Category: Uncategorized

STILL MINDING THE GAP 30 YEARS ON

“…fiercely proud of being a theatre company and not a box-ticking exercise”

                                                                                                                                        JuliaSkelton, Executive Director, Mind the Gap

Next week is Learning Disability Awareness Week (18^th – 24^th June) and right in the middle of it Europe’s leading learning disability theatre company, Yorkshire’s own Mind the Gap, will celebrate its 30^th birthday.

To mark its 30^th year Mind the Gap will spend the next 12 months celebrating its achievements and its artists, touring highly-acclaimed productions, creating new work – including a large-scale, outdoor spectacular – and challenging the current lack of work for learning disabled artists.

“We have championed learning disability arts for 30 years – we have theatre company and an academy each with exceptional facilities; we have worked alongside other arts venues to help create more opportunities for both LD audiences and artists,” says Julia Skelton, Executive Director at Mind the Gap.

“There are success stories for LD artists and performers as shown by the recent Britain’s Got Talent results, but there is still no room for complacency.”

There are 1.4million people with a learning disability in the UK and Mind the Gap insist that their missing voice is noticeable.

“We work with learning disabled artists to give them a voice. MTG’s work is about collaboration – we don’t tell our artists what to say or how to say it. Our work is created by them,” continues Julia.  “We want to see LD Arts respected and heard – at conferences, events and in other people’s productions.”

Mind the Gap’s aim is to create ambition for people to ply their trade elsewhere and it has seen several of its artists independently commissioned; resident artist, Jez Colborne, a highly skilled musician, composer and singer, created a piece for the 2012 Paralympic Games Celebrations; ZaraMallinson is currently working on a piece with local writer, Emma Adams; JoAnne Haines had a part in BBC1’s Doctors; Alan Clay has received funding to develop his music project Skip Rap, and Liam Bairstow is a regular to the cobbles of Coronation Street where he plays Alex Warner.

Liam says: “Having a disability is not a bad thing – it’s a good thing because you get to know people inside. I’m very proud to inspire and represent people through my role on Coronation Street and my work with Mind the Gap.”

Later this month Liam is on the celebrity judging panel of Leeds Young Talent, a talent show for young people with a learning disability hosted by People In Action, where he will sit alongside Britain’s Got Talent winner Lee Ridley, aka Lost Voice Guy; dancer Michael Allen will perform at the Stanley and Audrey Burton Theatre in Expressions; Jez Colborne and the Mind the Gap Band play Leeds Wharf Chambers and Mirror Mirror – an outdoor production – plays at the opening ceremony ofGreat Exhibition of the North.

Highly-acclaimed production Mia, a piece about learning disabilities and parenthood that was described by one reviewer as ‘a much-needed middle finger held high in the face of our society’s assumptions about learning disability’ continues to tour, and in the coming months the company is sent make an exciting announcement about a brand-new piece on an epic scale.

Mind the Gap started its life in 1988 and ten years ago moved to its current home in Lister Mills, Bradford, which allowed the company to grow, produce more work and create more opportunities.

“If we’d have listened to those that said we couldn’t do it, we’d never have done it,” continues Julia. “But here we are. We’ve achieved so much, and we are incredibly proud, but there is more to do. OurPerforming Arts Academy is oversubscribed, which is great news for us but not so for those who don’t make it in. Mind the Gap should not be the only option for LD artists,” Julia concludes.

“It’s hugely important to all at Mind the Gap that we shout about the great theatre we create; theatre as it should be – bold, challenging, funny, emotive and thought-provoking. We are fiercely proud of being a theatre company and not a box-ticking exercise.”

For more information about Mind the Gap, its artists, productions and academy visit

www.mind-the-gap.org.uk

Follow Mind the Gap on Twitter @MtGstudios

The Alhambra Theatre, Bradford – until 16th June 2018.

Reviewed by Sally Richmond

5*****

‘Fabulous darling!’ and ‘A ten from Len’ are two most definitely deserved comments that one could say about the new musical, Son of a Preacher Man, which is directed and musically staged by Strictly’s very own bad boy, Craig Revel Horwood. If you think this show is a story about Dusty Springfield’s life then you’re wrong and when asked about the use of the icon’s songs and show’s title, the writer Warner Brown, said ‘The story came first, and then I thought this has got to be as if those (Dusty) songs were written for a musical. You come to a point where you need to go into song, and there was a Dusty song to fit it.’ Son of a Preacher Man may not be about Dusty but what it is about is love, a subject most of her legendary songs covered. Long-lost love, unrequited and lustful are but a few amongst loves many multifaceted mysteries and this musical extravaganza explores them all.

