Month: November 2021

Criterion Theatre, London – until 17 April 2022

Reviewed by Alun Hood

4****

Every so often a little show comes along pretty much unheralded and without star casting that strike a chord with audiences and critics alike, and end up sticking around in the West End for years: think The Play That Goes Wrong, Six, Stones In His Pockets, The 39 Steps, Reduced Shakespeare Company (the last two of these were of course long term occupants of the Criterion on Piccadilly Circus, where Pride & Prejudice* (Sort Of) looks likely to remain for the foreseeable future). Yes folks, here’s another to add to that illustrious populist list. Despite a somewhat unwieldy title (which makes total sense once you see the show, which you absolutely must),this is the sort of joyful comic romp that will appeal to all ages (although be aware there is some swearing, if you’re planning to bring youngsters) and is likely to get a lot of repeat business from patrons curious to see what they missed while their heads were thrown back in mirth on their previous visit.

Written by Isobel McArthur “after Jane Austen”, it’s one of the most cheeky and charming examples of having your theatrical cake and eating it that I’ve ever encountered; for the brilliant McArthur, who co-directs (with Simon Harvey), plays Mrs Bennet AND Mr Darcy, and also plays piano and accordion because, well, why not…, has created a skilful spoof of Austen’s beloved novel and the sober-sided ways it’s often dramatised, as well as a remarkably complete rendering of the actual story itself. It’s very clear that, for all their hysterically funny mucking about with it, McArthur, Harvey and their team have a great deal of affection for, as well as a formidable working knowledge of, Pride & Prejudice the novel.

What they bring to it is crazy comic invention, phenomenal energy, raucous anachronisms (“Darcy wouldn’t piss on you if you were on fire!”), genuine wit …and karaoke. The all female quintet who roar through this life-enhancing spectacle playing multiple roles are sensational physical and vocal comics who miraculously still find the kernels of truth in what they are doing, thereby sending the already highly amusing up into the comedy stratosphere. It’ll be a long time before I forget Hannah Jarrett-Scott’s fantastically arch, screamingly funny Caroline Bingley trying to woo Darcy while discrediting Meghan Tyler’s glorious Northern Irish Elizabeth Bennet, or the sight of Christina Gordon’s lovely Jane Bennet on a full size horse gamely pretending that the water pistol repeatedly fired at her by Tori Burgess’s hysterical younger sister is an unexpected rain shower. The five performers are just magic together, and “Comedy Staging” specialist Jos Houben should probably get an honorary Olivier award for this work on this.

Here’s a world where the catering at a society party includes Wagon Wheels and Irn Bru (the production originated in Scotland), or where characters emerge from a modern day rubbish skip in full Regency dress and brandishing percussion which they then play, where Mr Bennet can occupy quite a lot of stage time but is never actually seen, or where Elizabeth can suddenly produce a mic and start berating Darcy with a rather terrific version of Carly Simon’s “You’re So Vain”. Despite all the fun (and there is a heck of a lot of that), there emerges a very strong sense that in Austen’s world the men had the power but it was the women who drove things.

It looks good too: the costumes are nicely mock-lavish, and Ana Inés Jabares-Pita’s gorgeous set, a circular book-festooned staircase climbing into the flies, mirrors the colour scheme and patterns of the Criterion’s own dust-pink and cream auditorium and even features a replica of the theatre’s own chandelier.

The second act falters a bit, almost as though the creators had realised that they were so busy showing us a good time that they’d forgot there was still quite a bit of the plot to cram in, and could probably lose about twenty minutes. By the end though, the audience is spontaneously on their feet, galvanised by an unexpected but entirely delightful rendition of the Candi Staton disco classic “Young Hearts Run Free” from the junior Bennet sister who has hitherto been banned from singing at family parties (the fabulous Burgess again).

This show is nuts: Austen as the adorable love child of Mischief Theatre and Our Ladies of Perpetual Succour, with a large dash of Laura Wade’s The Watsons and the National Theatre of Brent. It takes you to that smashing place where you just can’t stop laughing. Is it perfect? Well, no. But is it the funniest show currently in the West End? Absolutely.

