Category: Uncategorized

Lyceum Theatre, Sheffield – 11th November 2022

Reviewed by Sophie Dodworth

4****

Following twelve years as an Edinburgh Festival favourite musical, Showstopper stops off at the Sheffield Lyceum for one night only. Showstopper has had a critically acclaimed West End run and now can also add an Olivier Award to their name!

The performance is totally improvised and unique, what a different experience for theatre fans this is! It is quite astonishing and you are left wondering how on earth they have managed to do this so seamlessly, have they someone undercover in the audience so they can manipulate it? But this can’t be as someone would surely notice, right?

How it works is that the Director, Sean McCann (who acts as a little bit of a narrator also) is in control of directing the audience as his writing group, so approaches the auditorium for ideas. The ideas requested at the beginning are: to name a place the musical can be set, and a musical style (as in, previously seen musicals) Our audience selected Elon Musks office and four musicals that the show would work through. The ideas are all written on a chalk board so you can keep reference, but it is obvious, if you’re a theatre buff when they arrive at each one anyway! (the Les Miserables section was most impressive) During the interval you are invited to tweet the company with ideas for the second half, the ones that McCann read out were all used frequently, the favourite seeming to be (and well-deserved favourite at that) that Martha Pothen turns emo – she did this so well, perfectly in fact, you would just have no idea that this wasn’t part of the script.

Part of the band is on stage and together with the actors they form an extremely talented crew, ready to adapt to whatever the audience throws at them. The actors seem to be more astonishing as the show goes on, probably because you can’t quite believe how quick, sharp and comical they can be, just put on the spot as they are! A few to mention are Matt Cavendish, Adam Meggido and Martha Pothen seemed to really steal the show. Pothen has the most beautiful voice and in a duet towards the end of ‘Tattoo On My Heart’ she totally shines and it was such a special moment. Lots of smiles on lots of faces after that. Another stage star is the drummer, Craig Apps. Never have I ever not been able to take my eyes off a musician! Totally animated all the way through, clearly enjoying every minute, donning the best smile on the stage.

There is a clear following to this musical, dedicated fans that laughed all the way through and were super quick to give a standing ovation at the end. The show is worthy of this though and deserves every follower. The actors have to work harder than your usual cast with the thinking then performing on the spot. A different, entertaining and unusual piece of theatre – a real phenomenon.

Grand Theatre, Leeds – until 19^th November 2022

Reviewed by Katie Brewerton

4****

Fisherman’s Friends The Musical is based on the true story and film of the same name. The Fisherman’s Friends from Port Isaac in Cornwall have been singing the traditional shanty songs of their ancestors for decades. In 2010 the real-life Fisherman’s Friends signed a record deal and went on perform at Glastonbury, sing for Queen Elizabeth and have a film made about them. Now a brand-new musical based on their story has come to Leeds!

The musical begins with Danny (Jason Langley) hearing the Fisherman’s Friends sing in their local pub, as a down on his luck music manager, he seizes the opportunity to help them land a record deal using some of his old contacts, but first Danny must convince Jim (James Gaddas, known for Bad Girls and Coronation Street) that making a record is a good idea. On their mission to gain success they travel to London and one of the best bits of the show takes place as the band enjoys a drink in one London’s gay bars, culminating in a hilarious rendition of In The Navy. ​It’s not just the Fisherman’s Friends who sing in Port Isaac, with a lot of the town joining in, notably Alywyn (Parisa Shahmir), daughter of Jim and love interest of Danny she is a musician in her own right and has some lovely performances. 

This is the first musical I’ve seen which has consisted of folk music and shanty songs and with the cast and company playing their own instruments on stage making it very unique. The whole cast are fantastic singing wonderful catchy songs from start to finish. 

The staging is great, transporting you to the Cornish coast and using ropes to make you believe they really are in small boats on the stormy sea. Although being mainly light-hearted and funny, darker themes are also explored including bereavement, debt, the struggles of being a new mum and family and relationship problems.