The show, which has now come to The Alhambra Theatre, the jewel in Bradford’s crown, is about three strangers from three different generations, who describe themselves as ‘a mess’ and ‘looking for direction’. They all find themselves at Dean Street in London’s Soho, searching for a record shop called Preacher Man, a place from the past where vinyl and Dusty were once at the forefront of a young hipster’s life. What the trio want from the Preacher Man is answers, solutions, wisdom and guidance to help them sort out their disastrous love lives.

Paul (Michael Howe), the oldest of the three, used to frequent the shop back in the day when the Preacher Man was actually there in the flesh during the Swinging 60s and it was here he fell for Jack (Jon Bonner). As Paul reflects, we the audience are invited to quietly watch a private moment between a young Paul and Jack, exploring the possibilities of their relationship in a moving and sensual dance performance. Sadly, nothing transpired between the two young men due to ‘things being different back then’ and Paul never really got over what could have been. In contrast to the sentimentality of love in the past, we also meet Kat (Alice Barlow), who is young, fresh and unsuccessfully trying to find love via internet dating websites. Barlow’s performance throughout the show is first class with her spectacular voice (which leads many of the show’s songs) and her brilliant acting skills which give an amusing and comedic performance of the kooky Kat. The third hapless lover is Alison (Michelle Gayle), who has sadly lost her husband but is now finding herself dangerously drawn to an eighteen-year old student. On arrival, finding out that The Preacher Man has passed away, the three characters decide to pursue his son, Simon (Nigel Richards), in hope that he will help them by giving the advice that they desperately seek.

Since the death of his father, Simon has sold the shop, above which he still lives, and it is now a café that he manages along with the Cappuccino Sisters (Michelle Long, Kate Hardisty and Cassiopeia Berkeley-Agyepong), waitresses who send up the other characters brilliantly but with much affection and with a great energy of the 1960s. Simon tries to emulate his father and help these lonely, troubled souls but with many misunderstandings and lots of soul searching along way.

The show has a really clever balance of nostalgia for the 1960s coupled with the present day and how ‘dating’ plays out today with the use of modern technology. A stand out element to the show is that several of the multi-talented actors are also among the musicians, playing their instruments on the stage as well as acting and singing their parts. The choreography directed by Craig Revel Horwood is spot on, as it flows from high energy to soft and romantic, which helps to develop the character’s and our understanding of them. All of the cast gave an excellent performance as an actor, singer, and dancer and some, as I have already mentioned, were also highly competent instrumentalists.

In the second half of the show, the energy just keeps growing and the harmonies begin to sound even more up-lifting as the characters, who the audience have begun to fall in love with by this point, begin to find love themselves and finally sort out their issues. By the closing number the whole of the audience were on their feet, dancing, singing and clapping along to sound of the beat of the sensational sixties and celebrating an awesome feel-good performance with the cast and each other. Son of a Preacher Man is a truly joyful experience and one that will have you grooving in the aisles!

FURTHER CASTING ANNOUNCED

FOR THE UK PREMIERE OF FLORIAN ZELLER’S

THE HEIGHT OF THE STORM

PATRICK MELROSE STAR ANNA MADELEY

AMANDA DREW AND LUCY COHU

TO JOIN JONATHAN PRYCE & DAME EILEEN ATKINS

ON TOUR AND IN THE WEST END THIS AUTUMN

Multi award-winning star of screen and stage Jonathan Pryce will star as ‘André’, and three-time Olivier award-winning Dame Eileen Atkins will star as ‘Madeleine’ in The Height of the Storm, in the UK premiere of a new compelling family drama by Florian Zeller, the internationally acclaimed writer of The Father.

Directed by Jonathan Kent, The Height of the Storm will open at Richmond Theatre on Saturday 1 September and play Cambridge Arts Theatre and Bath Theatre Royal, before transferring to London, opening at Wyndham’s Theatre on Tuesday 2 October, with a press night on Tuesday 9 October.

André and Madeleine have been in love for over fifty years. This weekend, as their daughters visit, something feels unusual. A bunch of flowers arrives, but who sent them? A woman from the past turns up, but who is she? And why does André feel like he isn’t there at all?

