Everyday marks the 20th anniversary of Deafinitely Theatre – the first deaf launched and deaf led theatre company who produce bilingual theatre in British Sign Language and spoken English. Paula Garfield founded the company in 2002 alongside Steven Webb and Kate Furby with the vision of making theatre accessible for all and making deaf people valued within mainstream media. Deafinitely Theatre’s mission is to produce high quality bilingual theatre for deaf and hearing audiences of all ages and backgrounds. It seems fitting therefore that Everyday embodies inclusivity within theatre.
Everyday tells the story of four survivors of domestic violence. Lady Aine (Fifi Garfield), Shadow (Cherie Gordon), Aislinn (Zoë McWhinney) and Pan (Bea Webster) come together in a safe space to share their stories and support each other through the trauma they have faced as victims. Paula Garfield (writer and director) created the show as a direct response to the impact that the Covid-19 pandemic has had on the reported statistics of domestic violence. Deaf people are twice as likely to suffer domestic violence and their experiences are unique. In addition to this women and LGBTQ people are disproportionately affected by domestic violence and so in choosing three women and a non binary person to tell their stories Deafinitely Theatre gives victims from these backgrounds confidence to tell their stories and reassurance that there is a way out of the dire situation they find themselves in.
I should mention here that I am not deaf and do not speak British Sign Language but this production is accessible for all and the visual storytelling element of BSL is merged with spoken English and subtitles to allow for a multifaceted interpretation of the stories being told. Humour is mixed with heart wrenching emotion and the audience finds themselves lost in each of the characters’ worlds. The four characters create a sort of witches coven and there is a fantastical element to the production whilst at the same time being so realistic and relatable. Sound Designer XANA alongside Lighting Designer Ali Hunter pull us in and out of this mystical energy with the intermittent hum and growing multi coloured lights which signal the aura of each character.
I felt personally touched by the stories told by Pan (Bea Webster) and Shadow (Cherie Gordon) due to the seamless merging of BSL and spoken English. The dynamic of the main character using BSL and there being a spoken English voice over was a beautiful example of how people with different skills and abilities can work alongside each other to support each other and make the world a better place for all to be seen and heard.
Everyday is thought provoking, touching and humorous. It is a piece of theatre that celebrates people who are quite often pushed to the margins of society and acts as a reminder that there is a space for people of all backgrounds to tell their stories on our national stage.
NEW CAST JOIN DISNEY’S CRITICALLY ACCLAIMED PRODUCTION OFFROZEN
AS IT EXTENDS DUE TO PUBLIC DEMAND
★★★★★
“Frozen is one hot hit”
Daily Mail
Disney Theatrical Productions today announces that their critically acclaimed production of Frozen is extending until March 2023 due to public demand. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, book by Jennifer Lee, and directed by Michael Grandage, the production opened at Theatre Royal Drury Lane in August last year, and has been playing to capacity houses since, recently receiving 7 WhatsOnStage Awards – the most of any production – and 4 Olivier Award nominations, including Best New Musical.
Joining the company are Emily Lane as Anna and Djavan van de Fliert as Kristoff, who from 28 September will play alongside Samantha Barks (Elsa), Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Duke of Weselton); and alternating the role of Sven, Mikayla Jade and Ashley Birchall. Continuing as part of the ensemble are Jeremy Batt, Laura Emmitt, Matt Gillett, Justin-Lee Jones, Jacqui Sanchez (Queen Iduna), Jak Skelly (Oaken/Bishop), Kerry Spark (King Agnarr), Anna Woodside, and Luke Fraser Yates; who will be joined by Rhianne Alleyne, Danny Becker, Marianne Bardgett, Rebecca Botterill, Char Burnett (Bulda), Collette Coleman, Davide Fienauri, Jemal Felix, Jordan Fox, Molly Francis, Harriet Samuels, Isabella Glanznig Santos, Ben Irish (Pabbie), Aoife Kenny, Jordan Livesey, Joshua Robinson, Caitlin Tipping, and Rodney Vubya.
★★★★
“Frozen is an awesome spectacle with more heart, depth and darkness than the film.”
Time Out
Frozen was released in cinemas in 2013, winning multiple awards, including two Academy Awards® for Best Animated Feature and Best Original Song (“Let It Go”), the Golden Globe for Best Animated Feature Film and the BAFTA for Best Animated Film. It was written and directed by Jennifer Lee and Chris Buck, withmusic and lyrics by Kristen Anderson-Lopez and Robert Lopez. Frozen 2, which debuted in November 2019 is the highest-grossing animated film of all time.
Samantha Barks plays Elsa. For theatre, her work includes Chess (Umeda Arts Theater Main Hall / Tokyo International Forum Hall), Pretty Woman (Chicago and Broadway), The Last Five Years (St James Theatre), Amelie (Berkley Rep), City of Angels (Donmar Warehouse), Chicago (Hollywood Bowl), Oliver! (UK tour), Les Misérables (Queen’s Theatre), and Cabaret (Birmingham Rep). She was one of the participants on the BBC series I’d Do Anything. For film, her credits include Tomorrow Morning, Chocolate Cake, For Love or Money, Bitter Harvest, The Revenger, Interlude in Prague, The Devil’s Harvest, The Christmas Candle and as Eponine in Les Misérables (recipient of Empire Award for Best Female Newcomer; and nomination for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture). She also reprised her performance as Eponine for Les Misérables in Concert: The 25th Anniversary.