A brilliant new musical based on an inspiring true story this is one not to be missed.

Aud Jebsen Studio Theatre, Royal Academy of Dance – until 11th November 2022

Reviewed by Antonia Hebbert

4****

This was a fabulous evening of dance in a stunning setting. New English Ballet Theatre exists to nurture dancers, choreographers and designers as they enter their professional careers. The idea is that they can explore and experiment while always honing their classical skills, and launch themselves into full-time places with top companies. This evening was a fine demonstration of the dancers’ commitment – besides the gorgeous technical skills, they brought striking emotional intensity to the performances. The theatre itself felt like an ideal place to enjoy this – spacious for the dancers, but bringing the audience very close.

The evening’s four works paid tribute to Remembrance Day (11th November), with themes of love, loss and resilience, including one work directly inspired by the Armistice year of 1918.

The lovely opening piece was Nocturne, choreographed by Daniela Cardim. It’s a pas-de-deux set to the melting music of Chopin’s ‘Nocturne 13 in C Minor’. Dancers Genevieve Heron and Aitor Viscarolasaga Lopez drew us beautifully into the deep blue world of this piece, designed by Lisa James.

Next was War Women Awaiting, which is an excerpt from Wayne Eagling’s ballet Remembrance. It was inspired by the real-life love story of the dancer Marie Rambert and the playwright Ashley Dukes. They met in 1917 and fell in love, but within a few days he had to go back to the war. This part of the ballet focusses especially on women’s experience of waiting, hopes and fears – and mourning, with widows providing a delicate and moving chorus part to the dance. Natalia Kerner and Dylan Springer gave us compelling, passionate conviction as the young lovers in their pas-de-deux, and it is all set irresistibly to the music of Handel’s ‘Ode to St Cecilia’, with back projections of church architecture and wartime scenes (costumes by Arpil Dalton, set design by Nina Kobiashvili).

We had a special treat to end the first half: Re(Current) was performed by guests Mayara Magri and Matthew Ball, who are principal dancers at the Royal Ballet and supporters of NEBT. It was a breathtaking feast of beauty, strength and agility, choreographed by Matthew Ball to the music of Sibelius’s ‘Laetare Anima Mea’ (My Soul Rejoices).

The second half was The Four Seasons, using Max Richter’s bouncy reworking of Vivaldi’s music. It didn’t have the intimate emotional intensity of the dances in the first half, but allowed the dancers to showcase their impressive range of skills as they followed the cycles of the year. Choreography was by Jenna Lee; costumes were by April Dalton.

NEBT finishes its season with this programme. Various performances and workshops are planned for 2023 (see nebt.co.uk), and in the meantime you can see a lot of their work on Youtube. The Royal Academy of Dance (royalacademyofdance.org) is also worth a look, not just for its stunning premises in Battersea but also because it has a mission to get the world to dance. Its website promotes opportunities for all ages and abilities (perhaps there is hope for me yet).

53two team up with Imaginality Productions to bring brand new musical, ‘Realms Of Glory’, to Manchester, this Christmas

Since opening their larger, 150 seater house, 53two have already seen the incredibly successful JB Shorts and the recent launch of a Halloween thriller from their Associate Artists, Switch MCR. In December, newly founded partnership between 53two and Imaginality Productions bring you this world premiere musical to get you ready for Christmas.

“We’re super excited to launch our first festive show since being in the old venue. To team up with the gang at Imaginality is a dream. Their work is second-to-none and for us and as a company they represent a perfect fit for the arches. It’s going to be a great piece to set us all up for the festive period.” – Simon Naylor, Creative Director, 53two

“Realms of Glory” is a new stage musical with Music & Lyrics by Ollie Mills and a book co-written with Rachel Mann

It’s Christmas 1940 and the Blitz has come to Manchester. Set to a toe-tapping score inspired by the golden age of wartime music, this brand-new musical tells the story of the lively locals trying to navigate their broken world. Trapped beneath the streets, Lizzie Horton takes us on a whistle-stop tour of her life in Manchester; her formative years, a whirlwind romance with her RAF pilot husband, Bob, and encounters with her pals Mavis, Jim and Ida. Guaranteed to raise some smiles and prepare you for the Festive season, “Realms Of Glory” takes a heartwarming look at dealing with grief and fighting for second chances.

