s, there is Enid, played by Gwen Taylor. In 2005, the croft is used as a holiday home by Ruth, played by Caroline Harker, and her husband, Tom, played by Simon Roberts. It is also where Ruth has an affair with David, played by Drew Cain. In the present day, Ruth’s daughter, Laura, played by Lucy Doyle, and partner Suzanne, also played by Caroline Harker, return to the croft and uncover the truth hidden within its walls.

The play started well – so ominously, with Enid alone, centre stage, and sound and lighting being used very effectively to set the scene for a spine tingling treat. Or so I hoped.

Sadly I ended up feeling a little confused and disappointed. I was engaged in the play the whole way through, enjoyed the dialogue and thought the whole cast gave great authentic performances. But I was expecting a grand climax, a denouement which never came. I was left feeling “oh.” As I left the theatre I couldn’t really have said what the play was about. I could tell you what happened in the play but not why Ali Milles felt compelled to tell this story.

The story lacked depth and detail in places. It’s not clear why Laura blamed her father so much (was there a connecting theme of destructive religious fervor linking Tom and Patrick? It wasn’t well enough developed in the story to know). There were elements that I enjoyed but other aspects had me lost. Why was Enid an outcast? Why would Eilene (also played by Lucy Doyle) choose to go to her to seek refuge? Why was Laura so angry at her father? I think I was left with the sensation that Ali Milles has made a good start with this play but its narrative needs further work.

However the intertwining of the 3 periods in time works well and each story of itself makes sense. I’m just not quite sure what Ali Milles us trying to say. The play needs a good editor.

Having said that I think the dialogue was well written and there was much to enjoy within the play. The sound and the scenery, as I’ve mentioned, create an atmospheric cocoon within which the story can unfold. Caroline Harker’s portrayal of a woman bravely facing death is played with grace and delicacy, as is her other role as the older lover trying to balance off leaving her family and being in love with the difficult and much younger Laura.

In summary I think this play needs work but was blessed with a very talented cast and director. Was this a play about witches and how they have always been misunderstood? Is it about how men fail to understand their women, try as they might? Was it about buildings and the history they hold within their walls? Or was it just a creepy ghostly tale, which was supposed to have been based on a true story? I was left unsure

Liverpool Empire – until 21 March 2020

Reviewed by Charlotte McWilliam

5*****

“A delightful evening of a classic musical in all it’s splendour.”

The story of Anna, an English School teacher who tries to help an Eastern King to become part of the modern world, but he is unable to resist the forces of ancient customs.

Live music under the direction of Malcolm Forbes-Peckham. A great live sound starting with a strong and buoyant overture, really adding to an enjoyable evening.

Choreography originally by Jerome Robbins and magically recreated by Christopher Gattelli,  was clean and well executed, a particular favourite moment being the ballet in Act 2. I believe that the choreography has been passed down from choreographer to choreographer all the way down to Greg Zane, US associate choreographer.

The attention to detail with the traditional and authentic set, props and clever use of lighting was incredible; a serene start with a pink sky backdrop as the boat arrives at the port, instantaneously transported us to 1860’s Siam. A particular favourite was the use of moving pillars which cleverly created the effect of walking through the Palace grounds. 22000 flowers suspended on vines from the ceiling to set the iconic garden scene was particularly impressive; each one made by hand.

Complimented by Catherine Zuber’s stunning costumery, the creative team really used all the right ingredients to produce an authentically, successful take on such a classic production.

I’ll take a moment now to praise the perfect casting of each role in the performance, we were truly shipped overseas for the evening, every accent and mannerism was perfect.

The lovely leading lady Annalene Beechey, did a wonderful job as Anna Leonowens, a beautiful soft soprano vocal, and an engaging onstage chemistry with the King of Siam, Darren Lee who had a gentle humour throughout. Comedic timings between the two were expertly delivered, under the direction of Bartlett Sher. A highlight of the duo was in Act 2 when they performed the iconic ‘Shall we Dance?’ Beechey’s voice softly soared and Lee’s endearing comical acting was felt by the audience and reflected in a rippling sea of participation clapping to the Polka. 

Neither Beechey or Lee put a foot out of place all night, and they were truly charming.

