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Sutton Theatres presents:

Bitter Pill Theatre presents:

Cockpit Theatre 5 & 6 December.  Reviewed by Claire Roderick

The 2007 Fringe First Award-winning Scarborough is unfortunately very much like the relationships it portrays – shallow and unmemorable.

Lauren and Daz are spending Daz’s birthday weekend on a romantic break in Scarborough. It’s Daz’s 16th birthday, Lauren is his (almost) 30 year old PE teacher. It is unclear who is the teenager and who is the adult at first, until Lauren tries to end the relationship and Daz becomes more childlike as he struggles to cope.

The second act is a word for word replay of the first, with the genders swapped. Aiden is the PE teacher in a relationship with pupil Beth. This idea has great potential, but the writing is just not good enough to sustain the audience’s interest for a second time. Presenting the play in the round only serves to emphasise this – the underwhelmed faces of some audience members were a little distracting.

Fiona Evans has written the play from a neutral viewpoint. The adults are not portrayed as predatory, but any person who justifies beginning a relationship with a child with the words “you made the first move” should be forced to wear the Childcatcher’s outfit in public. Evans obviously doesn’t want to colour the audiences opinions about the characters, but this neutrality results in bland, one dimensional, forgettable characters with clichéd motivations. The adults were in underage relationships with teachers themselves, and are insipid and needy, lacking the emotional intelligence and maturity to ever attract people their own age, while the children are from unhappy homes with a drunken, philandering father, and are looking for love and stability in all the wrong places. It reads like some cheesy American TV movie.

With bolder writing and characterisation this play could have something important to say – as it is, it is sadly lacking. With all the recent scandal about certain judges giving lenient sentences to female teachers and carers, the issue of the abuser’s gender could have been explored with much more finesse, but Scarborough adds nothing to the debate.

Ava Pickett and Charlie Tantam do their best with the script and the limited characters, and are equally convincing as teenagers and adults, delivering some very sweet moments – usually in dialogue free sections. Let’s just say that the most memorable line of the play is actually a quote from “Mystic Pizza”.

There are a few nice touches to highlight the gender differences. Daz give his teacher a topless photo of himself, while Beth’s teacher receives a photo of her in school uniform. As the adults disengage from the children Lauren is constantly moving towards Daz to comfort him, while Aiden does his best to keep the bed between him and Beth at all times, never touching her. But still – nothing profound or worthwhile comes from sitting through the second act.

Paraphrasing one of my old school reports – Scarborough had great potential, but ultimately turned into a no-hoper.

Now that’s how a proper teacher communicates with teenagers!

NEW YEAR CELEBRATIONS VIENNESE STYLE

The London Gala Orchestra and special guests welcome in the New Year in style on Monday 4 January at Darlington Civic Theatre.

A very special event will take place at Darlington Civic Theatre on Monday 4 January 2016. It marks the twenty fifth year of New Year’s Day music making by the London Gala Orchestra.

The orchestra’s stunning New Year show has become an integral part of thousands of people’s annual celebrations across the country but it started almost by accident.

Twenty five years ago, the orchestra’s manager, Wilf Goddard, suggested to a promoter that Viennese music, reflecting all the glamour and romance of the annual New Year’s Day Ball in Vienna, would be good for the start of the year. This proved to be so and it wasn’t long before he was organising the concerts himself, developing them into a musical experience that audiences have returned to again and again.

This year’s concert will be no exception. Packed full of traditional classics by the Strauss family you will experience the Austrian love affair with music – romantic waltzes, passionate songs, toe tapping polkas and feel-good tunes. The compere this year will be tenor Andrew Rees who will be joined by glamorous soprano Natasha Day. Stephen Ellery, who made such an impact last year with his debut appearance, will take the helm as music director.

Throw in special effects, lots of fun, laughter and excitement as well and you will take away memories that will last a lifetime. It’s where your fabulous 2016 begins!

New Year In Vienna is at Darlington Civic Theatre on Monday 4 January, 7.30pm Tickets* £20 & £22

To book contact the Box Office on 01325 486 555 or visit www.darlingtoncivic.co.uk

*Includes a £1 restoration levy

Cinderella – Civic Theatre, Darlington

Posted by: The Reviews Hub – Yorkshire & North East  

https://www.thereviewshub.com/cinderella-civic-theatre-darlington/

07/12/2015 

Producer: Michael Harrison

Director: Andrew Ryan

3*

There’s nothing quite like a good pantomime to get you in the festive mood (oh yes there is!) and with a great big dollop of comedy, a smattering of tunes and a sprinkling of fairy dust you’ve got all the ingredients for a successful show.