The show will be presented with 53two by Imaginality Productions, hot on the heels of their sell-out concert of “Mallory On The Mountain” at Salford’s The Lowry in October 2022. Realms Of Glory received its first workshop in 2019 and the team are thrilled to finally be bringing the show to life, two years after the centenary of the Manchester Blitz.

Beneath the iconic brickwork of 53two’s 150-year-old arches, expect a Christmas tale like no other that will warm your cockles and fill your hearts.

Emma Clare Harvey and Alex Cosgriff (Associate Artists for Imaginality Productions) will play Lizzie and Bob Horton, alongside Rebecca McAuley as Mavis Snow, Ben Kawalec as Jim Snow/Others and Ella Heywood as Ida Barnes. The show is to be directed by its co-creator, Ollie Mills, with Musical Direction from Joe Clayton.

Realms of Glory will run from 14-22 December at 53two, Manchester. Tickets are now on sale via Eventbrite: https://realms-of-glory.eventbrite.co.uk/

As usual with 53two, access is key and the venue will be offering £2 Unwaged Tickets at every show for those that are currently out of work or receiving any financial support and the venue is fully accessible. Support dogs are welcome and any carers receive a free ticket.

KATY GALLOWAY PRODUCTIONS ANNOUNCES LONDON PREMIÈRE OF KIM DAVIES’ SMOKE AT SOUTHWARK PLAYHOUSE 

Katy Galloway Productions todayannounces the London première of Smoke by Kim Davies, at Southwark Playhouse. The production opens on 3 February until 25 February with previews from 1 February.  Júlia Levai and Polina Kalinina co-direct Meaghan Martin as Julie, and Oli Higginson as John in this gripping modern adaptation of Miss Julie, set in a pre-‘Me Too’ New York at a BDSM party. It asks audiences to question our pre-conceived conceptions around BDSM communities. With a series of Q&As involving sex positive activists, and BDSM advocates, this production aims to tackle notable prejudices such as ‘kink shaming’.  

The play originally premièred at The Flea Theatre, New York, in 2014, where it was critics pick in The New York Times and Time Out New York.  

Kim Davies said today: “I couldn’t be more honoured that such a talented group of artists has been assembled for the London premiere of this play. It means so much to me that this play continues to speak to audiences almost a decade after I wrote it—and perhaps all the more so in a culture that has now more fully reckoned with the #metoo movement and sexual abuse in both mainstream and kink culture.”

Kim Davies’  

SMOKE 

A Katy Galloway Productions and 3 hearts canvas co-production 

1 February 2023 – 25 February 2023 

Co-Directors: Júlia Levai and Polina Kalinina; Production Design: Sami Fendall; Sound Design: Jamie Lu; Lighting Designer: Rajiv Pattani; Graphic Designer: Justin Williams, Intimacy Director: Asha Jennings-Grant 

The story takes place in pre-‘Me Too’ New York City, at a ‘BDSM’ party. Julie is a privileged college dropout dipping her toes into the world of S&M. John is a cynical, struggling artist willing to act as her guide. Their whirlwind encounter starts as a sexually charged game of cat and mouse. As they get to know each other, these seemingly self-possessed characters have their boundaries and notions of consent challenged. The consequences are irreparable and unsettling. 

Oli Higginson plays John. His theatre credits include, LAVA (Soho Theatre), A Christmas Carol (The Old Vic), The Last Five Years (Southwark Playhouse, Garrick Theatre), The Haystack (Hampstead Theatre), Maggie & Ted (Garrick Theatre), The Assassination of Marcus Garvey (Theatre503), and Napoleon Blown Apart (Arcola Theatre). His television credits include, Bridgerton, The Pursuit of Love, This England, Julia. 