Anna Madeley will play the couple’s daughter, ‘Elise’. She most recently starred as ‘Mary’ opposite Benedict Cumberbatch in Sky’s Patrick Melrose, and her other screen credits include The Crown (Netflix), Dr Foster (BBC), A Child in Time (BBC) and Secret State (Channel 4). Recent stage credits include A Midsummer Night’s Dream(Young Vic), Les Blancs (National Theatre), The Crucible (Old Vic), and The Turn of the Screw (Almeida).

Amanda Drew, who starred in Florian Zeller’s The Father, and whose extensive stage credits include Enron(Royal Court/West End), Three Days in the Country (NT), The Events (ATC/Tour) and The Curious Incident of the Dog in the Nighttime (West End), will play the other daughter, ‘Anne’. Her screen credits include Broadchurch(ITV), EastEnders (BBC), HBO’s forthcoming series Chernobyl and Black Mirror for Netflix.

Lucy Cohu, who won a BAFTA and Emmy for her portrayal of Princess Margaret in The Queen’s Sister, and an Emmy for Forgiven (Channel 4), will play ‘The Woman’. Cohu has recently starred opposite Rowan Atkinson in ITV’s Maigret, and other screen credits include Ripper Street (Amazon), Broadchurch (ITV), and films Gosford Park and Becoming Jane.

Jonathan Pryce is an internationally acclaimed, award-winning actor on stage and screen. His diverse film work includes lauded performances in Terry Gilliam’s Brazil, James Foley’s Glengarry Glen Ross, Carrington for which Pryce won the Best Actor award at both Cannes Film Festival and Evening Standard Awards, Evita and successful blockbusters such as Tomorrow Never Dies, the Pirates of the Caribbean series and the G.I. Joe films.

His extensive theatre work includes Comedians in London and on Broadway, for which he won a Tony Award; The Royal Court production of Hamlet, for which he received an Olivier Award; and Miss Saigon in which he starred on both sides of the Atlantic, winning further Olivier and Tony awards.

Pryce’s recent work includes Terry Gilliam’s The Man Who Killed Don Quixote alongside Adam Driver; The Man Who Invented Christmas alongside Dan Stevens and Christopher Plummer, and The Wife opposite Glenn Close. He is currently filming upcoming Netflix feature The Pope alongside Anthony Hopkins, directed by Fernando Meirelles.

Pryce’s television work includes Taboo for FX and BBC, alongside Tom Hardy, and Sally Wainwright’s one-off film for BBC television To Walk Invisible. He also starred in Cranford: Return to Cranford, for which he received an Emmy Nomination for Outstanding Supporting Actor in a Drama. His other recent television roles include Cardinal Wolsey in the award-winning adaptation of Hilary Mantel’s Wolf Hall and High Sparrow in the hugely successful series Game of Thrones.

Dame Eileen Atkins is a three-time Olivier award-winning actress, and four-time Tony Award nominee. She is known for her BAFTA and Emmy award-winning performance in Cranford and major roles in Upstairs Downstairs and Doc Martin. Film roles include Gosford Park, The Hours and Paddington 2.

Atkins’ many stage appearances in the West End include Honour, Ellen Terry, Three Tall Women and The Female of the Species. She has also played starring roles on Broadway in Retreat from Moscow with John Lithgow, and All that Fall with Michael Gambon, Indiscretions with Jude Law, The Killing of Sister George and Vivat! Vivat! Regina!, all of which she received Tony Award nominations for Best Actress. She can be seen most recently as Queen Mary in Netflix’s The Crown.

The Height of the Storm is a beautifully compelling family drama by Florian Zeller, “the most exciting playwright of our time” (The Guardian). Starring two of the greatest actors of their generation on stage together for the first time, this major new play from the writer of Olivier Award-Winning The Father is a searing exploration of love, family and the fragility of life.

The Height of the Storm is translated by Christopher Hampton, directed by Jonathan Kent (Gypsy, Long Day’s Journey into Night) and produced by Simon Friend, Mark Goucher and Howard Panter. Co-producers will be Gavin Kalin, Act Productions and Scott Landis.

Sheffield Crucible – until 23 June

Reviewed byLottie Davis-Browne

3***

“One flew east, one flew west….one flew over the cuckoo’s nest”….