Ashleigh and Pudsey lead the show, and though Ashleigh can’t quite belt out the tunes as a leading lady should – or as well as her Fairy Godmother co-star Niki Evans, rather unsurprisingly given her X Factor experience – her perfected dance routines with Pudsey more than makes up for any lack of vocal power. Pudsey didn’t let himself down once, performing the adorable, but an undoubtedly clever act that won Britain’s Got Talent with his trainer and dance partner Ashleigh.

The Ugly Sisters Mel (Phil Corbitt) and Sue (Danny Potts) were wonderfully over the top, in their garish costumes and outlandish make-up. Alastair Hill was Charming and funny in the fight scene during Everything I Do.

The star of the show is undoubtedly Matt Edwards who plays the lovable but dopey Buttons. With his squeaky voice, he has the audience in the palm of his hands from the moment he steps on stage and has the audience in stitches with his silly and simple performance. He worked well with Brendan Sheerin’s Baron Hardup, and the 12 Days of Christmas routine with the ugly sisters was ridiculously funny.

The first half covers most of the key traditional elements and introduces poor downtrodden Cinders, the cruel, spectacularly attired Ugly Sisters, the handsome prince, the nice but dim Buttons – and The Fairy God Mother. In the second act, we are treated to Dooby Duck and friends and his spectacular marionette cabaret.

It’s a simple tale of good versus evil and this with its abundance of visual gags and slapstick makes it a winner, whether you are three or 93. And a truly spectacular flying horse makes this a very magical pantomime indeed.

Like all good pantos, Cinderella has a happy ending with redemption added for good measure. Along with its easy going inclusion, this production has all the ingredients needed for a great time out with family and friends of all ages.

City Varieties Music Hall, Leeds – 5 December 2015

Delightfully cheesy, wonderfully camp and totally over the top – just how a good pantomime should be.   Full of family fun with just the right amount of adult humour to keep it on the right side of clean.

Written by Peter Rowe this rock”n”roll panto was full of tenuous song links, musical led by Tristan Parkes.

The cast were all multi talented singing, acting and playing a variety of musical instruments. Stand out performance definitely belonging to Louisa Beadel and her stunning drumming to Meatloaf.

With a stunning cast all seemingly enjoying themselves it made the performance more enjoyable. Eamon Fleming was Nanny Nellie Night nurse a rather restrained panto dame, with an interesting taste in clothes.  Peter Manchester’s Robin and Liz Singletons Marian were good together, whilst Robin was channeling his inner Lord Flasheart Marian was fiesty and brave.

Darrell Brockis’ Sheriff was dastardly indeed but his henchmen Kenny Davies “Numbskull” and Alexander Bean “Portcullis” were lovable in their buffoonery.

With the raining cast made up of Matthew Burns, Mike Slader, Louisa Beadel and Sophie Byrne, this is a modern slant on the traditional that works incredibly well.

A simple show, sticking to the story, this is what Christmas and panto should be about.

On at the outstandingly beautiful City Varieties until 10 January, it is truly worth the trip to see Pantomime has it should be

West Yorkshire Playhouse’s production of Chitty Chitty Bang Bang, which began previews on Wednesday 2 December and which will be running until Saturday 30 January 2016. 

Directed by James Brining, with new choreography by Stephen Mear and music and lyrics by Richard M Sherman and Robert B Sherman.

Starring Jon Robyns as Caractacus Potts, Amy Griffiths as Truly Scrumptious, Don Gallagher as Lord Scrumptious/Baron Bomburst, Tamsin Carroll as Baroness Bomburst, Stephen Matthews as The Childcatcher and Andy Hockley as Grandpa Potts

Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions present
The Royal Court Theatre production of
HANGMEN
By Martin McDonagh
Directed by Matthew Dunster

Set and costume design by Anna Fleischle, lighting by Joshua Carr and sound by Ian Dickinson for Autograph.