I really enjoyed the moments with Tumptim and Lun Tha, Jessica Gomez-ng and Ethan Le Phong; stunning vocals particularly during ‘We Kiss In The Shadows.’ 

Gomez-ng had great clarity and excellent presence in such a gentle and sensitive role. A strong likeness to a young Lea Salonga. 

I’d like to praise the ensemble, each and every one talented and adding something. 

A favourite moment for me was ‘The March Of Siamese Children’ featuring some extremely cute Princes and Princesses. A few were very young making their professional stage debuts. The affection shown on stage between the King of Siam and the child cast was heart warming. 

All in all a great evening at The Empire, and another success for the production team and cast. A delightful evening of a classic musical in all it’s splendour.

The Alexandra, Birmingham – until 14 March 2020, then Nationwide

Reviewed by Joanne Hodge

4****
Joe Thomas is the stand-out star of Matthieu Delaporte and Alexandra de la Patelliere’s comedy What’s In a Name. He captivates the audience from his narrative role through to that of Vincent, the slightly egotistical brother of Elizabeth (Emma Carter) and expectant father to Adolphe … or is he?

This contrived comment forms the basis of a Saturday evening dinner party, which leaves you feeling you had been on the guest list for, rather than an invited, spectator.

Rick Fisher’s lighting, with design by Francis O’Connor, perfectly captured the atmosphere and ambience of  Peckham apartment, and the only thing I felt may have added to this would have been some soft, easy-listening tunes played in the background – something I’m sure we all have in case of awkward silences when we have guests for an evening.

That said, it wasn’t a show-stopper, and the lack of this didn’t take away anything from the play.

Perfectly timed one-liners, taking you from stunned silences to raucous laughter, alongside an emotional roller coaster of emotions as opinions, friendships and relationships are tested – this show has it all. Political, satirical, egotistical, emotional and hilarious – I loved it! It seems I wasn’t alone in this opinion, which could be taken from the rapturous applause at the conclusion of the dinner party and standing ovation at the curtain-call.

RSC TO TOUR THE WINTER’S TALE IN 2021

RSC WILL TOUR THE WINTER’S TALE TO SALFORD, BRADFORD, CANTERBURY AND NEWCASTLE UPON TYNE, AND ONE MORE VENUE (DETAILS TBC)

Following its run in Stratford-upon-Avon and the Barbican Theatre in London this year, the Royal Shakespeare Company will tour The Winter’s Tale in January and February 2021. The production will visit Salford, Bradford, Canterbury, Newcastle upon Tyne, plus one further venue to be announced. Performance dates at the end of the release.

Set across a 16-year span from Mad Men to the moon landings, this new production – directed by RSC Deputy Artistic Director, Erica Whyman – tells the story of King Leontes, whose jealousy rips his family apart and has life-long consequences.

Erica Whyman said, “I am particularly excited to be directing The Winter’s Tale as it is one of my all-time favourite plays.  It is a story of a man with immense power, who abuses it in the grip of a totally consuming paranoia, but then comes to his senses on a very public platform and apologises – without limit or excuse. That seems to me an act of such rare humility, that to do justice to it Shakespeare conjures a true fairytale, in which grief, repentance, patience, love and common sense are all in the end rewarded.

“I’m setting my production in the 1950s in a monarchy that has known fascism – an imagined Spain where politics, religion and power are deeply intertwined, moving later to 1969 in the North East of England in which real labour and a deep sense of community seems gloriously healthy, loving and straightforward by comparison.

“It is a privilege to be able to share this wonderful play with audiences around the country. I am passionate about ensuring the RSC means what it says about Shakespeare being for everyone, and being invited to tour to these welcoming and ambitious theatres is a significant plank of making that a reality. I’ve been moved and encouraged by our audiences nationally: from my production of A Midsummer Night’s Dream: A Play for the Nation in 2016 to my 2018 production of Romeo and Juliet, I’ve seen firsthand what it can mean for a community to engage with our productions, and I look forward to the next chapter in that journey.”

The Winter’s Tale tour forms part of the RSC’s ongoing mission to create a nation of Shakespeare and theatre lovers around the country. Working hand-in-hand with its partner theatres, the local community, and Associate Schools, the RSC wants anybody aged 3 – 103 to have the opportunity to feel the transformative power of theatre and Shakespeare. 