Emily Lane plays Anna – she is currently in the Frozen ensemble and the second cover Anna. Her other theatre work includes Before the Party (Almeida Theatre), and in the West End, Les Misérables and The Sound of Music.
Craig Gallivan plays Olaf. For theatre his work includes School of Rock (New London Theatre), Billy Elliot (Victoria Palace Theatre), Crime and Punishment (National Theatre), Days of Significance (RSC), The Long, The Short and The Tall (Sheffield Theatres), Joseph and the Amazing Technicolor Dreamcoat and Oliver! (UK tours). For television, his work includes Stella (as series regular Luke), Torchwood, Footballer’s Wives (as series regular Callum Watson) and Care; and for film, The Edge of Love.
Oliver Ormson plays Hans. For theatre, his work includes Back to the Future The Musical (Opera House Manchester), High Fidelity (Turbine Theatre), Cats (Kilworth House), Nerds, Protagonists (The Other Palace), The Addams Family (UK and international tours), The Book of Mormon (Prince of Wales Theatre), Sopranos vs Tenors (European tour), and Hairspray (Aberystwyth Arts Centre). Television includes West Side Story (Reef Television/BBC Symphony Orchestra).
Djavan van de Fliert plays Kristoff. He recently graduated from Arts Ed, and the Frozen marks his professional stage debut.
Richard Frame plays Weselton. For theatre, his work includes The Lion King (as Timon from 2013 to 2018, Lyceum Theatre), Blue Remembered Hills (Theatre on the Fly), Pocket Comedy (UK tour), Richard III, The Comedy of Errors (The Watermill Theatre), London Assurance (National Theatre), A Midsummer Night’s Dream, The Merchant of Venice (Propeller), Absolute Beginners (Lyric Hammersmith), Promises, Promises (Sheffield Theatres), Love’s Labour’s Lost and A Midsummer Night’s Dream (Regent’s Park Open Air Theatre). For television, his work includes The Beast Must Die, Outnumbered, The Hollow Crown – Henry IV Parts 1 and 2, Family Affairs (as series regular Damian), Wire in the Blood, Hearts and Bones, and Hope and Glory; and for film London Road.
Mikayla Jade makes her professional stage and West End debut playing Sven. Originally from Australia, she is an actress and stuntwoman. For film, her work includes Maleficent: Mistress of Evil, The Old Guard and Wonder Woman 1984.
Ashley Birchall plays Sven. For theatre, his work includes Joseph and the Amazing TechnicolorDreamcoat, Oklahoma! (Kilworth House), Wicked (Apollo Victoria Theatre), Pet Shop Boys: Inner Sanctum (Royal Opera House), Tommy (Greenwich Theatre), Starlight Express (Germany), We Will Rock You (Dominion Theatre). For film, his work includes Mary Poppins Returns.
Frozen has scheduled the following access performances – Audio Described Performance (Wednesday 21 September, 7pm and Wednesday 18 January, 7pm), Signed Performance (Wednesday 13 October, 7pm and Wednesday 25 January, 7pm) and Captioned Performance (Sunday 14 September, 7pm and Wednesday 8 February, 7pm), and a Relaxed Performance (Sunday 9 October 12.30pm matinee).
The award-winning young anti-bullying campaigner, blogger and performer
Charlie Kristensen (#CheerUpCharlie)
celebrates becoming a Patron of ASA Theatre Arts
and the life-changing offer of a full-time place at Sylvia Young Theatre School
Charlie Kristensen, the 12-year-old multi-award-winning anti-bullying campaigner, stage and screen actor and presenter of #MusicalChairs online chat show, is enjoying a double celebration after becoming a Patron of ASA Theatre Arts and launching their Charlie Kristensen Scholarship, as well as accepting a full-time place to study at Sylvia Young Theatre School in London’s West End.
Alana Shirley, CEO and Principal of ASA Theatre Arts which is based in the Midlands, said: “We are overjoyed to announce Charlie as our newest and youngest Patron. His passion, drive and individuality are at the heart of the ASA ethos and we are honoured to offer one young person the opportunity to train with us each year, under The Charlie Kristensen Scholarship. Having Charlie as a part of the ASA family, and to watch him achieve his dreams despite adversity, has filled us with immense pride and we hope that his mission will continue to inspire each one of our students.”
Charlie attended classes with ASA’s Vice Principal Georgia Nicholls when he moved to the UK from Australia, aged 5. ASA gave Charlie a safe, inclusive environment and a platform from which he could grow in confidence and develop the skills which have led to roles in the West End and on screen including leading roles in various Netflix animation series. Charlie now lives on the Surrey/Hampshire border, but he still returns regularly to visit ASA, whose Patrons include West End leading lady, Kerry Ellis.