Set in Oregon, 1963, adapted from the 1962 Ken Kesey novel and 1975 movie adaptation, “One Flew Over The Cuckoo’s Nest” tells the story of recidivist criminal Randle P. McMurphy and his transfer to a psychiatric ward institution following serving a short sentence on a prison farm for statutory rape of a fifteen year old. Although McMurphy isn’t mentally ill, he is attempting to fake mental illness in the hopes to avoid hard labour, believing life on the ward will be more relaxed with less rules and regulations. He soon realises he is not in for an easy ride when he meets the strict uptight Nurse Ratched and sets out to defy the rules regardless of consequences.

The stage set comprises of the secure unit with the typical high windows – with just the top of tree being visible through it; the faint sound of birds singing in the distance. The story opens with the assumed “deaf mute” Chief Bromden (Jeremy Proulx) acting as a somewhat narrator (this is the case throughout the storyline, done in freeze frame to retain the belief that he is indeed a mute). In the background in the two storey offices – manned with CCTV screens (CCTV and panic buttons and tannoys are in clear patient view, the patients being continuously monitored by a team of Nurses and a Doctor) we see Ratched with a new patient – Randle McMurphy (Joel Gillman) who she soon introduces to the rest of the “acute” patients (the wards are named on severity of mental illness, the acutes being those who are most likely able to be “cured”.

From the moment Randle is introduced to the other patients, it becomes apparent he’s going to be defiant towards the strict patient rules; refusing the “admission shower” is just the start of his rebel against life in the institution which Gillman really brings the loveable side of the character out through humour making it hard not to love him, despite him being a danger to himself and other patients which results in tragedy.

The other patients are what really brings this production together, from stuttering virgin Billy Bibbit (Arthur Hughes), (Charlie) Cheswick (Shaun Mason) – who is prone to childish tantrums to the delusional Martini (Nathan Amzi), Randle soon has the others under his charm and it isn’t long before they are turning the tables on staff when it comes to rules and regulations, from bribing a security guard to get the office keys, gambling on sports and card games and organising a ward party complete with drugs, booze and prositutes. It isn’t long until Randle discovers the wards methods of “treating” the most difficult of patients – using electro shock treatment that things go from bad to worse.

Gillman delivers an exceptional performance as the small time criminal McMurphy; however it is some of the supporting cast members which really made this performance work. I was delighted to see not one but two cast members with physical disabilities – it is rare to see a disabled actor/actress playing such roles and as a disabled person myself it was a delight to see two cast members breaking down barriers which often come with disability and to give recognition to the often under-represented array of talented disabled actors.

Following a cast members injury, Jenny Livesy has stepped in at the last moment to take over the role of Nurse Ratched, although Livsey was still reading from a script for the majority of tonights performance, it was done in such a subtle way (as a Nurse in a Mental Asylum it was easy to make it look as if she was reading patient notes whilst talking) but towards the end it was less subtle but added a certain flair to the character portrayed – this hard-faced no nonsense Nurse, whilst making the audience feel empathy towards Livsey for doing such a smashing job at the last minute, thus saving the show from impending doom. The audience (myself included) most definitely let Livsey know at the bows just how grateful we were for this; she certainly gave an outstanding notable performance for someone who has had less than 48 hours rehearsal time to prepare for such an important role.

The music and lights add a slight horror/thriller movie feel to the story – at times I was genuinely clinging to the edge of my seat in fear and had to stop myself covering my eyes. I cant’ say I’ve seen the movie version nor have I read the novel, therefore I was unsure what to expect.

Although it covers some dark themes, the cast bring such humour to the array of eccentric characters making this a must see production.

The Kings Theatre. Southsea – until 23 June

Review by Nicky Wyatt

5*****

Quite simply the best feel good, funny and uplifting night out. F ABBA ULOUS

A little bit of Greece comes to Southsea. Most girls want their dad to walk them down the aisle on their big day, Sophie (Lucy May Barker) is no different. Brought up in a Greek paradise by her mum the brilliant Donna (Shona White), not knowing her dad and her mum not telling she decides she wants to find him and does some research. She finds not one but three possible dads! They all get an invite to the wedding of her and Sky (Phillip Ryan) and they all arrive on the island thinking they are the guest of Donna, she of course knows nothing about it nor does Sky it’s Sophie’s secret.

It’s a funny fast paced story with some great characters.

