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The Bread & Roses Theatre announces its Spring Season 2017

 April – June 2017 – www.BreadandRosesTheatre.co.uk

68 Clapham Manor Street, SW4 6DZ Clapham, London

The Bread & Roses Theatre is ready for an exciting springtime!

Following 5 star reviewed productions of ‘Miss Julie’ in 2015 and ‘Low Level Panic’ in 2016, this year The Bread & Roses Theatre is putting on a revival of dirty butterfly (25^th April to 13^th May, Tue-Sat), the debut play of Olivier-Award-winning playwright and BAFTA-Award-winning screenwriter debbie tucker green, directed by Artistic Director Tessa Hart. Painting a harrowing image of domestic violence in an intimate, yet so distant environment, dirty butterfly confronts the audience with themes of voyeurism, power and guilt through lives that interlock but never connect.

Stones Theatre Co. also return this season with a revival of Philip Ridley’s recent hit play Radiant Vermin (14^th to 17^th June). A darkly humourous play that asks the question: just how far you would go to get on the property ladder? Another returning company are SISATA who present their touring success show Shakespeare’s Othello adapted & directed by Charmaine K Parkin (22^nd to 24^th June), in a fast-paced telling of jealousy, love and ambition, four actors play multiple roles in this masterful debate on the human condition.

The season also features a line-up of exciting new writing and opportunities to discover brand new work:

·         Yes! Because… by Flloyd Kennedy [with William Shakespeare] (4^th to 8^th April), a solo show of cabaret, clown and classical theatre all rolled into one, which has toured the UK and Australia;

·         Teaching a dillo to cross the road by David Moberg (11^th to 15^th April), which throws us into a world of volatile uncertainty, sex, violence, alcohol, death and unspoken tragedy;

·         Cream Tea and Incest by Benjamin Alborough (20^th to 22^nd April), a knockabout farce that blends the traditions of comedy theatre with the anarchy of live comedy in a unique, energetic style;

·         Metamorphoses (15^th to 20^th May, except 17^th), London’s first ever festival of visual & physical theatre inspired by Ovid’s ‘Metamorphoses’;

·         The Anomaly written & directed by Martin T Hart (23^rd to 27^th May), an astounding Telepathy Magic Show with ‘WOW-Factor’;

·         A Curse of Saints written & directed by Polis Loizou (30^th May to 3^rd June), a chilling tale set in 19^th century Cyprus, where a shepherd – who since the arrival of the British, come to colonise his motherland, has been having visions of crooked saints and nightmares of the evil eye – reveals his own suspicions on a boy’s death.

·         The Investigation by Peter Weiss (6^th to 10^th June), a dramatic re-construction of the Frankfurt war crime trials which dealt with the atrocities committed at the concentration camps of WWII such as Auschwitz.

Short running events include in-house cabaret and burlesque night The Roses Cabaret (20^th April), improvisational theatre show Clowns Are Not Funny (7^th May), Eddie Farmer’s The Magic Show (14^th May), in-house new writing scratch night The Platform (11^th to 13^th June), and two-handed, multi-rolling farcical extravaganza Going Awol (20^th & 21^st June), set in 1966, a tale of 2 women who accidentally on purpose murder their boss and go on a wild and wonderful adventure around Europe disposing of his limbs.

Opportunities for theatre-makers this season include our usual Playwrights Circle, (22^nd May) and Networking Event (5^th June), as well as a Clown Actor Workshop with Flloyd Kennedy (5^th April).

For details on all listings and more head to www.breadandrosestheatre.co.uk. Phone: 020 8050 3025

Lyric Theatre, The Lowry, Manchester – 20th March 2017.  Reviewed by Julie Noller

The Woman in Black as we know, is a book,play and film and before watching I had surprisingly not read the book nor seen the film. I was going into this with a clear head no preconceptions. My thoughts afterwards are that I would without a shadow of doubt return to watch again and again. The book obviously came first written by Susan Hill and first published in 1983. It was adapted by Stephen Mallatrait into a stage play and is currently into its 27th year on the West End at the Fortune Theatre. Its currently being Directed by Robin Herford and I can tell you from the many interesting interviews and facts included in the programme that the cast changes every 9 months, this should help to give the play an infusion of freshness and prevent it from statementing.