In the lead up to the production arriving in Bradford, Newcastle upon Tyne and Canterbury, the RSC and those venues will work with local schools and communities who might not normally visit the theatre, to create their own responses to the play. These will be performed in and around those theatres, with more details to be announced.

The production’s music is composed by Isobel Waller-Bridge, who has previously worked with Erica Whyman on her productions of Hecuba and The Seven Acts of Mercy. Her other soundtracks include Vanity Fair (ITV/Amazon), Vita and Virginia (Protagonist Pictures), Fleabag (BBC/Amazon), Woyzeck (Old Vic) and Knives in Hens (Donmar Warehouse).

Joseph Kloska plays Leontes. His previous RSC credits include Imperium, Written on the Heart and Measure for Measure.  He also appeared in The Christmas Truce, the first production Erica Whyman directed for the RSC.  Joseph’s TV and film work includes The Crown, Foyle’s War and Made in Dagenham.

Kemi-Bo Jacobs makes her RSC debut playing Hermione. Her previous theatre credits include All My Sons (Manchester Royal Exchange), Hedda Gabler (Salisbury Playhouse), Betrayal (Derby Theatre), and Wild East (Young Vic). TV work includes Lewis and Doctor Who. 

Ben Caplan also makes his RSC debut playing Camillo.  Well known for his role as Sergeant Peter Noakes in the BBC’s Call The Midwife, Ben’s other TV credits include Silent Witness, Midsomer Murders, and the BAFTA award winning, The Lost Honour of Christopher Jeffries.  Recent stage work includes The Exorcist (Bill Kenwright productions), Describe The Night (Hampstead Theatre) and The Knowledge (Charing Cross Theatre).

Amanda Hadingue plays Paulina.  Her previous RSC credits include Miss Littlewood (directed by Erica Whyman), The Fantastic Follies of Mrs Rich, The Duchess of Malfi, The Merchant of Venice, The Taming of the Shrew and The Tragedy of Thomas Hobbes.  Other theatre work includes Top Girls and A Small Family Business (National Theatre).

Andrew French plays Polixenes. Andrew’s previous RSC credits include Erica Whyman’s production of Romeo and Juliet, and Julius Caesar. TV work includes A Very English Scandal, EastEnders, Marvin Can’t Fail and Holby City.

Further cast includes: Alice Blundell (Dorcas), Alfred Clay (Archidamus), Colm Gormley (Antigonus), William Grint (Young Shepherd), Vicky Hall (Mopsa), Avita Jay (Cleomenes), Zoe Lambert (Shepherdess),Georgia Landers (Perdita), Mogali Masuku (Dion), Dyfrig Morris (Mariner), Baker Mukasa (Lord), Anne Odeke (Autolycus), Bea Webster (Emilia) and Assad Zaman (Florizel).

Joining Erica Whyman on the creative team are Tom Piper (Set Designer), Madeleine Girling (Costume Designer), Prema Mehta (Lighting), Isobel Waller-Bridge (Music), Jeremy Dunn (Sound), Kate Waters (Fights), and Anna Morrissey (Movement).

China Plate announces Spring 2020 Season

• A fresh, modern and playful adaptation of Wuthering Heights, created by Inspector Sands, tours across the UK this spring and autumn
• Caroline Horton’s multi-award-winning ALL OF ME (the possibility of future splendour) embarks on an extensive UK tour from late April onwards
• International tour dates for critically acclaimed shows The Shape Of The Pain and Status
• New shows in development include the final part of a trilogy by Chris Thorpe and Rachel Chavkin, plus a new musical about Civil Rights in Britain by Christopher Haydon, Roy Williams and Tim Sutton 
• China Plate continues its artistic development work with a Digital Discovery Day exploring the possibilities of the online world for theatremakers, and their first Young Producers programme at Warwick Arts Centre

Innovative producing studio China Plate today announces its latest body of touring theatrical productions, in-development work and wider industry engagement for spring 2020 and beyond. The centrepiece of the new season is Wuthering Heights, a new co-production with Inspector Sands, Nuffield Southampton Theatres and the Royal & Derngate in Northampton in association with Oxford Playhouse.