Meaghan Martin plays Julie. Her theatre credits include, Never Not Once and The Actor’s Nightmare (Park Theatre), and The Least We Could Do (The Other Palace). Her television credits include, House M.D, Wendy: The Series, 10 Things I Hate About You, Awkward. Her film credits include, Safelight, Bad News, Wives of the Landed Gentry, Journey, Camp Rock, Camp Rock 2, Dear Lemon Lima, Sironia, Geography Club and Ten Dates.  

Júlia Levai is a theatre director from Budapest based in London. She previously received an MGCfutures bursary, and was also Director in Residence at the National Theatre in Belgrade. She is a script reader for the Papatango Prize, the Bruntwood Prize and for Paines Plough’s Women’s Prize for Playwriting. Her directing credits include, Machinal (St Mary’s University), Northern Girls (Pilot Theatre) Did I Wake You? (Young Vic), The Impresario (Lamport Hall), The Prince of Homburg (The Space), Sweeties (Theatre503), There Has Possibly Been An Incident (Blue Elephant Theatre), and Amphibious (York Theatre Royal). Her assistant directing credits include,  All’s Well That Ends Well (RSC), L’Illusion Comique (National Theatre in Belgrade), and Nora: A Doll’s House (Young Vic). Her associate directing credits include, The Bone Sparrow (UK Tour).  

Polina Kalinina is a theatre director. Polina is a JMK finalist, a MGCfutures Bursary recipient, and a member of the Lincoln Centre Theatre Directors Lab in New York. Her directing credits include, Shakespeare in Love (Clifftown Theatre), Julius Caesar (Globe Neuss), Romeo and Juliet (Tobacco Factory & tour), Islanders (Soho Theatre), The Playboy of the Western World (Southwark Playhouse), Flashes (Soho Theatre), Dutchman (Orange Tree Theatre). Her associate director credits include The Events (Traverse, Young Vic, Guthrie, Curran, RFH). 

Southwark Playhouse

Listings 

77-85 Newington Causeway, London SE1 6BD  

Box Office: 020 7407 0234 (Mon-Sat, 10am-9pm)  

www.southwarkplayhouse.co.uk/the-little/smoke 

Twitter, Instagram, TikTok: @swkplay 

Facebook: @SouthwarkPlayhouse 

Tickets: 

£16 Previews / £22 standard / £17.50 concessions  

THE OFFICIAL TAKE THAT MUSICAL

GREATEST DAYS

FURTHER DATES ANNOUNCED

Adam Kenwright is delighted to announce new tour dates for The Official Take That Musical- GREATEST DAYS, with a book by award winning playwright Tim Firth. The musical will embark on a major UK and Ireland tour from 5 May 2023 and will coincide with the summer 2023 release of the official movie version of this smash-hit musical, starring Aisling Bea and Jayde Adams. GREATEST DAYS celebrates the 30th Anniversary of Take That’s first ever UK Number 1 single Pray.

Further dates have been added in cities such as Canterbury, Norwich, Blackpool, Glasgow, Edinburgh, Bristol, Southampton, Brighton, Truro, Leicester, Aylesbury and Sunderland.

Casting and further dates to be announced.

Gary Barlow, Howard Donald and Mark Owen are Take That in 2022 and continue the legacy of one of the most successful bands in British chart history, with over 45 million records sold worldwide and 12 Number 1 hits in the UK. Formed as a five-piece in 1989, they enjoyed immediate success with their first two albums charting at Number 2 & Number 1 respectively. Third album Nobody Else confirmed their global domination, selling over six million copies and topping the charts in 11 countries. The departure of band member Robbie Williams prompted a break-up in 1996 and nine years in the wilderness before the remaining four members reunited for 2005’s The Ultimate Tour. This sparked one of the greatest comebacks in British music history with Take That going on to release three Number 1 albums in just four years. Robbie’s return for 2011’s Progress saw them break UK records for the fastest-selling album of the 21st century and fastest-selling tour of all time. Williams’ second departure, along with that of Jason Orange, left the remaining three members to release III, which was certified platinum. In 2019, the band celebrated their 30th anniversary with the release of Odyssey, a greatest hits album, which reached Number 1, and a UK and European stadium and arena tour.