The current cast of only 2 were excellent throughout and took us the audience along for the ride, according to my sister she was on the edge of her seat. Yes we screamed, yes we laughed but it should be expected. We the watching audience bonded over each nervous inhale, each sigh of relief. The standing ovation at the end was fully deserved.

As with all plays I’ve had the pleasure of watching at The Lowry, the stage is laid bare there was no curtain covering what was to come. Immediately you feel part of the drama before a single word has been uttered. The phone ringtone is blasted out across the loud speakers and a gentle hush ensues, time to turn phones off we are warned any illumination may affect the lighting effects and enjoyment of others. Quite right too. Suddenly a man appears on stage he looks like an insurance salesman dressed in jacket and trousers, he could be from 10 years ago or one hundred. He’s addressing us the audience yet he doesn’t acknowledge us, quietly spoken almost inaudible. He is reading from a notebook in a very mono-toned manner. Then equally as suddenly a voice from the back of the Lyric Theatre booms through. We have now been introduced to our 2 characters.

Arthur Kipps played by David Acton and The Actor played by Mathew Spencer, both parts were acted to perfection. I felt I was watching true craftsmen at work. The stage is basically a play within a play, the key is to allow your imagination to run riot which isn’t hard.

As much as we are watching storytellers at work, I felt somewhat like I was back in school during drama lessons where we would be instructed by our our teacher,especially during the pony and trap discussion using an old theatre basket and rocking. I immediately felt an affinity to Arthur Kipps, a small nervous man but with a quiet determination to tell his story.

The building tension was there for all to see, the woman in black is she seen by all the characters? Is she an actress we have yet to be introduced to? My imagination was vividly seeing all sorts of possibilities. The use of lighting (Kevin Sleep) was excellent and encouraged me to relax and also wonder what was happening off stage, what is still to come. By the time the story had gotten into full swing, I must confess I had totally forgotten I was watching The actor delivering Arthur Kipps dialogue but he had become Arthur Kipps who in-turn was interchanging as every other character. David Acton was a true master at work seeing his instant transformation from meek and mild Arthur Kipps, meaning a change in gait and accent were all totally and convincingly believable. The sound effects (Gareth Owen) help the audience as equally as the lighting does, the brilliance of this play is its simplicity. How it toys with the audience, encouraging us to see things that aren’t there. With this play Theatre rules over Hollywood with a power we have forgotten. Films show us things the Director wishes, the actors deliver their characters to their own interpretations. This play gives a little more than a book, it sets the scene but then adds to your senses and you fill in the blanks yourself. You don’t feel silly laughing as the humour is real, nor do you wonder were you the only one to jump as I can testify the number of sighs that were probably occurring alongside beating hearts was definitely more than just mine.

I can say honestly I look forward to seeing this play again. You should see it and witness the emotion for yourself, I guarantee you will enjoy the dramatics and be left wanting to see more.

Richmond Theatre 20 – 25 March, national tour to September.  Reviewed by Claire Roderick

If you’re looking for a night of belly laughs and life-affirming joy, Shirley Valentine is the show for you.

Glen Walford’s revival of Willy Russell’s one woman play gives Jodie Prenger the chance to show her full acting chops, and reminds us how brilliantly Russell writes female characters. Watching a middle-aged woman talk to her kitchen wall may not sound like entertainment, but Shirley draws you quickly into her world, and you won’t want to leave.

Trapped in a dull routine in a stale marriage, Shirley always thought she’d leave Joe after their children had grown up, but has nowhere to go. Instead she soldiers on, making sure his meals are on the table when he comes home, drinking wine and wondering what happened to the girl she used to be, Shirley Valentine. When her only friend buys her a holiday Greece, Shirley is excited and terrified, knowing that she can’t go, but dreaming of sitting at the water’s edge. After an incident with a plate of chips and egg, her mind is made up. When she gets to Greece, she finds a new confidante, a rock, has a holiday fling and decides to change her life.

The 1980’s kitchen set of the first act and Prenger’s frumpy costumes (her travelling outfit is brilliant – reminding you of the days when your mother used to put on her best to go into town) make way for a dreamlike beach, softly lit, and Prenger looks about 10 years younger. That’s what a decent holiday can do for you.