Conceived by Inspector Sands Co-Artistic Director Lucinka Eisler (who will direct) and Ben Lewis (who has written the script), the production is the company’s first mid-scale show. Channelling Emily Brontë’s piercing wit and fierce emotion, it promises a retelling of this classic story of obsessive love and revenge in a thrilling new version for our times.

Another highlight of the season, Caroline Horton’s acclaimed ALL OF ME (the possibility of future splendour) returns to the stage with a string of dates across the UK this spring. Winner of The Stage Award for Excellence and The Mental Health Fringe Award when it premiered at the Edinburgh Fringe in August 2019, the honest, intimate work considers the cyclical and difficult nature of ongoing recovery, looking specifically at the tension between wanting to live and wanting to die.

It follows Horton’s celebrated Mess, in which the protagonist Josephine celebrated her imperfect recover from anorexia, a condition shared by the writer. In ALL OF ME, Horton confronts the question of what happens after the final curtain call. A collaboration Alex Swift (Mess, How To Win At History) and sound designer Elena Peña (Mess, Misty), the work was created with the assistance of Professor Matthew Broome (Director of the Institute for Mental Health), Dr Alexandra Pitman (Senior Clinical Lecturer at University College London), and STOP Suicide, an award-winning Mind campaign based in Peterborough and Cambridge.

China Plate’s two previous hit shows, The Shape Of The Pain and Status, also announce international touring dates for the summer. Created by Rachel Bagshaw and Chris Thorpe, The Shape of the Pain is a Fringe First award-winning show solo show about trying to communicate the experience of chronic pain and desire to another person. The show will headline a festival at the Sophiensaele in Berlin in July. Status, by Thorpe and director Rachel Chavkin, is another Fringe First-winner about national identity in a time of national crisis. It will be performed in Paris, France and Mannheim, Germany in May, plus Porto, Portugal in September – October 2020.

The midlands-based production company are also pleased to be developing a new musical about the fight for Civil Rights in 1960s Britain and the third show in the trilogy by Chris Thorpe and Rachel Chavkin. Created by Christopher Haydon, Roy Williams and Tim Sutton, The Bus Boycott captures an often-forgotten chapter in the fight for civil liberties in the UK. Set in the 1960s, this uplifting show featuring Ska and Calypso has much to teach us about how we live today. Show 3 (working title) is the third part in a celebrated trilogy of works by playwright Chris Thorpe and Rachel Chavkin. The first part, Confirmation, considered how the individual accumulates and processes information, including internalised confirmation bias. The follow-up, Status, looked at the creation of nationally-accepted narratives and who accepts or rejects these. Show 3 ties together these two strands by looking at how different nations, all with their different national stories, co-exist. Chris and Rachel’s starting point for the show was a visit to the United Nations in New York to meet a woman tasked with overseeing negotiations for a nuclear arms non-proliferation treaty in the 1990s.

Continuing the company’s commitment to artistic development and engagement, they are also holding two Digital Discovery days. Held at the New Theatre Royal Plymouth on 20 March and Birmingham Hippodrome of 1 April, the free day-long sessions will help theatremakers at all stages of their careers explore how to unlock the digital potential of their work. The company are also hosting the last day of their innovative training programme The Optimists on 21 March, aimed at tutoring theatremakers in creating work in a professional context and building their professional networks. Alongside this, China Plate have been supporting Rhum and Clay on their first midscale touring show, War of the Worlds, which embarks on a UK tour throughout the spring.  

Finally, the company are happy to announce they’ve just finished recruiting for their new Young Producers programme. In partnership with Warwick Arts Centre, the free training initiative is designed to give Coventry-based 16-21 year olds an introduction into producing arts events with the combined support of an independent producing company and one of the country’s leading arts venues. The project aims to give them an insight into all aspects of producing from managing a budget to project evaluation. They’ll meet producers and other professionals in the sector, see arts events and also put their skills into practice through creating Warwick Arts Centre’s first Youth Takeover Festival in June 2020. Young Producers is supported by Coventry City of Culture Trust, ESF Community Fund, Arts Council England, Arts Connect and Baron Davenport’s Charity.