Charlie said: “ASA was where I started my journey, and it holds a very special place in my heart. I couldn’t be prouder or more honoured to be its Patron. The talent which ASA produces is very special, and I can’t wait to watch it grow over the coming years. To have a scholarship awarded to a male identifying student, named after me, makes me realise that my story needs to keep getting told. I am truly privileged knowing that a career can start because of The Charlie Kristensen Scholarship.”
Charlie is also absolutely thrilled to have been offered a full-time place at the renowned Sylvia Young Theatre School, starting in Autumn 2022, following a round of auditions and interviews. This specialist performing arts school offers a high level of academic and vocational studies.
Charlie said: “This has been a dream since #cheerupcharlie first started and I had the honour of meeting Sylvia. I truly think that this is the chance for me to be amongst other kids who accept me for me whilst still allowing me to learn academically and take my training to the next level. I am so excited to be starting this journey.”
Charlie Kristensen started his ‘#CheerUpCharlie’ campaign in 2019. Having been bullied severely for over 18 months, in part due to his love of performing, Charlie couldn’t take any more. When he opened up to his performance coach West End actress Jacqueline Hughes, she rallied support from the theatre industry via Twitter. Hundreds of performers and creatives from the West End, Broadway and even Hollywood identified with Charlie’s story, and inundated him with video messages of support. This led to backstage invitations and national media interviews including BBC Breakfast and Michael Ball’s BBC Radio 2 show. Charlie then knew he wanted to channel his own traumatic experiences, and use the support he had received, to help him fight for others. He trained as an Ambassador for The Diana Award and in June 2021, he was recognised with the The Diana Award himself – the highest accolade a young person can achieve for social action or humanitarian efforts. Earlier in 2021, Charlie’s work was celebrated with a What’s On Stage Angel Award, after being nominated by his theatrical peers for having gone above and beyond to provide joy in the midst of the pandemic.
Charlie now devotes over one hundred hours each month to help others by mentoring, campaigning, fundraising and raising awareness. His successes have included a fundraising gala #CheerUpCharlie – The Show at the Actors’ Church, the release of a charity single performed alongside West End talent, the development of a musical theatre workshop in partnership with Nathaniel Morrison, and his popular weekly YouTube chat show, Musical Chairs, with guests including Matt Lucas, Gaby Roslin, Jodie Prenger, Faye Tozer, Baz Bamigboye, Lucie Jones, Alice Fearn, Gemma Knight Jones, Rob Madge, Aimie Atkinson, Rachel Tucker and many more.
SHAKESPEARE’S GLOBE ANNOUNCES FULL CAST OF THE TEMPEST DIRECTED BY SEAN HOLMES
Shakespeare’s Globe is delighted to announce the cast and company for a new production of The Tempest running this summer from 22 July – 22 October, directed by Sean Holmes. Shakespeare’s tumultuous tale of reckoning and redemption will be brought to life by the Globe Ensemble, who have been thrilling audiences in the critically acclaimed season opening production of Much Ado About Nothing which runs until 23 October.
The Tempest is designed by Paul Wills, co-directed by Diane Page, with Naeem Hayat as assistant director, Cassie Kinoshi as composer and Rachael Nanyonjo as movement director.
Sean Holmes is the Globe’s Associate Artistic Director where his recent directing work includes the ensemble productions of A Midsummer Night’s Dream,Twelfth Night and Hamlet, as well as Henry VI and Richard III which he co-directed in the 2019 winter season. Prior to the Globe, Sean was the Artistic Director of the Lyric Hammersmith, where his work included The Seagull, Terror, Bugsy Malone, Cinderella and Blasted, for which he won the 2011 Olivier Award for Outstanding Achievement in an Affiliate Theatre. Bugsy Malone begins a major UK tour at Theatre Royal Bath on 2 July.
Peter Bourkewill playGonzalo. Peter is currently performing at the Globe in Much Ado About Nothing in the roles of Conrade and Friar. Previous productions at the Globe include the Winter Season production of Hamlet, and the 2021 Summer Season productions of Twelfth Night and A Midsummer Night’s Dream – a role he reprised from 2019. Previous theatre credits elsewhere include The Sea (Chichester); The English Game (Headlong); Henry IV Parts I and II, Henry V, Perkin Warbeck (RSC); and The Browning Version & Harlequinade, The Elephant Man, The Provoked Wife and On the Razzle (National Theatre).
Rachel Hannah Clarke will play Ariel. Rachel is currently performing at the Globe in Much Ado About Nothing in the roles of Margaret and Watchman. Previous productions at the Globe include the Winter Season production of Hamlet, and the 2021 Summer Season productions of Twelfth Night and A Midsummer Night’s Dream – a role she reprised from 2019. Previous theatre credits include You Remember? (Royal Court); Queens of Sheba – Winner of The Stage Award (Vaults Festival / New Diorama Theatre / Underbelly / Camden People’s Theatre); Hatch (Talawa Theatre Company); and Best Friends (Ovalhouse).