Russell’s fantastically funny and emotional script is delivered gutsily by Prenger. Her broad physical comedy skills are perfect for Shirley’s imaginary confrontations with Joe, and her imitations of neighbours and family are a hoot. Prenger exudes warmth and charm, making Shirley familiar and instantly recognisable. As Shirley talks about her children (I had forgotten all about that hysterical nativity play story!) and her early life with Joe, her love for her family shines through, but also her frustration with their dependence and taking her for granted. Prenger’s quiet moments as Shirley sits and despairs at her life are lovely to watch, all followed by a visible pulling herself together as Shirley herself says, she’s nothing special, but Shirley Valentine still has the power to inspire and enchant. There were outbursts of spontaneous applause as she made brave decisions and when she announced that Christopher Columbus had made his voyage of discovery, the theatre erupted. What makes this special though, is that Shirley doesn’t blame her husband. He gets a lot of stick, but this isn’t a man-bashing diatribe. The acknowledgement that he is as lost as her, and her gentle hope for the future as she waits in the sunset for him, ends the show on an emotional high that carries you out of the theatre smiling (and craving chips and egg).

A wonderful feel-good revival of a brilliant play – get a ticket while you can.

Network of Independent Critics return to Edinburgh Fringe 2017

THE NEW 20TH ANNIVERSARY PRODUCTION OF JONATHAN LARSON’S PULITZER PRIZE- & TONY AWARD-WINNING MUSICAL

RENT

Tuesday 18 – Saturday 22 April 2017

STARRING LUCIE JONES WHO WILL BE REPRESENTING THE UK IN THIS YEAR’S EUROVISION SONG CONTEST

Robert Mackintosh and Idili Theatricals Limited, in association with Theatr Clwyd, 20th Anniversary production of Jonathan Larson’s ground-breaking Pulitzer Prize- and Tony Award-winning musical RENT will play at York Theatre Royal this April.

The new production will be directed by Bruce Guthrie and stars Lucie Jones, who was recently chosen to represent the UK in this year’s Eurovision Song Contest.

Lucie was a finalist on The X Factor in 2009 and recently starred as Elle Woods in Legally Blonde (Curve, Leicester). Her other theatre credits include Molly Jenson on tour in Ghost the Musical, Victoria in American Psycho at The Almeida, Meatloaf in the International Tour of We Will Rock You and Cosette in Les Miserables at Queens Theatre, London’s West End and O2 Arena. Lucie also toured the UK in The X Factor Arena Tour.

The cast of RENT also includes: Layton Williams as Angel Schunard; Billy Cullum as Mark Cohen; Ross Hunter as Roger Davis; Ryan O’Gorman as Tom Collins; Javar La’trial Parker as Benjamin Coffin III; Philippa Stefani as Mimi Marquez and Shanay Holmes as Joanne Jefferson, with Jenny O’Leary, Katie Bradley, Joshua Dever, Kevin Yates, Bobbie Little, Christina Modestou, Jordan Laviniere, Harrison Clark and Oliver Bingham.

Jonathan Larson’s musical, inspired by Puccini’s opera La Bohème, won four Tony Awards, six Drama Desk Awards and the Pulitzer Prize for Drama in 1996. Ben Brantley’s New York Times review was a love letter to the show, calling RENT an “exhilarating, landmark rock opera”. RENT ran on Broadway for 12 years, from 1996 to 2008. The show premiered in London’s West End in 1998 at the Shaftesbury Theatre, where it ran for 18 months. It was adapted into a film in 2005.

Larson’s world is inhabited by a group of bohemian artists who struggle to maintain their friendships and their non-conformist ideals in New York’s East Village. Facing their problems head on, they make personal self-discoveries and find what really matters most in life. The poignancy of the story was heightened when Jonathan Larson died of an aortic dissection on 25 January 1996, the night before the show’s first off-Broadway performance at New York Theatre Workshop.

The much-loved score features songs such as Seasons of Love, Take Me or Leave Me, One Song Glory, La Vie Bohème, Without You, I’ll Cover You, Out Tonight, I Should Tell You and the title song.