Tim Firth is one of the UK’s most beloved award-winning writers and composers in film, television and theatre. His extensive theatre credits include the Olivier Award winning musical Our House (West End), the UK Theatre Award-winning This is My Family (Sheffield Crucible), the MEN Award-winning Neville’s Island (Nottingham Playhouse and West End, Evening Standard & Olivier nomination) and Calendar Girls (Chichester Festival Theatre, West End) which broke all British records for a professional and amateur play, was nominated for an Olivier and won the WhatsOnStage Best Comedy Award. Tim collaborated with lifelong friend Gary Barlow on Calendar Girls The Musical which had a successful run in the West End and then toured the UK and Ireland, winning a WhatsOnStage Award and receiving several Olivier nominations along the way. Tim’s film credits include Calendar Girls and Kinky Boots. Recently, Tim co-created and directed Gary Barlow’s one-man show A Different Stage currently touring the UK following a sold-out West End run.

The musical follows a group of five best friends in the 1990’s who are obsessed with their favourite boy band. The girls then reunite more than 20 years later with a plan to see their heartthrobs one last time in what could be the Greatest Days of their lives.

GREATEST DAYS features more than 15 of Take That’s record-breaking songs alongside a heart-warming and hilarious story of love, loss and laughter from award-winning writer Tim Firth (Calendar Girls, Our House, Kinky Boots).

GREATEST DAYS was originally produced as The Band by David Pugh & Dafydd Rogers + Take That. The UK tour of The Band originally opened at Manchester Opera House on 8 September 2017 and closed in March 2019, breaking box office records along the way. The musical ran for a limited West End season at Theatre Royal Haymarket over Christmas in 2018/19. 

Website: greatestdaysmusical.com

Facebook: @GreatestDaysMusical

Twitter: @Greatest_Days

Instagram: @Greatest_Days   

2023 TOUR SCHEDULE

5 – 13 May                                Bromley Churchill Theatre                                              0343 310 0020

                                                 www.churchilltheatre.co.uk                                                          

16 – 27 May                              Manchester Palace Theatre                                            0844 871 7615*

                                                  www.atgtickets.com/manchester                                    

29 May – 3 June                        Newcastle Theatre Royal                                               0191 232 7010                                                                                                                               www.theatreroyal.co.uk                                                 

5 – 10 June                               Woking New Victoria Theatre                                         0844 871 7615*

                                                  www.atgtickets.com/venues/new-victoria-theatre            

12 – 17 June                             Sheffield Lyceum Theatre                                              0114 249 6000

                                                  www.sheffieldtheatres.co.uk                 

20 – 24 June                             Southend Cliffs Pavilion                                                  0343 310 0030

                                                  www.southendtheatres.org.uk                                         On sale 11 November

27 June – 1 July                        Cardiff Wales Millennium Centre                                    029 2063 6464                                                                                                                                www.wmc.org.uk                                  

3 – 8 July                                  Milton Keynes Theatre                                                  0844 871 7615*

                                                 www.atgtickets.com/venues/milton-keynes-theatre         

10 – 15 July                              Liverpool Empire Theatre                                              0844 871 7615*

                                                  www.atgtickets.com/venues/liverpool-empire                 

17 – 22 July                              Wolverhampton Grand                                                  01902 42 92 12

                                                  www.grandtheatre.co.uk                                                

24 – 29 July                              Cheltenham Everyman Theatre                                      01242 572573

                                                  www.everymantheatre.org.uk                                         

31 Jul – 5 Aug                           Canterbury Marlowe Theatre                                          01227 787787

                                                  www.marlowetheatre.com                                               On sale 21 November

7 – 12 Aug                                 Norwich Theatre Royale                                                 01603 630 000
                                                   www.norwichtheatre.org                                                  On sale 24 November