HANGMEN OPENS ON MONDAY 7 DECEMBER AND WILL PLAY FOR A STRICTLY LIMITED SEASON AT WYNDHAM’S THEATRE IN LONDON’S WEST END

Following a sell out run at the Royal Court Theatre, Matthew Dunster’s award-winning production of Martin McDonagh’s Hangmen will transfer to the West End for a strictly limited season. Now in previews, the production will have a press night on 7 December at Wyndham’s Theatre.

After a decade-long absence from the London stage, McDonagh returned to the Royal Court Theatre with Hangmen in September 2015 to critical and public acclaim. The full West End cast includes: Josef Davies, James Dryden, Johnny Flynn, Tony Hirst, John Hodgkinson, Bronwyn James, David Morrissey, Andy Nyman, Craig Parkinson, Ryan Pope, Sally Rogers, Mark Roseand Simon Rouse.

In his small pub in Oldham, Harry is something of a local celebrity. But what’s the second-best hangman in England to do on the day they’ve abolished hanging?  

Amongst the cub reporters and sycophantic pub regulars dying to hear Harry’s reaction to the news, a peculiar stranger lurks, with a very different motive for his visit.

The transfer of Hangmen is produced by Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions.

Fresher, faster and funnier than ever, the multi-award winning theatrical spectacle STOMP is set to make a return to Newcastle Theatre Royal for the first time in 15 years, and will be touching down for one week only 15-20 February 2016.

A unique combination of percussion, dance and comedy, Stomp is a stage spectacle in a genre of its own. Everyday objects like dustbin lids, matchboxes, brooms, cigarette lighters are transformed into musical instruments and props and the cast command the stage with an unprecedented energy and rhythm in order to ‘play’ them.

Now entering its 23rd year, this smash hit show has entertained over 15 million people across 50 countries worldwide; featured in a range of commercials, film soundtracks and TV collaborations and won multiple awards including an Obie, a Drama Desk Award and an Olivier.

The show was born in Brighton, UK, in the summer of 1991 as the result of a ten year collaboration between street theatre artists Luke Cresswell and Steve McNicholas.  From acclaimed performances at the Edinburgh Fringe to large outdoor events, the legend of Stomp grew in ambition and scope, gaining legions of fans along the way and becoming the theatrical sensation it is today.

The creators and co-directors have ultimately developed a unique, universal language of rhythm, theatre, comedy and dance, which has become a true phenomenon.

Since their last visit to Newcastle in 2000, the Stomp cast have performed in the closing ceremony at the 2012 Olympics and have introduced two new pieces to the show: Frogs and Trolleys.

Trolleys taps into the everyday experience of negotiating a busy shopping aisle with a fully laden supermarket trolley but soon transforms into the closest the show will ever get to drum corps. It is also the first fully fledged Stomp routine to be performed entirely in 5/4 time signature.

Frogs explores the bizarre sonic possibilities of a variety of plumbing fixtures! It has to be heard to be believed, but close your eyes and this piece sounds unlike anything ever heard in the show till now. Organic, quirky and plumbing new heights.

Creators Luke Cresswell and Steve McNicholas are both very happy with the way the new pieces have slotted in, each withStomp‘s trademark exploration of sound, movement and physical humour and there’s more to come: they will be working on more new routines later this year.

Still remaining is Stomp’s signature high-octane meeting of slick choreography, tight ensemble work, industrial percussion and a narrative of anarchic clowning; as the irrepressible troupe of eight turn brooms into soft shoe partners, clapping into intricate conversations and water cooler bottles into sophisticated instruments. A row of folding chairs are straddled, slid, slammed and slapped into rhythmic submission. It is at once primal and urbane, leaving no percussive potential – of object, body or action – unexploited. And all underpinned by a childish delight in making serious noise.

The whole show hurtles towards a brilliantly reworked climax – a showstopper in every sense – as a crackling carnival of leaping, spinning, skidding and pounding performers vent their inexhaustible energies on an unsuspecting orchestra of metal dustbins, bin lids, tubs and water butts. Joyous, thumping, exhilarating bliss for all involved … except the bins!

Stomp is produced by Glynis Henderson Productions & Stomp Productions.

Stomp comes to Newcastle Theatre Royal Mon 15 – Sat 20 Feb 2016 to celebrate over 20 astonishing years of foot stamping, finger drumming, and adrenalin rushing joy across the globe. It plays evenings at 7.30pm, matinees on Thurs 2pm and Sat 2.30pm. Tickets from £13.00. Tickets can be purchased online at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7ppm plus your phone company’s access charge.)