THE ALEXANDRA THEATRE, BIRMINGHAM – UNTIL SATURDAY 6 NOVEMBER

REVIEWED BY NADIA DODD

4****

Having been a fan of the film, I was more than delighted to accept the invitation to go along to the press night of the theatre production. I first saw Grease on the stage back in the 90’s in the West End and tonight’s excitement and anticipation started to build once entering the theatre seeing some audience members dressed as the ‘Pink Ladies’, I had my fingers crossed for a great few hours ahead.

The performance started with the stars main characters Danny Zuko (played by DanPartridge) and Sandy Dumbrowski (played by alternate Sandy, Ellie Kingdon) setting the scene of their summer romance coming to an end before heading to back to school for the start of the new term. Ellie (Sandy) is making her professional debut in this performance of Grease and she does not disappoint, she has such a powerful voice, perfect for the iconic song ‘Summer Nights’.

Cast perfectly for the comical role of Jan, Maeve Byrne was such a delight to watch as one of the Pink Ladies, not as popular with the boys as some of the others. Yes, Danny was the president of the Burger Palace Boys but for me it was Kenickie (played by Paul French) who stood out as such a strong character and fantastic performer. The scenes with the boys dancing as group were astounding!

I have to admit it was Vince Fontaine /Teen Angel (played by Peter Andre) who stole the show and the audience’s hearts, showing that even though his music career hit a peak in the 1990’s he could still hold a note and a few cheeky hip thrusts that certainly entertained majority of the crowd…..

Costumes, props and scenery were on point set back to the 50’s, the iconic car ‘Grease Lightening’ obviously also featured heavily. There are some additional songs in this production compared to previous shows and the original film, and don’t expect the show to mirror the exact flow of the film, it has to be adapted for the stage remember.

The Pink Ladies and Burger Palace Boys, as they were originally known (T-Birds in the film) put on such a colourful, vibrant and energetic performance for the whole show, it really was difficult not to join in, although the whole theatre were encouraged to take to their feet and join in along the whole cast in such a joyful ensemble of all the favourite songs at the end of the show.

Southwark Playhouse – until 27 November 2021

Reviewed by Claire Roderick

2**

Atlantic City always appears to be a sadder, less impressive version of Las Vegas in films, and this musical set in Atlantic City has the same disappointing aura. Based on Jack Engelhard’s novel rather than the tweaks made in the movie screenplay, the characters and plot are one dimensional and unengaging.

Married couple Jonny (Norman Bowman) and Rebecca (Lizzy Connolly) are both working multiple jobs to get by in Atlantic City. Rebecca catches the eye of millionaire Larry (Ako Mitchell) who offers the couple one million dollars to spend one night with Rebecca. Act two shows the effects of their decision on their relationship, but the shouty songs begin to grate. Perhaps the arguments should have been spoken.

There is so much that could be said about capitalism, sex workers, and a multitude of other problematic issues the characters deal with. But Michael Conley’s book and lyrics just brush over everything and move the plot along with clunky dialogue and repetitive lyrics that add nothing to the story or character development. Dylan Schlosberg’s music is catchy with a few standout numbers, but nothing very memorable, despite the musicians’ talent and energy.

Bowman and Connolly do the best they can with the dull script, and both have great voices, but there is nothing they can do to make you care about these characters. The only truly memorable moments come from Jacqueline Dankworth as lounge singer Annie. She has most of the funny lines and gets to work the audience in character and nails the two best songs in the show – exuding melancholy singing Atlantic City, and sublime singing Will You Remember.

A talented cast wasted in a musical that doesn’t find it’s voice – a proposal that is easy to turn down.

The Mixing Room at Menier Chocolate Factory – until 18 December

Reviewed by Claire Roderick

4****

Harry Peacock and Dan Skinner bring their podcast characters to the stage in this hilariously unhinged show. The Mixing Room’s space is dressed like a shabby community centre, with props doubling as more exotic items as the play progresses while clever projections give a clear sense of the location of each character.

After meeting at a support group for recently divorced men, Brian (Simon Lipkin) and Roger (Dan Skinner) bond over their love of the movie Avatar and develop a very dysfunctional friendship. Dan is a sweet, naïve optimist who is walked over by everyone, and Brian is a total bastard who uses this to his advantage at every opportunity. Brian is off the grid, living in a student house and wrapped up in dodgy deals with dodgier people, while Dan is sleeping on an 82-year-old woman’s sofa, always hoping that he will see more of his son and reunite with Claire.