15 – 19 Aug                              Blackpool Opera House                                                  0844 770 0593

                                                 www.wintergardensblackpool.co.uk                                 On sale 11 November

21 – 26 Aug                              Glasgow Kings Theatre                                                   0333 009 6690

                                                 www.atgtickets.com/venues/kings-theatre-glasgow         On sale 16 November

28 Aug – 2 Sep                         Edinburgh Playhouse                                                     03330 096 690

                                                 www.atgtickets.com/venues/edinburgh-playhouse/         On sale 16 November

11 – 16 Sep                              Bristol Hippodrome                                                         0333 009 6690

                                                 www.atgtickets.com/venues/bristol-hippodrome              On sale 16 November

26 – 30 Sep                              Southampton Mayflower Theatre                                    02380 711 811

                                                  www.mayflower.org.uk                                                     On sale 17 November

9 – 14 Oct                                  Brighton Theatre Royal                                                  0844 871 7615*

                                                www.atgtickets.com/Brighton                                              On sale 16 November

17 – 21 Oct                               Truro Hall for Cornwall                                                      01872 262 466

                                                  www.hallforcornwall.co.uk                                              On sale 23 Jan 2023

23 – 28 Oct                               Leicester Curve                                                                 0116 242 3595

                                                 www.curveonline.co.uk                                                     

7 – 11 Nov                                 Aylesbury Waterside Theatre                                          0844 871 7615

                                                  www.atgtickets.com/venues/aylesbury-waterside-theatre         On sale 16 November

14 – 18 Nov                              Sunderland Empire                                                          0333 009 6690

                                                 www.atgtickets.com/venues/sunderland-empire               On sale 11 November

21 – 25 Nov                              Leeds Grand Theatre                                                       0113 243 0808

                                                 www.leedsheritagetheatres.com                                       On sale 23 November

Further venues to be announced

*Calls cost 7p per minute plus your phone company’s access charge

WHATSONSTAGE AWARDS RETURN FOR THEIR 23^RD YEAR WITH THE CEREMONY TAKING PLACE ON SUNDAY 12 FEBRUARY

WhatsOnStage today announces that the 23^rd Annual WhatsOnStage Awards will take place on Sunday 12 February 2023, at a West End theatre to be announced. As well as seeing the winners crowned across a range of categories, theatregoers will also enjoy a host of exclusive live performances from top stage talent. The event is co-produced with creative directors Alex Parker and Damian Sandys.

Now in their 23rd year, the WhatsOnStage Awards are the only major theatre awards decided by the theatregoers themselves.

Nominations are now open and will close on Wednesday 23 November 2022 ahead of the shortlist being announced on Thursday 8 December 2022. Voting will then open at the same time, closing on Tuesday 10 January 2023, with the winners being announced at the ceremony on Sunday 12 February 2023.

This year, the performance categories will be gender-free and, for each of the following, readers will be able to nominate and vote for one individual:

• Best Performer in a Play
• Best Performer in a Musical
• Best Supporting Performer in a Play
• Best Supporting Performer in a Musical

The shortlist for the technical categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction/Supervision, Set Design, Sound Design, Casting Direction and Video Design) will be once again decided by an independent panel of industry experts from across the UK appointed by WhatsOnStage. Their shortlists will then be voted on by the general public.

Additional and returning categories include Best Takeover Performance, Best Professional Debut, Best Casting Direction, and Best Concert Event, taking the total number of categories to 24.

WhatsOnStage’s Sarah Coleman said today: “It’s been an utter joy to witness theatre bounce back revitalised and undeterred, and we can’t wait to celebrate the wealth of incredible talent on our stages at the next WhatsOnStage Awards. With our Awards we always seek to keep the nominations process fresh with changes to our categories, reflecting the changes within our community. And as ever, we want to say a special thank you to the voting public, the people who keep our industry alive.” 

awards.whatsonstage.com

Twitter @WhatsOnStage #WOSAwards
Instagram @WhatsOnStage

Bread & Roses Theatre – until 9 November 2022

Reviewed by Claire Roderick

3***

Shot In The Dark Theatre’s debut production of Tamsin Rees’s Cheer Up Slug is funny and thought-provoking. This exploration of friendship and adolescence begins as a quirky comedy but slowly becomes darker and more serious.