Director Bruce Guthrie said:

“I am delighted to be working with a truly world-class creative team on this new production of Jonathan Larson’s classic musical. Our aim is to serve the fans of the show who have loved it so passionately since its ground-breaking premiere Off Broadway in 1996, while introducing it to a new generation of musical theatre fans. We want to capture the essence of bohemian New York City at the height of the AIDS epidemic. It’s a place of grime and excitement, where voices are fighting to be heard and the inhabitants are fighting to connect with one another, as well as fighting for their lives. The musical is a celebration of life and living in the moment. It’s blood and bone, sweat and tears, laughter and joy, despair, hate and love, all in this one remarkable year shared by a group of friends. It is a privilege to be working on one of the great ‘moment’ musicals and to celebrate 20 years of RENT.”

The new production of RENT will have choreography by Lee Proud, set design by Olivier Award-winner Anna Fleischle and costume design by Loren Elstein, with lighting design by Olivier and Tony Award-winner Rick Fisher, sound design by Olivier Award-winner Mike Walker, video design by Andrzej Goulding, musical direction by Phil Cornwell and casting by Will Burton Casting.

RENT has Book, Music and Lyrics by Jonathan Larson, musical arrangements by Steve Skinner, original concept and additional lyrics by Billy Aronson, music supervision and additional arrangements by Tim Weil, and the dramaturg is Lynn Thomson. RENT was originally produced in New York by New York Theatre Workshop and on Broadway by Jeffrey Seller, Kevin McCollum, Alan S. Gordon and New York Theatre Workshop.

RENT is presented by arrangement with Music Theatre International (Europe) Ltd.

Tickets for RENT are on sale now priced £32 – £12 (£1.50 transaction fee per booking) from the York Theatre Royal box office in person, by phone on 01904 623568 or securely online at yorktheatreroyal.co.uk.

ICONIC

GRAND OPERA HOUSE YORK

Friday 19 May at 7.30pm

“Hugely successful” and “creative stage show genius” are just two recent descriptions of Manchester’s very own Steve Steinman. This is no surprise, as he has continually impressed his army of fans with shows including The Meat Loaf Story, Vampire’s Rock, Bat The Symphony and Vampire’s Rock Ghost Train since soaring to success on TV’s Stars in Their Eyes over two decades ago as Meat Loaf.

Steve and his crew always deliver exhilarating performances that are packed with energy, fabulous dance routines, spectacular special effects and of course, amazing music that has everyone up on their feet. Throwing just the right amount of fun and humour into his scripts, Steinman ensures that he also has his audiences roaring with laughter.

Steve Steinman’s new show – Iconic – where film and fun collide. Sneak peeks and website teasers such as Catwoman, The Joker and a picture showing Steinman dressed as Bond has had fans literally going wild and with the company giving very little away. We cannot wait to see what they have in store for us on Friday 19 May!

Iconic is set in the future where movie theatres have all but disappeared and a single magical cinema still stands with one lonely occupant – an usher called Benson. He attempts to entice viewers to attend the final screening of the evening as a cast of amazing singers, dancers and musicians perform their way through a midnight medley of iconic soundtracks; reawakening musical memories of the most recognisable songs of all time.

Hits from movie greats such as Kill Bill, Batman, Pulp Fiction, Purple Rain, Bond and Mad Max are featured including tracks from Queen, AC/DC, Bon Jovi, Aerosmith, Tina Turner, The Rolling Stones and Prince to name but a few.

Book your tickets soon to avoid disappointment

Tickets from £28.15 available from ATG box office on 0844 871 3024 or book online at www.atgtickets.com/york

THE ROYAL SHAKESPEARE COMPANY PRESENT FOURTH
RELAXED PERFORMANCE OF MATILDA THE MUSICAL ON SUNDAY 11 JUNE

Following the sold-out success of the previous relaxed performances of Matilda The Musical, the Royal Shakespeare Company will present its fourth at the Cambridge Theatre on Sunday 11 June 2017. Building on the programme of relaxed performances that the RSC has been running in Stratford-upon-Avon since 2013, the RSC is proud to have been amongst the first to adopt and promote the concept. This will be the eighth relaxed performance that the Royal Shakespeare Company has staged to date, and the National Autistic Society and Mousetrap Theatre Projects will again work closely with the RSC, offering full access to the theatre for people with autism and learning disabilities and their families.