Keeping to the structure of the podcast, the story unfolds through phone messages the pair leave for each other – usually Brian talking Roger into his latest scheme and Roger’s upbeat apologies and explanations about what exactly went wrong. This could be dry and static in other hands, but Lipkin and Skinner’s brilliant characterisations are engaging and funny, with Lipkin making you want to slap Brian harder each time he speaks, and Skinner keeping Roger sympathetic and loveable as his situation worsens. Director David Babani keeps things moving smoothly and Peacock and Skinner’s writing is sharp and witty – broad at times, but never as offence as the title suggests – ramping up the pace as the second act gallops along without any weak scenes.

The pairs exploits take them from a poker game in an abattoir to a room full of poisonous snakes, to a ridiculous race against the clock in China. As the stakes rise, the situations they find themselves in get more and more bizarre, and the laughs come faster and get bigger. The only scene where the pair are talking in real time takes place in darkness, which is just as well considering what they are forced to do with bolt cutters.

Brian & Roger probably isn’t to everyone’s taste, but I haven’t laughed this much at the theatre for a very long time. A completely insane, hilarious show.

Kings Theatre, Edinburgh – until Sunday 7 November 2021

Reviewed by Ellen Searle

5*****

First performed in 2012, the multi award winning The Play That Goes Wrong is a hilarious spoof on what might kindly be called less than professional stagecraft.  Originally directed by Mark Bell, with the mantle picked up here by Sean Turner, it stars the fictional Cornley Polytechnic Drama Society as it attempts to stage The Murder at Haversham Manor, in the style of the classic 1920s cliché ridden whodunnit.  This provides rich fodder to showcase all that possibly could go wrong in a performance. And to our delight, misplaced props, falling apart sets and fluffed lines are only the beginning of the fun.  

All of us who love the theatre will occasionally have seen things genuinely going wrong on stage, and, more to the point, the attempts by actors and production staff to hide or make good those errors.  The larger than life expressions of this, combined with all the theatrical tropes we could ever hope to see – the charismatically overbearing ‘I am an actor’ character a la the comedy Brian Blessed by Leonard Cook being a particular highlight – are delivered with gusto by this skilled and energetic cast.  The slapstick is of the highest order, with a multitude of pretend errors and accidents, as far as entire set walls falling over and actors being dragged off injured, while their brave colleagues do their valiant best to hold the play and, at times, the actual set together.  All of the cast are to be commended, in particular for their exquisite timing and highly physical on stage horseplay.  Special mention must be made of set designer Nigel Hook, whose expertise plays a huge role in enabling the accidentally on purpose and hugely entertaining stage mishaps to be delivered convincingly and safely.

But what is really clever about this play is the way in which it builds over time.  What initially might feel a little predictable develops layer upon layer into something really special.  The unceasing efforts of the fictional cast to deliver on the old adage that the show must go on endears us to them more and more with each ever more ridiculous disaster.  They say God loves a trier, and it is this aspect, contrasted with the most unsuccessful results, that brings a genuine warmth to proceedings alongside the comedy.  The interval glass of wine may have helped, but my chuckles of the first half grew to guffaws in the second , and by the end I was bent over with the hilarity.  The Play That Goes Wrong is very, very silly and very, very funny. In these troubled times, it is perhaps just what we need.

Hull New Theatre – until 6 November 2021

Reviewed by Catherine McWilliams

3***

There were elf hats a plenty in the audience as children (and adults) excitedly anticipated some Christmas cheer and they were not disappointed. Buddy the Elf (Tam Ryan) bounced into the Hull New Theatre and with his child-like enthusiasm and glee won the hearts of a packed audience.