Speaking about the spring programme, Directors Ed Collier and Paul Warwick said: “Spring 2020 is an extremely important moment for China Plate with the launch of our first full middle scale show, Wuthering Heights, a huge tour of Caroline Horton’s award-winning All Of Me and a busy international season with Status and The Shape of The Pain touring across Europe. We’re also thrilled to be embarking on our Young Producers scheme in partnership with Warwick Arts Centre inspiring the next generation of producers in Coventry in the lead up to Coventry City of Culture next year. Finally, don’t miss our free Digital Discovery Days aimed at theatre makers looking for great hacks to broaden their digital reach!”

Established in 2006, China Plate is one of the UK’s most prolific and respected independent producers of contemporary theatre, producing work that engages 35,000 audience members annually. The company’s central mission is to ‘challenge the way performance is made, who it’s made by and who gets to experience it.’ China Plate has worked with some of the UK’s most talented artists, including Caroline Horton, Inspector Sands, David Edgar, Chris Thorpe, Rachel Chavkin, Rachel Bagshaw, Urielle Klein-Mekongo and Contender Charlie. They are Resident Producers at Warwick Arts Centre, partners in the Rural Touring Dance Initiative (RTDI) founded to bring contemporary dance to rural venues around the UK, partners in the ACE Ambition for Excellence funded Musical Theatre Development Consortium led by Royal and Derngate Theatres, Northampton and Derby Theatre’s Performing Arts Producing Hub.

@YourOldChina | www.chinaplatetheatre.com

For information on Wuthering Heights, please contact Arabella Neville-Rolfe at [email protected]

Listings information

Wuthering Heights

11 – 23 May                   Nuffield Southampton Theatres
142-144 Above Bar Street, Southampton, SO14 7DU
Various times | From £10www.nstheatres.co.uk | 023 8067 1771

27 May – 6 June            Royal and Derngate, Northampton
19 – 21 Guildhall Rd, Northampton, NN1 1DP2pm and 7:45pm | From £11www.royalandderngate.co.uk | 016 0462 4811

17-21 November          Oxford Playhouse
Beaumont Street, Oxford, OX1 2LWTimes | Priceswww.oxfordplayhouse.com | 018 6530 5305

24-18 November –        Warwick Arts Centre
University of Warwick, Coventry, CV4 7ALTimes | Priceswww.warwickartscentre.co.uk | 024 7652 4524

ALL OF ME (the possibility of future splendor)

20 April                        Bloomsbury Theatre
University College London, Gower Street, London, WC1E 6BT
7pm | £10
www.ucl.ac.uk/culture | 020 7679 2000

22 April                        Norwich Playhouse
42-58 St Georges St, Norwich, Norfolk NR3 1AB7.30pm | £12www.norwichplayhouse.co.uk | 01603 598598

24 April                        The Barbican, Plymouth
Castle Street, Plymouth, PL1 2NJ 7.30pm | £13.50 (£11.50 concs)
www.barbicantheatre.co.uk | 01752 267131

26 April                        Tolmen Centre, Cornwall

Fore Street, Constantine, Falmouth TR11 5AA
7.30pm | £10
Tolmencentre.co.uk | 01326 341353

30 April            The Hub at St Mary’s Lichfield
Market Street, Lichfield, WS13 6LG8pm | £15www.thehubstmarys.co.uk | 01543 256611 

2 May               Harlow Playhouse       
Playhouse Square, Town Centre CM20 1LS
7.45pm | Pay what you can
www.playhouseharlow.com | 01279 431945

5 May               Hull Truck Theatre, Hull

50 Ferensway, Hull, East Riding of Yorkshire HU2 8LB
7pm | Prices TBC
www.hulltruck.co.uk | 01482 323638

7 May               Cornerstone Arts Centre, Didcot
25 Station Rd, Didcot OX11 7NE7.30pm | £12.50 (Concs £10.50 – £5)                 www.cornerstone-arts.org | 01235 515144

9 May               The Gulbenkian, Canterbury
University of Kent, Canterbury, Kent CT2 7NB
7.30pm | £13 (Concs £12 – £9
www.thegulbenkian.co.uk | 01227 769075

11 May             University of York Theatre
Heslington, York YO10 5DD
Times and prices TBC
www.york.ac.uk/tfti | 01904 320000

13 May             The Ustinov, Theatre Royal Bath

Sawclose, Bath BA1 1ET
8pm | £17.50 (Concs £14.50)                     
www.theatreroyal.org.uk | 01225 448844