Dads to be all suddenly realising they could be the one, switching between panic and pride mixed with the nostalgia of their time spent on the island with Donna making each one a plausible dad.

Sam (Tamlyn Henderson) the architect that stole Donnas heart and sketched the plan for the taverna before he left to go back to the states.

Bill (Matthew Rutherford) the travel writer and adventurer that back in the day was the headbanger

Harry (Daniel Crowder) the banker that was on a backpacking trip when he fell for Donna

We are treated to so many well known and loved ABBA songs with fantastic dance routines and more than a bit of comedy.

Tanya (Helen Anker) is hilarious in her rendition of ‘Does Your Mother Know’ some great moves. I have to say the male ensemble in the Wetsuit stag night were fab as were their Abs!

A hugely talented cast with some fantastic voices for me Donna, Sophie and Sam stand out.

Clever scenery and scene changes really capture the essence of a Greek taverna along with fab costumes and the music from ABBA played by the extremely talented band there was a whole of foot tapping going on and you could tell that the audience wanted to join in and boogie. This is show is 2 and half hours long and it goes by in a flash culminating in a well deserved standing ovation from many in the audience. The only good bit of it ending was the whole cast doing 3 encores that allowed us all to have a boogie to Mamma Mia, Dancing Queen and Waterloo.

Benny Anderson and Bjorn Ulvaeus did an amazing job writing this, the cast delivered it beautifully . We played the CD all the way home so only thing left to say is ‘Thank you for the music’

Richmond Theatre  – until  Saturday 16th June 2018

Reviewed by Lisa Harlow

3***

This is a revival of the play adapted from the book of the same name. The lead character Helene Hanff, played by Stefanie Powers, was herself a script writer. It was not until she documented her true life 20 year relationship between herself, based in New York, and the staff of an antiquated second-hand bookshop in London after the Second World War, that she found the success she had sought with her script writing.

Clive Francis, as the bookshop’s Frank Doel, smoothly delivers his role with charm and poise throughout. Stefanie Powers holds court as the engaging and, at times, acerbic and gravelly voiced Hanff. The setting remains in place throughout with the passing of time portrayed through musical seasonal celebrations of the supporting cast.

In all, it truly is the essence of the word ‘quaint’. It conjures up a time of deep restraint and modesty, where instant gratification was not possible and delight remained in anticipation and eventual receipt. Hanff discovers an advert for the store in a paper, and her search for a range of literature classics from across the ocean begins in earnest. The beauty of corresponding in the old fashioned form of letter writing is gently held aloft and the appreciation for the topic and memories was evident from the audience.

For myself, the pace and content was too leisurely to truly hold the depth of my attention for most of the first Act. By the second, the turn of events and growing bitter sweetness began to capture my heart. It seems that the phrase ‘time flies’ remains applicable in any era, and experiencing the familiar story of allowing life events to overtake spoken hopes, dreams and promises is guaranteed to tug on the heartstrings. A gently enjoyable show.

TROUPE ANNOUNCES THE WORLD PREMIÈRE OF JOY WILKINSON’S THE SWEET SCIENCE OF BRUISING

AT SOUTHWARK PLAYHOUSE

Troupe presents

The World Première of

THE SWEET SCIENCE OF BRUISING

By Joy Wilkinson

3 – 27 October 2018

Southwark Playhouse

Directed by Kirsty Patrick Ward; Fight and Movement Direction by Alison de Burgh

Designed by Anna Reid; Sound Design and Original Composition by Max Perryment

Troupe today announces the World Première of Joy Wilkinson’s The Sweet Science of Bruising.Directed by Kirsty Patrick Ward, the production opens at Southwark Playhouse on 5 October, with previews from 3 October, and runs until 27 October.

“Place your bets, gents, and raise your glasses for the Lady Boxing Champion of the World.”

London, 1869. Four very different Victorian women are drawn into the dark underground world of female boxing by the eccentric Professor Sharp. Controlled by men and constrained by corsets, each finds an unexpected freedom in the boxing ring. As their lives begin to intertwine their journey takes us through grand drawing rooms, bustling theatres and rowdy Southwark pubs where the women fight inequality as well as each other. But with the final showdown approaching only one can become the Lady Boxing Champion of the World…

Based on historical research into 19^th century women’s boxing, The Sweet Science of Bruising is a fascinating new play by Joy Wilkinson (Verity Bargate Award winner). Featuring an ensemble cast and thrilling up-close boxing matches, this is an epic tale of passion, politics and pugilism.