Elf The Musical is based upon the hit film, adapted by Bob Martin and Thomas Meehan with music by Matthew Sklar and Chad Beguelin. This production is directed by Jon Conway and produced by WBP Ltd. Elf tells the story of Buddy, a young orphan, who climbs into Santa’s sack and ends up at the North Pole where he is brought up as an elf. Of course Buddy grows so much taller than the other elves but it is still a shock to him when he discovers, at the age of 30, that he is really a human. Santa tells him his father is really Walter Hobbs who lives in New York, but what is even more shocking to Buddy is that his father is on the naughty list because he doesn’t believe in Santa. We then follow Buddy’s adventures in New York, where he is a square peg in a round hole, full of joy and happiness and most importantly of all believing in Santa and ultimately saving the day.

Tam Ryan is perfect as Buddy the Elf, full of childishness and naive enthusiasm. His comic timing is superb as Buddy lands himself in all sorts of difficulties. He also builds up a wonderful rapport with the audience, especially the children. He has a great singing voice too. He is the glue that holds this production tightly together.

A special mention should also go to Kelly Banlaki as Jovie, Buddy’s love interest. She had just the right amount of bitterness about men and her singing voice was excellent, “Never fall in Love” was beautifully sung.

Elf The Musical thrives on audience reaction and it was there in droves last night, whether we were “ahing” at the sad parts, shouting at Santa, groaning at the jokes (the adults!) or belly laughing at the slapstick. It was wonderful to see children enthralled by the action on the stage, loving every minute of it and still buzzing at the end.

Elf The Musical is full of songs and dance routines, superbly delivered by the cast, who quickly switched from being elves to office staff to ice skaters etc., providing a lovely spectacle, these were proper old-fashioned type musical songs and routines. I particularly loved the Fake Santas’ routine to “Nobody cares about Santa”. The cast provided plenty of slapstick and visual humour too and were not afraid to throw in the odd ad lib!

The addition of a giant LED screen provided some wonderful animations and backdrops to enhance the story telling, together with clever lighting they made this story glitter and sparkle even more.

All in all, Elf The Musical is a fabulous fun night out for all the family, full of glitter, sparkle and spectacle. It will fill you with just the right sort of Christmas spirit as Buddy saves the day and you will leave the theatre with a warm glow, perfect for these dark nights. For anyone who loves Christmas this is perfection and as to me I just wanted to come home and get the decorations out! Treat yourself or someone special to some tickets!

Mayflower Theatre,  Southampton- until 4 November 2021

Reviewed by Gill Gardiner

5*****

It is often said that great art transcends time and place, Welsh National Opera have succeeded in proving just how true this is for Puccini’s work in their new production of Madam Butterfly. The setting for this production is neither in Japan nor specifically any country. Rather than being set in the past it is set in a near future version of our own society, where wealthy male clientele can buy young girls like Butterfly as child brides for sexual exploitation. Real world contemporary parallels are obvious, sex trafficking of children remains a global business.

The cruel and tragic wreckage of a fragile 15 year old girl is skilfully depicted in this production. Isabella  Bywater’s minimalist set is stunning, a revolving neon lit, white cube house allows interpretation as a shiny show house, a pleasure suite and a squalid prison for a single mother.

Joyce El – Khoury gave a stand out performance receiving a standing ovation from the audience for her excellent portrayal of Butterfly. As a reflection of his skill in portraying the callous Pinkerton Leonardo Caimi received simultaneously an ovation for his performance and boos from the audience for the character that he represented.

I confess I was very sceptical before the show as to whether this classic opera could be portrayed in the modern world; I was wrong, this powerful story of unrequited love, pain and suffering, intensified by Puccini’s glorious music, is as relevant now as it was over a century ago. A first rate production, I was thoroughly drawn into the narrative, the music and the setting.

New Wimbledon Theatre – until Saturday 6 November 2021

Reviewed by Liberty Noke

4****

At first glance Heathers seems like an ordinary teen coming of age story about a main character that wants to be popular but this musical has a dark side.

The curtain opens to reveal Veronica Sawyer on her first day of senior year wishing that everyone at school were a little nicer. She falls in with the Heathers- 3 girls all named Heather, the popular yet mean girls at the school and suddenly she is well liked. Despite their new friendship Heather Chandler, the leader of the Heathers, continues to bully Veronica. When a new bad boy JD shows up at the school Veronica falls for him but he quickly reveals his true colours suggesting he and Veronica kill all the mean kids at school. Veronica must choose whether to go along with JD and play God or choose kindness and help the school become a better place.