Ralph Davis will playTrinculo. Ralph is currently performing at the Globe in Much Ado About Nothing in the role of Benedick. Other credits at the Globe include King Lear (2017). Previous theatre credits elsewhere include Blue / Orange (Theatre Royal Bath); Valued Friends (Rose Theatre); The Deep Blue Sea (Chichester Festival Theatre); Tamburlaine / Timon of Athens, King John and Richard III (RSC); The Open House (Ustinov Theatre, Bath / The Print Room). Screen and radio credits include SAS: Rogue Heroes (BBC); Father Brown, Life After Life, Small Axe, Lethal White (BBC); Anatomy of a Scandal (Netflix); For The Temple (Heirloom Audio USA); The Good Terrorist and Ambridge EXTRA (BBC Radio 4).
George Fouracres will playStefano. George is currently performing at the Globe in Much Ado About Nothing as Dogberry. Previous credits at the Globe include the Winter Season production of Hamlet, and the 2021 Summer Season productions of Twelfth Night and A Midsummer Night’s Dream. He is a member of critically acclaimed sketch trio Daphne. Other credits include Gentlemon (Fight in the Dog); A Midsummer Night’s Dream (Filter Theatre/Lyric Hammersmith); Doctor Faustus (Dot by Dot Theatre); Daphne’s Second Show and Daphne Do Edinburgh (Edinburgh Festival).
Joanne Howarth will play Francisco. Joanne is currently performing at the Globe in Much Ado About Nothing in the roles of Antonia and Verges. Previous credits at the Globe include Nell Gwynn in 2017 and Much Ado About Nothing in 2014. Previous theatre credits elsewhere include Our Lady of Blundellsands (Liverpool Everyman); Witness for the Prosecution (West End); Parliament Square, You Can’t Take It With You (Manchester Royal Exchange / Bush); King Lear (Old Vic); Goodnight Mr Tom (West End/Tour); Bingo (Chichester / Young Vic); The Comedy of Errors, Twelfth Night, Faust, The Alchemist, The Virtuoso, ‘Tis Pity She’s a Whore and Julius Caesar (RSC). Screen credits include It’s a Sin (Channel 4); Wallander (Left Bank Pictures / Yellow Bird Films); EastEnders, Doctors, Grange Hill (BBC); The Bill (Talkback Thames).
Olivier Huband will play Ferdinand. Olivier is currently performing at the Globe in Much Ado About Nothing in the role of Don John. Previous theatre credits include performing opposite Kit Harington in Henry V (Donmar Warehouse); Barefoot in the Park (Pitlochry Festival Theatre); Such Filthy F*cks (Pleasance); An Enemy of the People (Playground). Screen credits include This Sceptred Isle (Revolution Films); Becoming Elizabeth (Revolution Films); A Discovery of Witches and I Hate Suzie (Bad Wolf); and Mission Impossible: Fallout (Bad Robot).
Nadi Kemp-Sayfi will play Miranda. Nadi is currently performing at the Globe in Much Ado About Nothing in the role of Hero. Previous credits at the Globe include the Winter Season production of Hamlet, and the 2021 Summer Season productions of Twelfth Night and A Midsummer Night’s Dream. Previous theatre credits elsewhere include The Whip, A Museum in Baghdad, King John (RSC); War with the Newts (Knaïve Theatre); Wake, Mittwoch Aus Licht, Life is a Dream (Birmingham Opera Company); 101 Dalmatians, Between The Two, Three Wheels on the Wagon, The Witches’ Promise, Under The Stars (Birmingham Rep); and Hijabi Monologues (The Bush Theatre).
Ciarán O’Brien will play Caliban. Ciarán is currently performing at the Globe in Much Ado About Nothing in the role of Boracio. Previous credits at the Globe include the Winter Season production of Hamlet, and the 2021 Summer Season productions of Twelfth Night and A Midsummer Night’s Dream – a role he reprised from 2019. Previous theatre credits elsewhere include Maz and Bricks – Best Actor at New York Origin Theatre Awards (Fishamble/59E59 Theatre and Edinburgh Fringe); The Plough and the Stars (Lyric Hammersmith/ Abbey Theatre); The Playboy of the Western World, Orson’s Shadow (Southwark Playhouse); Of Mice and Men (Birmingham Rep); Translations (The Rose Theatre/Sheffield Crucible/ETT). Screen credits include Misfits (Clerkenwell Films/ Channel 4); Ripper Street (BBC); The Tudors (USA Showtime); Hunted (Savage Productions); and Bloom (Odyssey Pictures).
Patrick Osborne will playAntonio. Patrick is currently performing at the Globe in Much Ado About Nothing in the role of Claudio. Previous theatre credits include The Comedy of Errors (RSC / Barbican); Shakespeare In Love (Noel Coward Theatre); Peter Pan (Regents Park Theatre); Noises Off (Nottingham Playhouse and Tour); The Cardinal (Southwark Playhouse); Accolade and After October (Finborough Theatre). Screen credits include Good Times Rolled Out (quarantine); Turner (BBC); The Borgias (Showtime); My Parents are Aliens (ITV); Lady of Heaven (Enlightened Kingdom); and Their Finest (Number 9 Films / Wildgaze Films).