Joy Wilkinson is an award-winning writer working across theatre, film, television and radio. Her stage plays have been widely produced in the UK and internationally, and she has won prizes including Soho Theatre’s Verity Bargate Award and the International Student Playscript Competition. Her plays include Fair (Finborough Theatre, Trafalgar Studios and National Tour), Now is the Time(part of the Tricycle Theatre’s Olivier Award-nominated ‘Afghanistan’ season which toured the USA and was revived in 2017 by Teatro Elfo Puccini, Milan), Acting Leader (‘Women Power and Politics’ season, Tricycle Theatre) and Britain’s Best Recruiting Sergeant (Unicorn Theatre). She has been awarded two attachments at the National Theatre Studio and is published by Oberon Books and Nick Hern Books. For television, Wilkinson was a graduate of the first BBC Drama Writers Academy, and her screen credits include Casualty, Holby City, Doctors and Land Girls. She also wrote Nick Nickleby, a critically-acclaimed five-part modernisation of Nicholas Nickleby for BBC1. Wilkinson’s extensive work for BBC Radio 4 includes a five-part spin-off from the hit Danish drama Borgen as well as numerous adaptations and original plays.

Kirsty Patrick Ward directs. Her credits include Exactly Like You (VAULT Festival Spirit Award at Underbelly Edinburgh and The Vaults), Chef (Scotsman Fringe First Award at Underbelly Edinburgh and Soho Theatre), I’m Not That Kind of Guy (The Vaults and Paines Plough), Mary Louise (The Vaults), Evita (MT4Uth, Belfast), People Like Us (Pleasance London), Snow White (National Tour for The Old Vic), A Writer’s Response to ‘Chavs’ by Owen Jones (Lyric Theatre Hammersmith), Present Tense (Live Theatre), Brave New Worlds (Soho Theatre), Life Support (York Theatre Royal) and Old Vic New Voices: The 24 Hour Plays (The Old Vic). Work as Associate Director includes The Comedy About a Bank Robbery (Criterion Theatre), Brideshead Revisited (English Touring Theatre and York Theatre Royal) and Young Pretender (Underbelly Edinburgh and National Tour). Work as Assistant Director includes Othello and King Lear (Shakespeare’s Globe), Our New Girl (Bush Theatre) and Bunny which won a Scotsman Fringe First Award (nabokov, Underbelly Edinburgh and National Tour).

Troupe’s recent production of Rasheeda Speaking by Joel Drake Johnson starred Tanya Moodie and Elizabeth Berrington at Trafalgar Studios and was nominated for five Off West End Awards. Troupe returns to Southwark Playhouse after its critically acclaimed productions of Dear Brutus by J. M. Barrie, which starred Miles Richardson, and The Cardinal by James Shirley, which starred Stephen Boxer and Natalie Simpson for which she won the Ian Charleson Award. It was supported by an inaugural MGCfutures Bursary Award. Troupe’s previous rediscoveries at the Finborough Theatre – Rodney Ackland’s After October, Robert Bolt’s Flowering Cherry and R. C. Sherriff’s The White Carnation, which later transferred to Jermyn Street Theatre – have been nominated for a total of five Off West End Awards.

www.troupe.eu

The Sweet Science of Bruising

Listings

Southwark Playhouse

77-85 Newington Causeway, London, SE1 6BD

Nearest Tube: Borough/ Elephant and Castle

Wednesday 3 October – Saturday 27 October 2018

Monday to Saturdays at 8pm
Tuesday and Saturday matinees at 3.30pm

Box Office: 020 7407 0234

www.southwarkplayhouse.co.uk

Twitter:

@Troupe_Theatre

@swkplay

#SweetSciencePlay

Ticket Prices

Previews 3 and 4 October: all tickets £12
From 5 October: £20, £16 (conc.)

New Diorama Theatre – 10th & 11th June

Reviewed by Heather Chalkley

4****

In their latest show, Potter and Wagner present the current focus on modern feminism through the dry wit and honest characters of Wendy (Jo McGarry), Melissa (Helen Potter) and Mavis (Emily Hindle). The reality of life after university has hit them hard, all three ending up back in their hometown, working low paid jobs and reforming an awkward friendship that gives them an outlet to vent their frustrations. Self consumed and listening, often without really hearing each other, the truth plays out in hilarious real life honesty.