15 May             Aberystwyth Arts Centre, Wales
Aberystwyth University, Aberystwyth, Ceredigion SY23 3DE
7.30pm | Prices TBC
www.aberystwythartscentre.co.uk | 01970 62 32 32

18 – 20 May      Assembly Roxy, Edinburgh
2 Roxburgh Place, Edinburgh, EH8 9SU7pm | £10 (Concs £8)www.assemblyfestival.com | 0131 623 3030

21 – 23 May      Tron Theatre, Glasgow
                        63 Trongate, Glasgow, G1 5HB                        7.45pm | £15/£17                        www.tron.co.uk | 0141 552 4267                        

27 May             Nottingham Playhouse
Wellington Circus, Nottingham, NG1 5AF8pm | £12.50www.nottinghamplayhouse.co.uk | 0115 941 9419

28 May             The North Wall, Oxford

South Parade, Oxford OX2 7JN
8pm | £13 (Concs £11)
www.thenorthwall.com | 01865 319450

5 June              The Hat Factory, Luton

65 – 67 Bute St, Luton LU1 2EY
7.30pm | £12
www.lutonculture.com/hat-factory | 01582 878100

9 June              Brewhouse Arts Centre, Burton
Duke St, Burton upon Trent DE14 1EB
7pm | £10
Brewhouse.co.uk | 01283 508100

11 June            Corn Exchange Newbury
Market Pl, Newbury, West Berkshire RG14 5B
7.45pm and prices TBC
www.cornexchangenew.com | 0845 5218 218

14 June            The Holbeck Working Men’s Club
Jenkinson Lawn, Holbeck, Leeds, LS11 9QX
Times and prices TB9
www.slunglow.org | 0113 226 0808

18 June            Pound Arts Centre
The Pound, Pound Pill, Corsham, SN13 9HX
7.30pm | Prices TBC
poundarts.org.uk | 01249 701628

Young Producers

WAC Youth Takeover Festival
Warwick Arts Centre
Fri 26 and Sat 27 June (times tbc, not on sale yet)
https://www.warwickartscentre.co.uk/

TIM LEVY JOINS NICHOLAS HYTNER AND NICK STARR

AT THE LONDON THEATRE COMPANY

www.bridgetheatre.co.uk

On 30 March 2020 Tim Levy will join the leadership of London Theatre Company as co-director alongside founding co-directors Nicholas Hytner and Nick Starr.

The London Theatre Company opened in October 2017 at the Bridge Theatre, the first wholly new commercial theatre of scale to be built in London for 50 years.  They open their second theatre in spring 2022 at King’s Cross. 

Tim Levy said:  “I’m thrilled to join Nick and Nick as their partner at the London Theatre Company. They are inspiring theatre makers and it’s an honour to continue our association which dates back to the start of their tenure at the National Theatre. The Bridge is one of the most thrilling, flexible stages in the world (soon to be joined by Kings Cross) and I’m excited to work with the widest array of artists to further unleash the potential of these spaces and to produce our work in London, New York and beyond.”

Nicholas Hytner and Nick Starr said:  “Tim’s joining us means we can open up and extend the range and scale of what the company does. We have long admired his taste and skills and it’s a coup for us that he has decided that London Theatre Company is the right vehicle for the big future that lies ahead.”

John Booth, Chair of the London Theatre Company Board, said: “This is clearly exciting for London Theatre Company and for Tim. With this leadership structure, I’m excited by the potential for growth and broadening of horizons in our own theatres and beyond.”

Tim Levy was the Founding Director of National Theatre America. He was co-lead producer of the Tony award winning productions of Angels in America and The Curious Incident of the Dog in the Night-Time. He also produced Network, People, Places & Things and The Effect in New York.  As Producer for Boyett Theatricals, productions include War Horse, One Man, Two Guvnors, Sleep No More, South Pacific, The Light Princess, 13 and Sunday in the Park with George.  Previously in the UK, he worked at the National Theatre and the Donmar Warehouse.  On Broadway he recently produced the Bridge Theatre production of My Name is Lucy Barton and isExecutive Producer of the Broadway transfer of Company.