Lucy Phelps will play Sebastian. Lucy is currently performing at the Globe in Much Ado About Nothing in the role of Beatrice. Previous theatre credits include Measure for Measure, As You Like It, Dido Queen of Carthage, Julius Caesar, Antony and Cleopatra (RSC); Witness for the Prosecution (Eleanor Lloyd Productions); King Charles III (Almeida – UK And Australia Tour); Sex and the Three-Day Week (Liverpool Everyman & Playhouse Theatres); Viva Forever! (West End / Judy Craymer Productions); Earthquakes in London (Headlong / The National Theatre). Screen credits include Di Ray and Grace (ITV); The Chelsea Detective (Expectation); Silent Witness, Call the Midwife, Holby City (BBC); Skins (Company Pictures / E4).
Ferdy Roberts will play Prospero. Ferdy is currently performing at the Globe in Much Ado About Nothing in the role of Don Pedro. Previous theatre credits include A Midsummer Night’s Dream, Filter’s 12th Night, Macbeth, Water, Silence, The Caucasian Chalk Circle, Faster (Filter Theatre); Girl From The North Country (Old Vic/Runaway Productions); Fatherland (Frantic Assembly); Plaques & Tangles, If You Don’t Let Us Dream, We Won’t Let You Sleep, Playing The Victim (Royal Court); Lampedusa (Soho Theatre); Shakespeare in Love (Noel Coward Theatre); Three Kingdoms Three Sisters (Lyric Hammersmith). Screen credits include Dark Angel (World Productions); Foyles War, Mr High (ITV); What You Will (Fluidity Film/Filter); Mr Nice (Hindsight Media); Sex and Drugs and Rock and Roll (Aegis Film); & Honest (Honest Productions).
Katy Stephens will playAlonso. Katy is currently performing at the Globe in Much Ado About Nothing in the role of Leonata. She has previously performed at the Globe in The Oresteia in 2015, Thomas Tallis in 2014, Julius Caesar in 2014, Dr. Scroggy’s War in 2014 and The Complete Walk. Other theatre credits include Coriolanus (Sheffield Crucible); Antony and Cleopatra (National Theatre); The Histories Cycle, As You Like It, Antony and Cleopatra, King Lear, Titus Andronicus, Candide, The Grain Store, Taming of the Shrew (Royal Shakespeare Company – Katie won the What’s on Stage Award for Best Actress in 2009 in The Histories Cycle; the production also won the Olivier Award for Best Ensemble Performance); The Memory of Water (Nottingham Playhouse); Othello (English Touring Theatre); and Intelligent Homosexual’s Guide (Hampstead). Katy also runs Bold As Bard with Ego Performance Company in Coventry, a Shakespeare theatre company for adults with learning disabilities.
The Tempest was cast by Becky Paris, Head of Casting at Shakespeare’s Globe.
To celebrate the belated 50th birthday of the Crucible, Chris Bush has written 3 plays currently being played across all three of the Sheffield theatre spaces. Performed at the same time by the same cast, telling the same story from three different perspectives. The plays can be viewed together or separately and each one is perfect alone or with the others.
50 years ago Thomas Spenser bought the Hallamshire Scissor Company as a going concern, renaming it Spenser and Son. After the demise of Thomas, his son, Eddie, takes over and now, on the death of Eddie, three different groups are under the impression they have inherited Spenser and Son.
Rock Credit: Johan Persson/
In Rock we meet Susie Spenser, the daughter who was overlooked to run the business. Her dad did offer that once she married her husband could run the company with him and Eddie, but women were to be kept at home while the men went out to work. Susie (Denise Black) is an ageing Rock Chick who has been everywhere and done everything. Firmly believing she is now to inherit Spenser and Son, her idea is to turn the factory into a place of creativity. A place where music can be written and performed, a studio, a record label, a stage and a bar and an entire hive of creativity.
Susie and her friend Leo (Andrew Macbean) are waiting for a photographer and a band to turn up, to get some photos for ideas for the potential investors. She mistakenly thinks Xander (Leo Wan) is Billy the photographer (Alastair Natkiel) and that Zara (Lucie Shorthouse) is band member Coco (Chanel Waddock). Billy mistakenly believes that Liv (Maia Tamrakar), Ava (Dumile Sibanda) and Trent (Joe Usher) and the Cocodamol, up and coming, hip new band made up of Coco and friend Molly (Daisy May). Xander mistakes Susie for her niece Faye (Samantha Power) who he is meeting with her wife Mel (Natalie Casey) to discuss turning the space into flats. Factory Manager Omar (Guy Rhys) and daughter Zara are expecting a photographer from the Sheffield Star to come along to take photos of the apprentices Mason (Jabez Sykes), Liv, Ava and Trent.
Anthony Lau direction, Richard Howells (Lighting) and Annie May Fletchers (Sound) help Ben Stones (Designer) turn the huge space of the Crucible into the bare factory floor and it’s easy to imagine we are in a cold, unused factory space that has history pouring out the very walls. Rock is sad, funny, poignant and beautiful. After all – did you know that Picasso visited that very factory in the 1950’s and drew a picture of two women at the grinding wheel?
PAPER Credit: Johan Persson
In Paper we meet Faye and Mel properly. Faye is the adopted daughter of Eddie and also firmly believes she has inherited Spenser and Son. Her dad did offer that once she married her husband could run the company with him, history repeating itself. But Faye is with Mel and they are both mothers to their two children. With all the action taking place in Eddie and Omar’s office.