The stripped back set meant that all eyes remained on the players and drew you in to the facial expressions and transitions between scenes. All 3 women squeezed every ounce of comedy value out of this focus, to great effect. Even the rewind in one of the scenes that went out of sync was expertly captured into a laugh out loud moment. The clever incorporation of physical theatre, song and dance allowed you to skip between sketches and visualise the surroundings, despite the fact that the only scenery was a bench!

Everything that a young women fears in a man is rolled up into one character, Brian (Will Stuart), who ends up accidentally murdered! Will Stuart had the unenviable task of playing every male character in the play, flipping seamlessly from the arrogant Tarquin to the scarily weird Brian, with great comic timing.

The combination of Helen Potter’s writing and Carissa Wagner’s direction has produced classic British comedy, that is at the same time true and complete nonsense! As they hone their skills I can see this team having a future in their own British sitcom, of the ‘Trollied’ or ‘Citizen Khan’ ilk. Well worth taking an hour out of your day to watch.

Can’t get a ticket for Hamilton…

MENIER CHOCOLATE FACTORY ANNOUNCES CASTING FOR

THE UK PREMIÈRE OF GERARD ALESSANDRINI’S

SPAMILTON: AN AMERICAN PARODY

The Menier Chocolate Factory presents

SPAMILTON: AN AMERICAN PARODY

Written and directed by Gerard Alessandrini

12 July – 8 September

With the UK première of The Grönholm Method running at the Menier, Travesties running on Broadway and The Color Purple on tour in the US, the Menier Chocolate Factory today announces the cast for UK première of Gerard Alessandrini’s Spamilton: An American Parody which opens at the theatre on 24 July, with previews from 12 July and runs until 8 September. Alessandrini directs Marc Akinfolarin, Jason Denton, Eddie Elliott, Liam Tamne and Julie Yammanee, with special guests Sophie-Louise Dann and Damian Humbley. The production renews Alessandrini’s collaboration with the Menier following Forbidden Broadway which ran both at the theatre and in the West End.

Hamilton – Olivier, Tony, Pulitzer and Grammy Award-winning musical. Very few tickets available.                                                                      

Spamilton: An American Parody – Hamilton and much more. With tickets available…

Gerard Alessandrini brings his singular wit to the all-conquering musical Hamilton – in the words of its creator Lin Manuel Miranda, “I laughed my brains out”. Following the success of Forbidden Broadway, Alessandrini returns to the Menier to lampoon the multi-award-winning Hamilton, with Spamilton: An American Parody, which not only takes target at Broadway’s biggest export, but a host of the theatre world’s biggest names and musicals.

Described by the New York Times as “smart, silly and convulsively funny”, Spamilton: An American Parodymakes its UK debut at the Menier Chocolate Factory, where unlike the Victoria Palace, there are tickets available — at a fraction of the price.

Marc Akinfolarin returns to the Menier, where he previously appeared in Assassins and The Color Purple. His other theatre credits include Spamalot (UK tour), Peter and The Starcatcher (Royal and Derngate, Northampton), Floyd Collins (Wilton’s Music Hall), Jesus Christ Superstar (UK tour), Sweeney Todd (English National Opera), Porgy and Bess (Royal Danish Opera), A Christmas Carol (Birmingham Rep), Soul Man (Stephen Joseph Theatre), Smokey Joe’s Cafe (Landor Theatre) and Joseph and the Amazing Technicolor Dreamcoat (UK tour).

Sophie-Louise Dann returns to the Menier where she previously appeared in both productions of Forbidden Broadway. Her other theatre work includes The Girls (Olivier Award nomination), Bend it Like Beckham (both Phoenix Theatre), Oliver! (Grange Park Opera), Made in Dagenham (Adelphi Theatre), Closer than Ever (Jermyn Street Theatre), Hairspray (Curve Theatre, Leicester), The Kitchen Sink (Hull Truck), The Lion, The Witch and The Wardrobe (Kensington Gardens), Lend Me a Tenor (Gielgud Theatre – Oliver Award nomination) and The Music Man (Chichester Festival Theatre). For television, her work includes Trapped! Forever After, Goodnight Sweetheart, My Summer with Des, Julie and the Cadillacs and Charlie Come Home; and for film, The Phantom of the Opera.