Stockport Plaza Theatre – until 12 March 2020

Reviewed by Ian K Johnson

4****

Helen Forrester’s By The Waters of Liverpool is presented by Pulse Records in association with Bill Elms

This adaptation by Rob Fennah to give its audience a complete picture of Helen Forrester’s life. The stage play also features insights from her earlier work including “Liverpool Miss”, flashbacks also to “Twopence To Cross The Mersey” there’s even a story line from this great writers fourth autobiography “Lime Street At Two”.

Helen Forrester was born in 1919 in Hoylake, Cheshire and the eldest of 7 children.

She is the author of many popular novels alongside her four extremely successful volumes of autobiography which recall all the years of hardship suffered by herself and her family in depression hit Liverpool .

The stage has a very impressive open set showing us a Liverpool street set against a background of Liverpool landmarks including Lime Street Station and its famous big clock where many a Liverpool lass and lad have waited for loved ones.

This adaptation has many faces from television including our leading lady Helen Forrester played by Lucy Dixon (widely known from Hollyoaks and Waterloo Road).

The cast is lead by stalwarts Mark Moraghan, Sïan Reeves and Eric Potts. We also have Parry Glasspool (recently departed from a high profile storyline and five years on Hollyoaks), Lynn Francis, Chloe McDonald, Danny O’Brien and Roy Carruthers. The ensemble cast take on multiple roles of over fifty characters who are weaved into the plot.

The play takes its audience to the 1930s where Helen and her family have been forced to leave behind their well to do middle class life in the South West of England and Liverpool is the chosen city by the family where they intend to reside and rebuild their lives following Helen’s fathers (played by Mark Moraghan) bankruptcy.

The family have a great shock in front of them as this is so very different to their old life back in the South West.

Helen is taken out of school to look after her younger brother and sisters. Her mother (superbly played by Sïan Reeves) treats her as an unpaid slave at her beck and call. We are shown that Helen is certainly not treated like the two older siblings Fiona and Alan (Chloe McDonald and Parry Glasspool).

Fiona is given pocket money to buy herself little luxuries and Alan hands over his wages to his mother but is handed most of it back to go enjoy himself, whereas Helen has to pay for things and any money given to her is known to be just a loan and is to be paid back.

Helen is sick of being treated so differently and a bitter fight ensues for her right to to go out to work and to be herself in life.

This is until her ‘fairy godmother’ arrives in the guise of Deaconess (Lynn Francis) who even though she’s a local dignitary and do-gooder takes a shine to Helen and goes out of her way to help her in any way she can.

The Deaconess lines up a job interview in a local office for Helen. Here we meet Mr Ellis and Herbert (excellently played by Eric Potts and Parry Glasspool).

Eric in all his ensemble roles shows the audience why he is so loved for his comedy timing, mannerisms and looks and gives us a masterclass in comedy, Parry as Herbert reminds me of a young Norman Wisdom he is first class in his characters on stage, excellent accents too.

As the years go by we arrive at 1939, Britain is on the verge of war with Germany, Helen has reached the age of 20, never had a boyfriend but does have a German pen pal Freidrich. Letters are sent back and forth between the two of them but this causes problems for Helen who has to go to the local police station to answer questions on her friendship and the letters.

At 20 Helen hasn’t been kissed, her life starts to improve when she meets a seaman Harry and falls in love. Her life starts to take an upturn now she has Harry in her life.

Special mention has to go to Lucy Dixon as Helen Forrester, she is never off stage and takes on the role with such ease and a pure delight to watch and listen to her cut glass accent.

Written by Rob Fennah, directed by Gareth Tudor Price, set designed by Foxton, lighting designer Ian Scott, sound designer Kate Harvey.

The Lowry, Salford – until 14 March 2020

Reviewed by Angharad Crabtree

5*****

Crongton Knights is a completely unique performance in both the story line and the atmospheric use of sound. The story is of (the magnificent) 6 teenage friends embarking on a mission together to overcome a modern issue (retrieval of a stolen phone containing inappropriate images), in the fictional yet familiar rough area of Crongton. This theme allowed the audience to relate any similar scenarios they may have faced in their past and empathise accordingly with the characters. It also tackles very real issues faced by young people in the modern day, such as violence, knife crime, family tensions and how technology can be used maliciously.