The performance provides a relaxed environment, with elements of the production adapted to reduce anxiety or stress. Lighting and sound levels are adjusted to soften their impact and there is a different approach to noise and moving around the auditorium during the performance.  Designated ‘chill-out’ areas are provided outside the auditorium with soft seating and activities for people to use if they want to take a break from being in the auditorium.

The Royal Shakespeare Company is offering tickets at the reduced rate of £25 and £10 whichcan be booked through the RSC Ticket Hotline or in person at the Cambridge Theatre box office from Tuesday 21 March 2017. All bookers will be sent a visual story to help them familiarise themselves with the plot, characters and the setting before they arrive at the theatre. Detailed event and transport information will also be available from www.matildathemusical.com.

Winner of over 75 major international awards, including 15 for Best Musical, Matilda The Musical has been seen by more than 6.5 million people worldwide. Having swept the board at the 2012 Olivier Awards, winning a record-breaking seven awards, Matilda The Musical has now played in 50 cities worldwide and continues to delight audiences in London, Australia and on tour around North America.

After opening to rave reviews and winning a Sydney Theatre Award for Best Musical in 2015, the Australian production played a sold-out season at Melbourne’s Princess Theatre. In July 2016, the production broke the record by winning all 13 Helpmann Awards for which it was nominated. The tour continues in Perth and to Adelaide before premiering in New Zealand at The Civic in Auckland in August 2017 for a strictly limited season.

Matilda The Musical is produced in the West End by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Company Dramaturg Jeanie O’Hare and the RSC Literary Department.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction by Matthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve.

www.matildathemusical.com

BLUSH by Charlotte Josephine

UK Tour and run at Soho Theatre announced

Soho: Tuesday 16th May – Saturday 3rd June 2017, 7pm

Soho Press Night: Thursday 18th May, 7pm

Tour: Tuesday 6th – Saturday 24th June

Following a sell-out run at the Edinburgh Festival, the award-winning BLUSH now transfers to Soho Theatre before embarking on a UK Tour. Written by Charlotte Josephine and presented by Snuff Box Theatre, the team behind the sell-out, multi-award winning Bitch Boxer, BLUSH tells five candid stories about image-based sexual abuse and all its many victims. BLUSH is a slap in the face and a call to arms.

Blush feels like powerful and important theatre on an urgently contemporary issue (The Daily Telegraph).

This angry, honest and heartfelt piece seeks to encourage and broaden examination of how the scarcity culture in modern society is fuelling our shame, encouraging the destructive belief systems that we are not enough.

Daniel Foxsmith and Charlotte Josephine (who won a Stage Edinburgh Award for BLUSH) lead this fast-paced production, exploring why society has a desire to shame, what it’s the result of and how we allow this to happen. BLUSH shines a light on the secrets we attempt to keep in the dark, our fears of disconnection and our attempts to be part of the tribe.

The catalyst for the piece was legislation passed in April 2015 to make revenge pornography a criminal act. The law now makes it illegal to disclose a ‘private sexual photograph or film’ without the consent of the person depicted. Many people consent to the creation of an image but having it made public is a very different matter. While revenge pornography may have been the catalyst of Blush, the true focus of the work is shame.

Blush is essential viewing for anyone that owns a computer or mobile phone and, just like Bitch Boxer, it packs a heavy punch (What’s On Stage)

BLUSH is directed by Ed Stambollouian whose work includes Awkward Conversations with Animals I’ve Fucked and Old Vic 12.

BLUSH is presented in association with Sphinx Theatre and has been supported by the Peggy Ramsay Foundation, Unity Theatre and Arts Council England

The Old Red Lion 7 – 25 March.  Reviewed by Claire Roderick

The beauty and poignancy of love letters sent during times of war is brought to the stage in this stunning ensemble production by Althea Theatre.