Faye and Mel introduce themselves as married but they’re not. Mel wants to be married, wants to provide for Fay and the children. Currently on sick leave from work Mel’s caustic sarcastic temperament hides a depression that once out engulfs both Mel and Faye. Casey is heartbreaking, stealing every scene, full of emotional turmoil with her bravery in admitting things she would probably never normally say out loud. It’s a powerhouse performance. Whilst they don’t find the will, they find a drawing that Faye believes her dad drew of her and Mel working together on the grinding wheel
The Lyceum is transformed into an office, designed by Janet Bird. Robert Hasties direction, Johanna Towns lighting and Sam Glossops sound make it such an intimate performance that you almost feel like an intruder at their sadness.
SCISSORS Credit: Johan Persson/
In Scissors we meet the apprentices Ava, Liv, Mason and Trent. All making handcrafted scissors costing £90 a pair for a huge order for China. Omar and daughter Zara believe that Eddie left Spenser and Son in trust to them, to carry on making scissors and shears all full of history. All of the young workers have issues and all of them are worried about what will happen at the end of their one year apprenticeship. With varying dreams of being a supervisor, living alone in a forest and going to work at Ikea. For Liv it’s in her veins, her grandmother worked in the factory before getting made redundant when Eddie inherited. Her grandmother used to thrill her with stories, such as when Picasso visited and sketched her picture at the grinding wheel. The picture was never found, but Delyth, the other woman who was sketched, moved from her council house in Sheffield to a 2-bed Semi in Harrogate not long after…..!
The intimacy of the Studio made you feel you were actually there on the factory floor. Scissors is raw and gritty and, in my opinion, the best show of the three. Elin Schofields direction, Natasha Jenkins design, Jai Morjarias lighting and Tingying Dongs sound place you right at the heart of the action, scarily close to the sparks from the grinder.
Chris Bush is a fabulous writer, knowing the area and the history, her characters are all real 3 dimensional people that, over the course of the three plays, you come to know and care about. I was willing Susie and Leo to have their happy ever after. For Mel and Fay to be there for each other forever and for Ava, Liv, Mason and Trent to have happy and fulfilled futures.
A huge and massive shout out must go not just to the actors but to the tech crew too. Performing 3 plays, over 3 venues, with all of the performers all popping up in each other’s shows, takes a lot of planning and coordination. Fingers crossed for no unexpected slips or falls so everything runs smoothly.
It’s a joyous celebration for the Crucible’s 50th Birthday and I hope I get to see all three brilliant productions again soon
I watched the original series of Some Mothers do ‘Ave ‘Em’ from 1973 -78 almost religiously, as did the whole nation. Michael Crawford, AKA the affable but accident-prone Frank Spencer was loved by all and I canthink of no-one more suitable than Joe Pasquale to take on the task of playing ‘Frank’ to live audiences.
With Frank Spencer around, such a play is always going to be a farce –and this is what it is as he lurches this way and that from accident to incident with a childlike and honest heart full of good intentions and an unconditional love for his wife, Betty. It is a while since I have been to see a farce, and I had forgotten just how much dialogue there is. With an improbably small cast of only six actors there were a lot of lines to be shared around, yet there were no stumbles or obvious errors which is hugely creditable.
The plot here is that Betty has exciting news for Frank, (she is pregnant) but he is preoccupied by possible newfound fame as a magician and she cannot seem to find a moment to tell him. With guests arriving for dinner and crossed wires all round, misunderstandings are guaranteed. They knew about his news, but Frank didn’t and this was weaved rather cleverly into the story.
Hilarious mishaps and DIY disasters bring the house down (quite literally) as Joe Pasquale (New Faces, I’m a Celebrity, Spamalot, The Producers) plays the lovable accident-prone Frank. He does this with great aplomb and oodles of energy. I never wanted to see an exact replication of Michael Crawford, and Pasquale is his own man in this role. At times, he expertly offered the audience a perfect mannerism of the original Crawford character from the TV, with dexterity and classic timing. Joe has a profound stage presence for sure and the characters supported him professionally and whole-heartedly. Very impressive. Susie Blake (Coronation Street, The Victoria Wood Show, Blithe Spirit) stars as his disapproving Mother-in-Law, Mrs Fisher. I have always known that playing a drunk is difficult but she carried this off very convincingly when the moment came in the play, proving (as if I did not know) that there are many strings to her bow when it comes to acting. It was lovely to see her ‘live.’
Sarah Earnshaw portrayed Frank’s exasperated but loving wife Betty in a way that quickly engaged the audience. Who wouldn’t feel for her when Frank says they could be together ‘for another fifty years?’ She acted flawlessly and clearly had a tremendous rapport with Pasquale. We suffered with her at times!
Moray Treadwell played a dual role of Mrs Fisher’s gentleman friend Mr. Luscombe, and also a TV representative, Mr. Worthington. I preferred the latter only because I enjoyed his performance in that role more. I can see why he was cast in the role.
James Paterson played Father O’Hara and was the recipient of some of Frank’s ineptitude from being sprayed with leaking water to falling off a chair that had a missing leg. He gave a solid performance, supporting the hapless Frank and Betty being both exasperated and confused – in character of course.