The use of sound, music and voices during the show were intrinsic in creating the mood and fully immersing the audience in the character’s emotions. The use of beatbox, rapping and acapella singing was not only a demonstration of magnificent talent, but created a great impression of alignment between the group, further enhancing the strength of their friendships. Fantastically complementing the vocal work, was vibrant and energetic dance routines which gave the actors the vivacious youthful edge to complete their characters. In addition, the colourful, rotating set is cleverly worked into the scene changes, and provides a reminder that their surroundings are somewhat unkempt and heavily decorated with graffiti.

Besides their outstanding vocal and choreographic elements, the actors also well represented their characters through great performance. The most notable performances came from Aimee Powell who played Venetia, well portraying a young woman in distress over an ex-boyfriend and also from Khai Shaw who played Jonah, who kept the audience amused with his quick one-liners and hopeless crush. All characters should be commended though, as all brought strong performances when diving into their own personal struggles, well contrasted through lighter, comedic interjections. My only criticism would be that some of the energy and attitudes of the teens may have been a bit overzealous. But overall, a fantastic performance with unique creativity whilst also supporting some important moral dilemmas of modern society.

David Calder, Nicholas Le Prevost and Anoushka Lucas join Henry Goodman in

The Life of Galileo

24 April – 16 May, Chichester Festival Theatre

David Calder and Nicholas Le Prevost will join Henry Goodman in The Life of Galileo by Bertolt Brecht, in David Edgar’s revised translation, directed by Jonathan Church, running at Chichester Festival Theatre from 24 April – 16 May with a press night on 29 April.

Singer/songwriter Anoushka Lucas, whose performing credits include Mary Magdalene in Jesus Christ Superstar at Regent’s Park Theatre, will co-compose music for the production (with Matthew Scott) as well as appearing as a Balladeer.

The full company is Henry Goodman, Oscar Batterham, Ashley Byam, David Calder, Gunnar Cauthery, William Chubb, Branwell Donaghey, Pip Donaghy, Poppy Gilbert, Oliver Grant, Guy Hughes, Rosalind James, Nicholas Le Prevost, Anoushka Lucas, Jon Trenchard and Sharlene Whyte, with Quincy Miller-Cole, Raphael Higgins-Humes, Will Tarpey and Caleb Wood sharing the juvenile roles.

1609. Galileo Galilei is a teacher of mathematics at the University of Padua. The establishment orthodoxy – which he’s been teaching to private pupils for years – is that the sun revolves round the earth, which is the centre of the universe. The theory confirms the scriptures and pays the bills.

Now, with the help of a newly-invented telescope, Galileo is starting to look at the universe afresh. And the more he looks, the more he sees, including mountains on the moon and strange stars around Jupiter. His discoveries not only support the heretical idea that the earth moves round the sun, they give rise to urgent new questions too. What if the earth is just another star? And if the church is wrong about the heavens, might it be wrong about how things are here on earth?

Brilliant minds have been burnt alive for asking such questions. Because though this is the age of science and discovery, it is also the age of the Inquisition.

Bertolt Brecht revised his epic play about the battle between scientific reason, the power of religion, and human responsibility in response to the apocalyptic events of the middle of the twentieth century. David Edgar has revised and updated his translation for this production; his adaptations also include Nicholas Nickleby and The Master Builder, both seen at CFT.

Making welcome returns to Chichester are Director Jonathan Church, who was Artistic Director 2006–16; and Henry Goodman who plays the title role, following his appearances in Yes, Prime Minister (2010) and The Resistible Rise of Arturo Ui (2012/13).

David Calder, whose extensive theatre work recently includes the title role in Julius Caesar (Bridge Theatre), makes his Chichester debut as The Cardinal Inquisitor. Nicholas Le Prevost (Sagredo/Cardinal Bellarmin) returns to the Festival Theatre, where his most recent appearance was in A Marvellous Year for Plums (2012).

The Life of Galileo will be designed by Simon Higlett, with lighting by Mark Henderson, music by Matthew Scott and Anoushka Lucas, sound by Paul Groothuis, video by Dick Straker, movement by Jenny Arnold,associate director Jenny Ogilvie,casting by Juliet Horsley and children’s casting by Verity Naughton.

The Life of Galileo is sponsored by Reynolds Fine Furniture