Bean and Will, neighbours and friends since early childhood, are on their Duke of Edinburgh Bronze Award practice expedition. Bean’s boyfriend and Will’s best friend, Dean, hasn’t turned up yet, and Will is getting stressed. While Bean is happy draping fairy lights on the tent and has bought Hobnobs and golden syrup as provisions for their overnight camp, Will is following every rule and is horrified by Bean’s laid back attitude. He isn’t here to have fun, this is vital for his university admission. As it becomes obvious that Dean isn’t coming, the pair play some of the DofE suggested bonding games, chat and muck about. Their recollections of childhood incidents differ wildly, with Will’s versions always showing him in a good light “helping” Bean. Rees could have simply written about the impact of growth and change on friendships that should be left behind, but adds another layer of sexual tension.

When Bean explains why Dean isn’t going to turn up, things get serious, with Charis Murray delivering her heart breaking and almost matter of fact account with a devasting emotional punch. Will’s reaction to the news has been foreshadowed in the scenes recalling their childhood, but this doesn’t lower the impact of his actions. His responses to Bean’s rejection ensure that this cannot simply be dismissed as a misjudged attempt to kiss, and Bean finally realises that their bond is not what it once was. Whether Will is echoing the attitudes and actions of the boys around him because he is neurodiverse, or insecure and trying to fit in, or projecting and enacting things seen on social media, or even his father’s attitudes (discussion of the breakup of his parents’ marriage is strictly off limits) is up for debate. The variety of options to explain Will’s behaviour is terrifying in itself, and lays bare the mixed and toxic images and messages about sexual relationships that children are exposed to. There are some effective moments, but Rees’s script tries to do too much at times, with lots of throw away lines that could be further developed in a slightly longer running time or cut in this production.

Hannah McLeod directs skilfully, allowing the first half to amble around seemingly aimlessly as the teenagers kill time. Charis Murray’s Bean is sweet and innocent, seeing the joy in simple things. This is seen as a weakness by Will, but Murray lets Bean’s quiet fury simmer as she sees Will’s true colours. Jamie Patterson is endearingly geeky and awkward as Will, with subtle flashes of his cruel and judgemental nature becoming more frequent and obvious as the plot develops. The actors have wonderful chemistry and lift the material with their infectious energy.

This is a fine debut – the future looks bright for Shot In The Dark Theatre.

New Wimbledon Theatre, Wimbledon – until 12th November 2022

Reviewed by Bobbi Fenton

4****

No Mans Land. Christmas. 1914. The worlds most famous game of football to ever take place. And a woman whose story was untold for many many years.

Don’t Shoot the Meistersinger is the incredibly funny, and often moving, story of the English soldiers and the German soldiers putting aside their differences for a festive game of football. Joseph Aylward, Alfie Noble, and Finn Pile do an excellent job of portraying three English soldiers and three German soldiers through multirole, showing a clear comparison between both sides, and how despite the war, they aren’t all that different after all. Lance Corporal Arthur Ramsbotham (Joseph Aylward) and Private Joe Bryce (Alfie Noble) welcome new recruit Private Ernie Potter (Finn Pile) to the English front line, as on the German side Hauptmann Sixtus (Joseph Aylward), Unteroffizer Hans Sachs (Alfie Noble), and Gemeiner Walther von Stolzing (Finn Pile) are in the exact same situation. However, on the English side happens to be a woman, Dorothy Lawrence (Mia Finnigan), a journalist who has managed to sneak onto the front line, steal a mans army uniform, and blend in with the other soldiers in order to try to get a true, real-life account of what it is like for the soldiers on the front line. This play does a brilliant job of telling this true story, and how she managed to get back to England where she was heavily censored, and includes a very moving monologue from Mia Finnigan. There are many moving moments within this play, however almost every single one is quickly shifted into a moment of hilarious comedy. A particular favourite reoccurring joke for me is Private Ernie Potter (Finn Pile) constantly arriving late for everything because of his father’s (Emily Littman) watch that never tells the right time which he eventually trades with a German soldier in return for a uniform button. Not to mention Emily Littman as Walther von Stolzing ‘s highly religious and modest girlfriend Eva writing increasingly erotic letters to him.