Maddison Firth gave a stand out performance as Heather Chandler she perfectly played the stereotypical high school mean girl she was nasty and loud while all the time appearing confident, charming and sexy so even though you might want to you couldn’t hate her.

Veronica Sawyer played by Rebecca Wickes was the perfect awkward and anxious high school character. Her awkward laughs and facial expressions really made the audience believe they were watching a real teenager in high school. Wickes’ vocals were incredible and she was a fantastic Veronica from start to finish.

A highlight of the show was the song You’re Welcome sung by Kurt (Liam Doyle) and Ram (Rory Phelan) they played caricatures of high school Jocks and watching Veronica (Rebecca Wickes) outsmart them was a powerful moment.

The entire cast had energy from start to finish – the ensemble in particular. They each had a high school character to play and were all committed to that role. Candy Store is an iconic song from the show one that the audience were eager to hear and the Heathers ( Maddison Firth, Merryl Ansah, and Lizzy Parker) performed it excellently, the choreography was fantastic and performed in perfect synchronisation and the Heathers perfectly showed the power and status they hold at the school.

This show is fantastic, it is easy to see how it has such a following with many of the audience wearing costumes inspired by the characters. With amazing songs, quirky characters and a powerful message about kindness this show is a must see!

UK Theatre appoints Joint Presidents for first time in organisation’s history

Today (Wednesday 3 November) at the UK Theatre AGM, the UK Theatre membership have voted in Jon Gilchrist and Stephanie Sirr as Joint Presidents for the first time in the organisation’s history.

Current UK Theatre President Fiona Allan, who is leaving the Birmingham Hippodrome for a new role at Opera Australia, stood down as President at the AGM (a year before the expiry of her term of office). With Fiona’s tenure coming to an end, Stephanie Sirr automatically assumes the role of President as she is already the current Vice-President, and Jon Gilchrist becomes Interim Vice-President.  

From the 2022 AGM for a 3-year term, Stephanie and Jon will be Joint Presidents.

A statement from Jon Gilchrist and Stephanie Sirr:

‘We are delighted to be taking up the roles of Joint Presidents in order to continue the work of recent years to deliver an organisation that really supports our industry in its time of greatest need. There is a significant amount of work to be done to continue to move the sector forward and as Joint Presidents we will be better able to deliver this alongside also running venues.

‘In addition, as Joint Presidents we underline the commitment of UK Theatre to job sharing and improving the industry’s flexibility as employers. Finally, because the interests of both producing and presenting houses will be fully represented by us, we believe that at this critical time our combined approach will assist the sector in its recovery from the pandemic.

‘A shared leadership will enable us to focus on a wider range of priorities, and to better reflect the needs of the membership. We are also committed to building a UK Theatre board that is more reflective of all areas of the industry. Over our term we look forward to working with the team at UK Theatre to build on the constitutional changes in place to diversify the board and positions of power.’

Information about newly appointed Board Members will follow in due course.

Birmingham Hippodrome – until 6 November 2021

Reviewed by Joanne Hodge

5*****

Phenomenal!!! If Lyn Paul (formerly of The New Seekers) could teach the world to sing, it would be a much happier place. Lyn leads the cast, playing the role of Mrs. Johnstone, in telling the story of twin boys separated at birth, who grow up ‘on opposite sides of the tracks.’ Chance brings them back together and after immediately hitting it off, Mickey & Edward (Eddie) make a pact to be ‘blood brothers’, neither of them aware of their genuine blood ties.

Bill Kenwright (Producer) and Bob Tomson (Director) have made an incredible job of bringing Willie Russell’s tale to life, delivering a very emotive performance in a simple but effective stage setting. The left side of the stage depicts the poorer, working-class families, the right side, the wealthier, upper-class lifestyle, and their larger houses; the center where two worlds collide.

There is a rawness to the performances of all cast members, which draws the audience into the lives of the Johnstone family and their acquaintances; it addresses complex subjects such as class, economic status and Mental Health issues very effectively and realistically.

A thoroughly enjoyable performance which provides clear evidence of why this play is known as the “Standing Ovation Musical”, with everyone delivering rapturous applause and a number of tears shed.