Ben Watson also played a dual role of ‘Desmond’ who worked as the cameraman with Mr. Worthington and also a police constable, and he was convincing in this role particularly.
There were some very funny one-liners as one might expect and for a small stage set with relatively few props it was possible to squeeze the very best out of it to create mishaps and mayhem, from pictures falling off walls to a whole kitchen exploding. Wherever Spencer goes there has to be carnage and this is illustrated here when he tries to juggle way too many plates at once to keep everyone happy, but it serves only to fail comically. You feel for Frank, and Joe Pasquale certainly knew how to get the audience on his side with childlike innocence and sublime pathos. In the end ‘our Frank’ is never a failure – he is just an honest tryer.
The audience laughed uproariously at a dance scene on the stairs and the choreography was perfect. I felt that there was a clear rapport between all of the actors and it was remarkable to think that there were after all only six!
The stage set was simple enough, showing the inside of Frank and Betty’s house throughout but it was very effective, serving its purpose as the arena of farce. A few loud bangs at unexpected times jolted several audience members out of their seats and the electrical work set up for several mishaps was very clever indeed.
Frank Spencer was known throughout the seventies for his catch phrases ‘Ooh Betty’ and ‘I’ve had a bit of trouble’ but these did not appear tonight. The real success for the cast and crew is that they didn’t need to. They served up their own interpretation, imprinting their own characteristics on the roles but still keeping the audience tied to the original show. That’s to be roundly applauded.
This is a farce that reminded us of a harmless and innocent comedic past and with all the troubles in the world, now is the time to see a talented and experienced cast and crew recreate an indispensable era of British comedy.
Once again I left the Waterside Theatre with a big smile and a feelgood factor, as did the people around me. Isn’t that just as it should be? I reminded myself that there is a bit of Frank Spencer in us all and that is to be celebrated. Well done.
Ah, those warm fuzzy childhood memories playing Cluedo – we all have them! Not everyone will have seen the 1985 film, Clue, that was based on the board game but one thing’s for sure – everyone can and will enjoy this farcical romp adapted for the stage.
The play opens with the servants of Boddy Manor preparing to welcome six guests who have all received invitations to attend on this dark and (naturally) stormy night. All have been assigned pseudonyms – Miss Scarlett etc. Each is being blackmailed by Mr Boddy (owner of the house) and none of them know why they have been summoned… All the components of the original game are present – the rooms; cunningly brought to life with panels that pull out to reveal the room in question. The Murder weapons also play a key role in the action – yes, there are indeed murders. The only thing missing is a set of dice – perhaps a wet fluffy pair brought in by the character whose car has broken down in future productions… Just a thought.
The entire ensemble are perfectly cast, each bringing their character to life in glorious technicolour, just like their names demand. The actors deserve great credit for their creations, as does Director Mark Bell – in fact he should get an award for the hilarious chandelier moment alone which is outrageously mirthful and far more memorable than Phantom’s famous chandelier scene. I adored the Scooby Doo like sections where everyone is going in and out of the various rooms, mining a very rich seam of our collective childhood. The show’s original music, by Michael Holland, was particularly effective here, bringing to mind Mozart’s great comic operas. A real treat for the ears which helped propel the action along in suitably jocular fashion.
I’ll briefly single out Tom Babbage (Reverend Green) whose command of slapstick was approaching genius level and Harry Bradley (playing multiple characters) for his lightning quick ad-libbing, especially during a facial furniture malfunction. An unintended highlight of a show with many, many highlights.
It would be remiss not to also mention Wadsworth (the butler) very much overplayed to hilarious effect by Jean-Luke Worrell, stealing every scene he is in (or exiting from). He reminded me of Riff-Raff (Rocky Horror’s majordomo) with a sinister Joker edge. Tantalizingly overdone to perfection!
It was lovely to see an extended series of “it was…” predictions as to who killed who, with what and in which room. Priceless, taking us right back to the culmination of the game we remember so fondly.
This wonderful show works on so many levels – those who love all styles of comedy are well served as are those who enjoy a good whodunnit. The guffaws rang out loudly from the stalls and stage alike – indeed, it can be justifiably noted that all involved were having a scream getting away with murder. Whodunnit? Well, they all dunnit and they dunnit so well. An absolute smash. I predict the cast with an Olivier in the bag.
Cambridge Arts Theatre, Cambridge – until Saturday 25th June 2022
Reviewed by Steph Lott
5*****
It’s hard not to go completely over the top when looking for words to describe this splendid production of Richard O’Brien’s masterpiece The Rocky Horror Show, directed by Christopher Luscombe. If your idea of a great night out is wearing fishnets a feather boa and a sparkly hat and shouting out lewd comments to actors in their underwear then this is the show for you!
When we entered the theatre we bumped into a middle-aged gentleman wearing a suit jacket, heels, fishnets and a naughty grin as he flashed us a fine set of buttocks; he was only wearing suspenders and a thong and so we knew we were in for an excellent evening’s entertainment and not only from the cast! Audience participation is taken to another level here. For those unfamiliar with this show, in terms of audience etiquette, all bets are off! People will shout, dance, and sing. For this reason, the Narrator, who is our guide into the murky realms of the goings on in the castle, has a key role to play. And Philip Franks did an excellent job. He kept the story flowing, with ad ibs and quips of his own as the audience shouted out.