Beginning with a cacophony of voices, all trying to be heard, seven stories evolve throughout the show. A Russian officer, after sending too many notices of death, begins writing to a woman in Wales, pretending to be her dead husband. An American soldier in Vietnam writes mundane letters to his wife, unable to tell her the true horrors he is experiencing. An Israeli teacher encourages her class to write about their plans for the future before they graduate and join the army. A French girl keeps the love letter written to her by a German soldier. A Colombian asylum seeker waits in London to hear from her kidnapped husband. A British soldier in Afghanistan skypes with his fiancée, unable to find beautiful words to write; and 100 years ago, a woman sends her touch to her husband fighting in the war.

Lilac Yosiphon’s direction is sensitive and lyrical. The ensemble move and dance together, punctuate key moments by breathing together, and create an atmosphere that feels intense and cosy at the same time. Angus McRae’s music is used with intuitive skill to provide moments of whimsy and heartbreak, and the simple set of cascading sheets of paper in the tiny space gives the impression of being in an attic room poring over these treasured letters together. The whole ensemble shine, bringing passion and compassion to their various characters.

The switching back and for between stories develops a lovely meandering rhythm throughout the show, and some of the audience’s preconceptions about certain characters are blown out of the water to devastating effect. As we revisit Violette throughout her life and finally learn the truth about her encounter with the German soldier your bottom lip will be trembling.

The words of love and hope during such terrible times are inspiring, and the loss of such writing skills today is illustrated to great tragi-comic effect by the ensemble voicing a soldier and his girlfriend’s “romantic” text messages.

One Last Thing (for now) is bold and beautiful theatre; an emotional and heart-warming show that celebrates love in dark times, and a show you could watch many times, finding something new each time.

Jack Studio Theatre 14 March – 1 April.  Reviewed by Claire Roderick

Vampires, zombies and werewolves are laughable – the most terrifying monsters are evil children. OutFox’s revival of The Bad Seed brings Rhoda Penmark back to the stage; pigtails, perfection and smiles, just your typical high-functioning sociopath.

Christine Penmark’s worries about her daughter Rhoda, bright and loved by adults, but avoided by other children, come to a head when her husband is away working in Washington DC. An accidental drowning at a school picnic leads to questions about Rhoda’s involvement. When Christine finds the drowned boy’s medal in Rhoda’s treasure box, her worst fears are realised. Nobody else sees through Rhoda’s veneer of sweetness, except handyman Leroy, whose teasing and tormenting of the girl leads to further violence. Christine’s questions about her own parentage are answered by her father, and the guilt she feels about her own child inheriting her mother’s evil tendencies becomes overwhelming.

Since the play’s 1954 Broadway debut, our appetite for psychopaths and murders has been fed with a myriad of books, plays and films, but Maxwell Anderson’s writing still manages to manipulate the audience as much as Rhoda manipulates adults. There are some scenes where nature versus nurture are debated in a preachy way that seems naïve to modern audiences, but director John Fricker has retained them, and rightly so.

The pace of the script and the action is languid, like a hot summer’s afternoon in the Southern US town in which the play is set. The tension is slowly ramped up, and even though you can guess what’s going to happen, the shocks are still chilling, with gasps and groans from the audience at key moments.

The cast’s accents are variable, but their commitment is unquestionable. Rebecca Rayne is fantastic as Rhoda, playing the 8-year-old with a blank and controlled sweetness, allowing the confusion and anger to trickle through when her usual trite words don’t distract her mother. Christine could be quite a dull character in the wrong hands, but Beth Eyre manages to keep her quiet worry and despair interesting rather than repetitive. The atmosphere lightens whenever Jessica Hawksley is on stage as Mrs Breedlove, analysing every person in the room with comic insensitivity and faded Southern Belle mannerisms. Brian Merry also shines as Leroy. The scene where he finally realises what Rhoda is truly capable of, and his sneery taunting changes to complete terror is played beautifully. The standout performance of the show comes from Lucinda French as Mrs Daigle, the dead boy’s mother. Keeping well away from stereotypical drunken acting, French nails the despair and grief brilliantly, convincingly frightening even Rhoda with the intensity of her emotions.

The Bad Seed is a wonderfully atmospheric and spine-tingling play, beautifully acted and full of class. Well worth a look.