Jason Denton’s theatre work includes The School of Rock (New London Theatre), Showboat (New London and Sheffield Theatres), Save The Last Dance For Me (UK tour), Beautiful: The Carole King Musical, Stephen Ward(both at the Aldwych), Hot Stuff, Hello Dolly!, Piaf (Curve Theatre, Leicester), Britain’s Got Bhangra (UK tour), I Was Looking at the Ceiling and Then I Saw The Sky (Theatre Royal, Stratford East), Joseph and the Amazing Technicolour Dreamcoat (UK tour) and Much Ado About Nothing (Complete Works Theatre Co).

Eddie Elliott’s theatre work includes Motown (Shaftesbury Theatre), Dry Cleaned (Intermission Theatre), Cinderella (Hackney Empire), South Pacific (Barbican and UK tour), Five Guys Named Moe (Theatre at the Mill), We Will Rock You (UK tour), The Music Man (Chichester Festival Theatre) and The Lion King (Lyceum Theatre).

Damian Humbley returns to the Menier Chocolate Factory having appeared in Merrily We Roll Along (also Harold Pinter Theatre and Huntington Theatre Company, USA), Life of the Party (also TheatreWorks SV – Bay Theatre Award), Forbidden Broadway (also Vaudeville Theatre) and The Last 5 Years. His other theatre work includes Lend Me A Tenor (Gielgud Theatre), The Woman In White (Palace Theatre), Fiddler on the Roof (Savoy Theatre), Dickens Abridged (Arts Theatre), Putting It Together, Songs for a New World (St James Theatre),Hedda Gabler (Salisbury Playhouse), Company (Sheffield Crucible) and Little Shop Of Horrors (UK Tour).

Liam Tamne’s theatre work includes Working (Southwark Playhouse), The Rocky Horror Show (UK tour), The Phantom of the Opera (Her Majesty’s Theatre), Departure Lounge — the Musical (Perfect Pitch), Hair (Gielgud Theatre), Hairspray (Shaftesbury Theatre) and Wicked (Apollo Victoria Theatre).

Julie Yammanee’s theatre credits include And the Winner Is (Vaults Festival), Lazarus (King’s Cross Theatre), Priscilla Queen of The Desert (international tour), Here Lies Love (National Theatre), Avenue Q (UK tour), The World Goes Round (Yellow Glass Theatre) and Rapunzel (Theatre Royal Stratford East). For television, her work includes The Sleepover Club.

Gerard Alessandrini is best known for creating and writing all 25 editions of Forbidden Broadway in New York, Los Angeles, London and around the world. He features in the original 1982 cast of Forbidden Broadway, and can be heard on four of the show’s twelve cast albums. He also sings on the soundtracks of the Disney classics Aladdin and Pocahontas. Television credits include writing comedy specials for Bob Hope, Angela Lansbury and Carol Burnett. Directing credits include Maury Yeston’s musical In the Beginning, and a revue focusing on Yeston’s songs Anything Can Happen (In the Theatre). Recent musicals which he co-wrote and/or directed include Madame X (NYMF 2011) and The Nutcracker and I (a complete Tchaikovsky score with all new lyrics by Alessandrini). He is the recipient of an Obie Award, two Lucille Lortel Awards, a Lifetime Achievement Award from the Drama League and seven Drama Desk Awards – including two for Best Lyrics, and two Special Lifetime Awards. He was also awarded an Honorary Tony Award for Excellence in Theatre.

Choreography is by Gerry McIntyre, set design by Morgan Large, costume design by Dustin Cross, lighting design by Tim Lutkin, sound design by Gregory Clarke and Jonathan Everett, musical arrangements by Fred Barton and musical direction by Simon Beck.

Spamilton is presented in association with John Freedson, David Zippel and Christine Pedi.

Listings Information

Spamilton

Venue:                                Menier Chocolate Factory

Address:                             53 Southwark Street, London, SE1 1RU

Press performance:         24 July at 8pm

Dates:                                 12 July – 8 September

Times:                                Tue – Sat 8pm, matinees Sat and Sun 3.30pm

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:                        www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

                                             Prices from £19.50

A meal deal ticket includes a 2-course meal from the pre-theatre menu in the Menier Restaurant as well as the theatre ticket.

www.menierchocolatefactory.com

Twitter: @MenChocFactory