The story is that two young lovers, Janet (played by Rachel Grundy, I believe) and Brad (played by Ore Oduba) are lost and looking for a phone. They unwisely look for help at a sinister-looking castle. Once inside, they discover a raucous party of strange individuals who introduce their master, Frank N Furter, a magnificently manipulative and masterful extra-terrestrial from the planet of Transexual, of the galaxy Transylvania. Stephen Webb, playing Frank, is brilliant as this twisted warped character, and brought the crowd to their feet throughout with raunchy spotless moves and fabulous vocals.
In fact the whole cast are phenomenal and deserve to be credited for their faultless performance and no-one puts a foot wrong, keeping the vocals and dance moves spot on throughout. There is such charm in the performance of the starring characters and special mention must be made of both Kristian Lavercombe (Riff Raff) and Suzie McAdam (Magenta). Even though they are playing iconic roles they manage to create something fresh – despite the fact that Lavercombe’s eternal enchantment with the show has meant he has delivered over 1800 performances!
Rocky Horror is a glorious show. It exists somewhere between glorified decadent trash and mainstream musical theatre and is just as much an experience as it is a performance. Seeing the Time Warp performed by the entire theatre is a sight to see!
Rocky Horror still defies convention. It’s drenched in lust and sex and weirdness but has a message which is just as powerful as it always was: Don’t just dream it – be it.
This is a unique performance by a modern day minstrel, traveling from Orkney to Sussex on his trusty bicycle, loaded up with his instruments and everything he needs. This is positive action by Richard Durrant to emphasise that climate change is real and we must all look after our planet. He travels alone, with no back up vehicle and definitely no battery on his bike! With this scene set, Richard delivers a programme ranging from the signature tune from Watch with Mother to Bach!
Standing bare foot with his bike behind him, Richard provides a relaxed evening of beautiful music in the solstice sunshine, with songbirds sometimes singing along. Richard weaves his music with a warm and earthy dialogue, sharing moments from his journey, both musically and on the road. The opening piece is Bach’s 3rd Cello suite, played on a ukulele! Switching to guitar, he provides an insight into the influencers of his music, then his own compositions and closing with a Bach piece written for violin. The passion with which he plays is all encompassing. Music flows from his fingers with speed and dexterity. His skill as a composer and a player come together in a performance to enthral. Richard is able to create a picture of his composing process with words and then illustrate it in technicolour music.
Whatever your taste in music, it would be hard not to enjoy the warm embrace of a well-played tune. Richard Durrant confidently opens the door to classical music for all ears. Come and listen!
EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 25TH JUNE 2022
REVIEWED BY MIA BOWEN
5*****
It has been more then 70 years since the release of the iconic 1952 film Singin’ in the Rain and more then 40 years since the stage musical had its’ world premier in 1983 at the London Palladium. Stage musicals that are based on old films are so enjoyable because they create such a sense of nostalgia for a time many of us never knew. It is so exciting to see a classic film brought to life and last night this production made a big splash at the Empire Theatre.
Set in Hollywood during the late 20’s, in the waning days of the silent screen era, Monumental Pictures find themselves competing in the whole new realm of talking movies. Romantic lead Don Lockwood (Peter Nash) and his leading lady Lina Lamont (Jenny Gayner) are on-screen sweethearts and together, cinema gold! Lamont may look like a goddess but her not so pleasing to the ear vocal tones, make her an unlikely candidate for stardom in talking pictures. Lockwood’s sidekick Cosmo Brown (Kevin Clifton) masterminds a plan to save the production company from being transcended by their rivals. Aspiring chorus girl and Lockwood’s love interest, Kathy Selden’s (Charlotte Gooch) comes to save the film.
This was a sensational production. The set (Simon Higlett) was a replica of a sound stage which was transformed into a number of different places such as the Grauman’s Chinese Theatre and an office inside the sound stage. The lightning (Tim Mitchell) created different atmospheres throughout the production. The costumes (Karen Large) were utterly breathtaking, the glittering dresses and fur shawls took you back to the golden age of Hollywood. The score played by a live orchestra, directed by Grant Walsh, was packed with classic numbers including ‘Make Em Laugh’, ‘Moses Supposes’ and ‘Good Morning’. The choreography by Andrew Wright was superb.
The scene we were all waiting for… Singin in the Rain of course, with a lamp post, umbrella and torrential rain pouring onto stage… It really was a WOW moment that surpasses the film. The production uses a special water system that creates a downpour from above and recycles over 12000 litres of water on stage every night!
While the leads are the standouts of this musical, the entire ensemble deserves a mention and great praise, they have so much energy on stage, and there is just something about live tap dancing. However, for me the show was stolen by Jenny Gayner, who played Lina Lamont, she brought real comedy and received most of the audience laughs.
Musicals do not get any better. Singin’ in the Rain had me dancin’ in my seat. True magic theatre that evokes that old Hollywood glamour, deserving of the standing ovation it received last night!