Even with the small cast, and the use of multirole, this play makes it very easy to imagine what the war was like for almost every single man that went to fight, dealing with fleas, their friends and brothers dying around them, and the dreaded meat pudding for Christmas dinner. Don’t Shoot the Meistersinger is an absolutely wonderful piece of historical theatre that should definitely not be missed.

Charing Cross Theatre – until 17 December 2022

Reviewed by Claire Roderick

4****

This stirring, slimmed-down revival of From Here to Eternity is full of heart, passion … and gorgeous voices. I haven’t seen the original production, so cannot comment on the impact of the changes, but the new production hit all the right notes for me.

The story of the men of G Company, killing time in Hawaii as the war rages in Europe and the far east, is a lot grittier in James Jones’s novel than in the slick Hollywood movie – this musical sits somewhere in between, including the darker aspects of the story but with a light touch.

Captain Holmes’s (Alan Turkington) quest for promotion depends on G Company winning the boxing championship, so Prewitt (Jonathon Bentley) is transferred in with a reputation as a great boxer. Unfortunately, Prewitt refuses to fight after injuring someone in the ring, so Holmes sets his sergeants on Prewitt to grind him down. The institutionalised bullying, violence and discrimination of the army is shown in well-judged broad strokes that show enough to create credible impetus for the main characters choices that cannot be explored in much detail in the musical without losing one of the subplots. As the company are encouraged to intimidate and brutalise Prewitt into submission, he finds an ally in Maggio (Jonny Amies), a charming wise guy ducking and diving to make the most profit out of the situation in Hawaii. With so many soldiers and sailors hanging around, the opportunities are unlimited for brothel owner Mrs Kipfer (Eve Polycarpou). Prewitt is in love with one of her girls, Lorene (Desmonda Cathabel), and she is starting to fall for him. The second love story is between Holmes’s wife Karen (Carley Stenson) and Holmes’s master sergeant, Warden (Adam Rhys-Charles). All this takes place in the two weeks leading up to the attack on Pearl Harbour.

When the novel was written, the themes of homosexuality, adultery, suicide and violence were shocking, but now the story feels more of a potboiler, and Donald Rice and Bill Oakes’s book doesn’t try to update or sensationalise. There are many cliched lines, but they feel authentic coming from dedicated and naïve young men of their time. Director Brett Smock uses the traverse cleverly, with choreographer Cressida Carré setting the troops running and marching around the stage in between indolently lolling under the palm trees. The movement of concrete crates as multitasking stage furniture by the well-drilled ensemble adds to the military feel, and Louise Rhoades-Brown’ projections are hauntingly effective, particularly in the beach and stockade scenes.

The outstanding cast perform Stuart Brayson and Tim Rice’s songs with style and passion. There are a variety of influences and genres, with the bluesy numbers being a highlight. Carly Stenson’s smoky vocals are stunning, and Desmonda Cathabel’s heart stopping rendition of Run Along Joe will melt the coldest heart. Jonathon Bentley impresses as Prewitt, holding the audience’s sympathy even before the reason he doesn’t fight is revealed, and gives a barnstorming performance of Fight the Fight. Jonny Amies’s comedic bravado finally gives way to tragic defiance in I Love the Army in one of the most moving moments of the show. It all builds to an emotional and exhilarating finale, before the names of the fallen are projected on the stage as the audience leave. A real goosebumps moment. Slick, stylish and wonderfully entertaining – this is a must-see show.